#TranscendingObscurityRecords

Angry Metal Guy<a href="https://www.angrymetalguy.com/floating-hesitating-lights-review/" rel="nofollow noopener" target="_blank">Floating – Hesitating Lights Review</a>By Dear HollowBack in ’22, your favorite AMG staffers <a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-floating-the-waves-have-teeth/" rel="nofollow noopener" target="_blank">butted heads and said “yeehaw”</a> in a Rodeö whose scores were disappointing, very good, and everything in between. The band was a little Swedish oddity called Floating, whose collision of sounds compiled a library of post-punk’s sneering rhythms, post-metal’s ponderous hugeness, and doom’s lurching intensity, at heart beating with dissonant death metal blood inspired by Demilich and Ulcerate. I found myself on the more favorable side, a little put off by its inconsistencies and experimental quirks, but ultimately excited to see more, and my wish has been granted in follow-up Hesitating Lights.While entirely more streamlined, a major difference between its predecessor, The Waves Have Teeth, is the heart that beats within it and the crescendo that it embodies. While it uses much of the same tricks, it feels more like a post-punk band doing death metal, punky blastbeats meeting an unfuckwithable bassline, providing the backbone of each track – a flaying guitar and scattered synth forming the amorphous flesh. A tale of two halves, whose stylistic differences are tasteful in a gradual shift from punky energy to death metal disintegration, Hesitating Lights soars in its carefully orchestrated experimental attack, leaving a bit more to be desired, but remains a step towards the greatness that Floating is clearly capable of.The first half of Hesitating Lights deals in a post-punk style that is both impressively simple and mind-warping. Bass is the starting point in its rich and warm intensity that undergirds a deathened attack that is allowed to waver into various textures of dissonance and darkness, ethereality and irony. Taking cue from the ambivalent bumbling of acts like Cocteau Twins and Siouxsie and the Banshees, warm bass pairs with cold guitar in a collision that feels simultaneously ominous and energetic, taking cues from Ulcerate in contemplative sprawls and blastbeats (“I Reached the Mew,” “Cough Choir”), while motifs of dissonant stings and chiming tones inject a dose of morbidity apt to the descriptor “deathpunk” (“Grave Dog,” “Exit Bag Song”). The first half feels like a carefully curated experiment in punk percussion and bass and death metal melodics and vocals. The result is unique and atmospheric – a bit that feels too safe periodically, but its careful composition shows Floating’s songwriting prowess.It’s only after the first act that Floating begins to fly off the rails in tasteful death metal dominance. Centerpiece of “Hesitating Lights / Harmless Fires” is a tour-de-force of the more synth-driven experimental tendencies, a patient sprawl that refuses easy categorization into either territory. A nearly post-metal crescendo anchored exclusively by the rumbling bass guitar descends into a noise rock climax not unlike Gilla Band or Lightning Bolt. Beyond that, tracks begin to utilize a cascading riff technique in which guitar rhythms fall apart incrementally across repeated iterations, leading to tasteful slivers of melody and ominous buildups (“Still Dark Enough,” “The Waking”), while doom makes a dirging appearance in the most pitch-black moment of the album (“The Wrong Body”). But even aside from more experimental flair, each track in the second half features a kickass riff that gets the head bobbing and anchors the track in some semblance of reality.I felt like The Waves Have Teeth was a carpet bomb of ideas with glimpses of its deathpunk actualization shining through. Hesitating Lights feels like a much more fleshed-out beast, with the real teeth to speak of. The shifts between the more post-punk- and death metal-oriented halves can feel jarring, and perhaps that gradual descent into the abyss can be accomplished with a bit more finesse, but it shows the duo’s amorphous quality in a fantastic display for a young band. Ominous death metal atmosphere and rebellious punk energy are harnessed with a kickass bass performance and a shapeshifting percussion in a tidy thirty-six minutes, and it’s infectious. While certainly not the opus magnum Floating is capable of, you should have no hesitation in picking up Hesitating Lights. Rating: 3.5/5.0 DR: 8 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="http://floating-label.bandcamp.com" rel="nofollow noopener" target="_blank">floating-label.bandcamp.com</a> | <a href="http://facebook.com/floatingdeathmetal" rel="nofollow noopener" target="_blank">facebook.com/floatingdeathmetal</a> Releases Worldwide: July 11th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cocteau-twins/" target="_blank">#CocteauTwins</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/demilich/" target="_blank">#Demilich</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/floating/" target="_blank">#Floating</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gilla-band/" target="_blank">#GillaBand</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hesitating-lights/" target="_blank">#HesitatingLights</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul25/" target="_blank">#Jul25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lightning-bolt/" target="_blank">#LightningBolt</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/new-wave/" target="_blank">#NewWave</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-punk/" target="_blank">#postPunk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/siouxsie-and-the-banshees/" target="_blank">#SiouxsieAndTheBanshees</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ulcerate/" target="_blank">#Ulcerate</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/eschaton-techtalitarian-review/" rel="nofollow noopener" target="_blank">Eschaton – Techtalitarian Review</a>By Thus SpokeImagine you are trying to get your friend into a genre of music you love. Perhaps that genre has some unfortunate tropes that even an untrained ear can discern as all instances being relegated to the denigrated status of the lowest common denominator. You know first impressions are crucial, and thus desperately want theirs to be of music that goes beyond those trappings so your friend can share your joy. Let’s say that genre is tech-death, and the album that your friend first comes across in their journey Eschaton’s third, Techtalitarian. The band’s discography heretofore has been solid, but unremarkable, and given a prior emphasis on something closer to deathcore, you feel justified unease. But with a signing by Transcending Obscurity, and an almost entirely fresh lineup to boot, you hope Techtalitarian can break through, to your friend as well as to the wider death metal community.With chagrin, you acknowledge that Techtalitarian cannot escape its existence as a textbook instance of a tech-death stereotype, for better or for worse. Beyond its comically on-the-nose moniker and aggressively cyberpunk cover art, the music is exactly what you might expect. The fusion of a vocal style that hasn’t quite left deathcore behind<a href="https://www.angrymetalguy.com/eschaton-techtalitarian-review/#fn-217348-1" rel="nofollow noopener" target="_blank">1</a>, with the hyperactive arpeggio riffing, and restless and restlessly fast tempo bouncing for which this particular approach to death metal is wedded to. But sticking to the core of a sound need not be a curse if a band either execute it to perfection, thus proving why it is so enduring, or with some subtle flair that makes it their own. In this regard, Eschaton cannot be said to avoid their curse, but Techtalitarian is not without merit, thanks in large part to its nature, which unwittingly or not borrows more than a little of the thrill for which you fell in love with technical death metal in the first place.Riffs, riffs, and yet more riffs await as you explore Techtalitarian. Par for the course, but also a chance for new guitarist Christian Münzner<a href="https://www.angrymetalguy.com/eschaton-techtalitarian-review/#fn-217348-2" rel="nofollow noopener" target="_blank">2</a> to prove that he can indeed play a guitar really rather well; all the musicians here have great technical prowess. Just the act of pointing this out in preface to discussing the music’s actual substance exemplifies the subgenre’s cliché. The record’s shape evolves but little across its breadth, with the flutters and churning of guitar, and especially pointed percussive pattering melting into a haze of agitation where Eschaton ricochet between ideas. And yet you can’t pretend you’re not enjoying yourself, for at least large segments at a time. Though they evade true memorability, many melodies and chirruping acrobatic riffs, carried on accompanying tides of snappy drumming and rhythmic syncopation, tickle the brain just right (“Blood of the People,” “The Bellicose Duality,” “Antimatter”). In a fickle but not charmless way, Eschaton rotate between the malevolent grooves of The Black Dahlia Murder (“Devour the Contrarian,” “Techtalitarian,” “Castle Strnad”<a href="https://www.angrymetalguy.com/eschaton-techtalitarian-review/#fn-217348-3" rel="nofollow noopener" target="_blank">3</a>), the twin guitar flutters of Within the Ruins (“Hellfire’s Woe”), and mixing slammy deathcore with an approximation of the melodic depth of, say, Allegaeon, minus the cleans (“Antimatter”). They can’t quite make up their mind, but they seem to have fun doing it, and you’ll likely have some fun listening.As entertaining as these segments can be, when stitched together into Techtalitarian, they end up being surprisingly intangible. Once a slick, squealy, super-speedy passage is over, it’s over in order to make room for the next thing. This is compounded by the fact that these rhythmic textures and riffing structures are not even that brilliant—not brain-meltingly gymnastic, or manically groovy, or breathtakingly claustrophobic—but instead almost generic. What ought to be cool comes across as blasé because nothing lies beneath the flashy, snarling, blastbeating surface. And when Escahaton do incorporate something else, they do so with lukewarm commitment; symphonics and choir that occasionally appear (“Hellfire’s Woe,” “Econocracy”) reading exactly like something you’d hear in a Shadow of Intent song, but not even as dramatic. Add to this the inevitably low DR of 4, and the reasonable 45-minute runtime starts to crawl.Though it feels absurd when the music is this energetic, skilled, and heavy—as is all tech-death—Techtalitarian is not what you want your friend to hear; not first anyway. Its insubstantiality is due to no fault of Eschaton’s talent, but rather their execution. With more imagination and focus, their abilities could blossom into some of the most potent of the subgenre. It already lends itself to a pretty fun time. Eschaton may have a great record in them, but it isn’t Techtalitarian.Rating: Mixed DR: 4 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity</a> Websites: <a href="https://eschaton-label.bandcamp.com/album/techtalitarian" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/eschatonmetal/" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: May 30th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/allegaeon/" target="_blank">#Allegaeon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/eschaton/" target="_blank">#Eschaton</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jun25/" target="_blank">#Jun25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/obscura/" target="_blank">#Obscura</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/techtalitarian/" target="_blank">#Techtalitarian</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-black-dahlia-murder/" target="_blank">#TheBlackDahliaMurder</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/within-the-ruins/" target="_blank">#WithinTheRuins</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: February 2025’s Angry Misses</a>By KenstrosityFebruary comes down the pipe about two or three months after February. A perfectly normal thing to experience here at AMG HQ, this Filter’s tardiness is brought to you in part by my body getting stuck in one of the tighter conduits that lines the concrete interior of this confounded bunker. My minions are elsewhere, trudging through similar environs, and report their findings to me via eldritch beast telepathy. Since I obviously don’t speak eldritch tongue, I have to use my Codex of Enspongification to decipher these antediluvian transmissions. I’m sure you can imagine, that takes no small measure of time, especially when you’re stuck in this galvanized prison of rusting sheetmetal.Until my ungrateful minions can find me and rescue me—something I don’t expect to happen anytime soon considering I give them no workers benefits or pay of any kind—you’ll have to make do with the selections of rough-hewn and sharp, but valuable, ore provided below. OBSERVE AT YOUR OWN RISK! Kenstrosity’s Crusty Grab<a href="https://www.facebook.com/Metaphobic.atl" rel="nofollow noopener" target="_blank">Metaphobic </a>// Deranged Excruciations [February 28th, 2025 – <a href="http://www.everlastingspew.com/" rel="nofollow noopener" target="_blank">Everlasting Spew Records</a>]When Atlantan death metal quintet Metaphobic caught my attention with the megalithic riffs opening their debut LP Deranged Excruciations, I thought the stank face it brought out of me might be permanent. Nothing new and nothing sophisticated awaits here. Just brutalizing riffs delivered in a relentless sequence of destruction. Lead guitars squeal and scrape against the swampy ground underfoot, leaving a noxious slime trail behind “Mental Deconstruction” and “Execration” that tastes of <a href="https://www.angrymetalguy.com/tomb-mold-the-enduring-spirit-review-2/" rel="nofollow noopener" target="_blank">Tomb Mold</a>, <a href="https://www.angrymetalguy.com/incantation-unholy-deification-review/" rel="nofollow noopener" target="_blank">Incantation</a>, and Demilich to varying degrees. Guttural utterances and cacophonic—but accessibly structured—riffs offer the same infernal ferocity of the olden ways. However, in a similar manner to <a href="https://www.angrymetalguy.com/noxis-violence-inherent-in-the-system-review/" rel="nofollow noopener" target="_blank">Noxis</a>, their application here feels modern and fresh-ish (“Execration,” “Veiled Horizons,” “Hypnosis Engram”). Not nearly as nuanced as that comparison might suggest, Metaphobic are more than satisfied to use their brutish death metal as a cudgel for blunt force trauma. Nods to death doom in long-form wanderings like “Disciples of Vengeance” and “Insatiable Abyss” provide an appreciable variation in pace, though it doesn’t always work in Metaphobic’s favor. While those songs tend to meander too long on ideas unfit to support such mass for so long, livid outbursts like “Veiled Horizons” and “Reconstituted Grey Matter” more than make up for it. In short Deranged Excruciations commands my attention enough to earn my recommendation here, and my attention going forward. Tyme’s Missing Minutes <a href="https://causticphlegm.bandcamp.com/" rel="nofollow noopener" target="_blank">Caustic Phlegm</a> // Purulent Apocalypse [February 28, 2025 – Hells Headbangers]Caustic Phlegm is the filth project helmed solely by Chestcrush main man Evan Vasilakos, who joyously employed his HM-2 and RAT pedals to create the utter disgustingness that is Purulent Apocalypse. A far cry from the angsty, I’d-rather-see-humanity-dead blackened death metal of his main outfit, Caustic Phlegm is a throwback to the days when Carnage walked the streets of Sweden and Impetigo was melting faces and killing brain cells. Purulent Apocalypse is a platter of pestiferous riffs (“Fouled, Infected & Infested,” “Soft Bones,” “Blister Bliss”), so many it’s like sitting on a death metal toilet puking and shitting riffs ad nauseam. Evan’s drum work, replete with the occasional but very satisfying St. Anger snare tone, drives the mindless fun forward, and the 80’s zombie giallo synth work would have Lucio Fulci himself clawing out of his grave to eat your face. Vasilakos’ vocals are a fine litany of belches, squelches, and gurgles that sound like a colony of maggots cleaning the putrid flesh from a corpulent corpse. Caustic Phlegm is the foul stench of death and will have you reaching for the soap and steel wool as you try to rid yourself of the Purulent Apocalypse infection.<a href="https://www.vermiliaofficial.com/" rel="nofollow noopener" target="_blank">Vermilia</a> // Karsikko [February 14, 2025 – Self Release]Had the incomparable <a href="https://www.angrymetalguy.com/?s=darkher" rel="nofollow noopener" target="_blank">Darkher</a> not released The Buried Storm in 2022, Vermilia‘s Ruska would have garnered my top spot that year, which put her on my radar for the first time. When I saw Vermilia‘s follow-up, Karsikko had dropped in February—sadly we didn’t receive a promo—I jumped at the chance to filter it. While Karsikko is a bit more straightforward than Ruska, it’s full of liltingly beautiful pianos (“Karsikko”) that give way to icy black metal riffs (“Kansojen Kaipuu”) and gorgeously rendered folk metal melodies (“Koti,” “Veresi”). Comparisons with <a href="https://www.angrymetalguy.com/myrkur-spine-review/" rel="nofollow noopener" target="_blank">Myrkur</a> and <a href="https://www.angrymetalguy.com/suldusk-anthesis-review/" rel="nofollow noopener" target="_blank">Suldusk</a> would be appropriate, but Vermilia continues to carve out her own space in the folk black metal scene, marrying beatific melody with beastly aggression. Performing all of the music on Karsikko, as is her one-woman calling card, renders her finished products even more impressive. The highlight has always been the voice, though, as Vermilia deftly transitions between angelic cleans (“Suruhymni”) and frosty rasps (“Vakat”), completing a circle that makes each of her releases a joy to listen to. It’s confounding that another of Vermilia‘s albums is an independent release, which might be artistically intentional or the result of bone-headed label execs. Either way, don’t miss out on Karsikko, as Vermilia shouldn’t stay unsigned for long. Killjoy’s Drowsy Discovery<a href="https://www.facebook.com/Noctambulistband/" rel="nofollow noopener" target="_blank">Noctambulist</a> // Noctambulist II: De Droom [February 7th, 2025 – <a href="https://thesehandsmelt.shop/" rel="nofollow noopener" target="_blank">These Hands Melt</a>]Although I love blackgaze, I must admit that it can be challenging to find artists who stand out in the genre, whether through quality songwriting or unexpected twists. It turns out that the Dutch band Noctambulist<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/#fn-214280-1" rel="nofollow noopener" target="_blank">1</a> offers both. Noctambulist II: De Droom is a fun and fresh blend of Deafheaven-adjacent blackgaze with a Molotov cocktail of post-punk energy. The power chord-driven guitar lines prove to be an unexpectedly compatible fuel source to propel the shimmering, gazey tremolos and blackened rasps to new heights. Many songs (particularly “Aderlater” and “Lichteter”) start with neat intro melodies that catch the listener’s attention, then build and ride that momentum throughout the remainder. A faint sense of loss—stemming from the achingly relatable theme of homeownership drifting further out of many people’s reach—pervades the record, but there is also an infectious cheerfulness. Despite their name, Noctambulist are hardly sleepwalking as they tread along a well-worn genre. Thus Spoke’s Disregarded Diamonds<a href="https://www.facebook.com/sacrednoose/" rel="nofollow noopener" target="_blank">Sacred Noose</a> // Vanishing Spires [February 2nd, 2025 – <a href="https://breathsunboneblood.com/" rel="nofollow noopener" target="_blank">Breath Sun Bone Blood</a>]My experience with Irish extreme metal has been that it is all incredibly dark, twisted, and supremely, gorgeously dissonant.<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/#fn-214280-2" rel="nofollow noopener" target="_blank">2</a> Belfast<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/#fn-214280-3" rel="nofollow noopener" target="_blank">3</a> duo Sacred Noose make absolutely no exception to this rule. Vanishing Spires’ ruthlessly brief 31 minutes are defined by stomach-tightening twisted blackened death designed to cut to the heart of misery and fear. The lurching sensation brought about by rapid tremolo descents and sudden accelerations of ever more dissonant chords, impenetrable drums, and pitch-shifting feedback is nauseating (“Entranced by Concrete Lathe,” “True Emancipation”). The pure horror of the inhuman, high-pitched shrieks answering the already fearsome bellows is anxiety-inducing (“”Black Tempests of Promise,” “Moribund”). The near-constant buzzing of noise is oppressive (“Terminal Prologue,” “True Emancipation”); the creeping, malevolent scales unnerving. And Sacred Noose play with their victim, luring them into a trap of deceptively familiar cavern-core (“Sacred Noose”) before throwing a hood over their head and yanking them backwards into more horrifying mania; or perhaps they’ll start with the assault (“True Emancipation”). This more ‘straightforward’ edge to Sacred Noose is most akin to a faster Sparagmos, while their dominant, demonic personality I can compare most faithfully to <a href="https://www.angrymetalguy.com/thantifaxath-hive-mind-narcosis-review/" rel="nofollow noopener" target="_blank">Thantifaxath</a>, if Thantifaxath were more death-metal-inclined. Vanishing Spires is the first time since the latter’s 2023 Hive Mind Narcosis that a record has genuinely made me feel afraid.<a href="https://www.facebook.com/crownofmadnessmetal/" rel="nofollow noopener" target="_blank">Crown of Madness</a> // Memories Fragmented [February 28th, 2025 – <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a>]Life unfortunately got in the way of me giving this a proper review, but Crown of Madness deserve better than to slip by unmentioned. Memories Fragmented is the duo’s debut, but Crown of Madness is one of several projects both are already in.<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/#fn-214280-4" rel="nofollow noopener" target="_blank">4</a>. The ominous yet colourful sci-fi/fantasy cover art and spiky logo scream ‘tech-death’ and that is indeed what Crown of Madness deliver. At base, there is some damn fine technical death metal here that’s impressive and acrobatic (), but snappy, not outstaying its welcome—the entire record barely stretches beyond 35 minutes. But there is more to Memories Fragmented, and as a result, it is memorable.<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/#fn-214280-5" rel="nofollow noopener" target="_blank">5</a> A drawl to certain refrains (), the tendency to gently sway to a slow, near-pensiveness (), the atmospheric hanging of some tremolos over a warm, dense bass (). There is depth. And it reminded me quite starkly of early <a href="https://www.angrymetalguy.com/ulcerate-cutting-the-throat-of-god-review/" rel="nofollow noopener" target="_blank">Ulcerate</a>. In this vein, the record leans towards the more meandering side of the subgenre, gripping not with hooky riffs and heart-pumping tempos, but an intricate kind of intensity. Memories Fragmented arguably goes too far in the indistinct direction, and as a result, loses immediacy. But the churning, introspective compositions presage the potential for true brilliance on future releases.<a href="https://www.facebook.com/vacuousdeath/" rel="nofollow noopener" target="_blank">Vacuous</a> // In His Blood [February 28th, 2025 – <a href="https://www.relapse.com/" rel="nofollow noopener" target="_blank">Relapse Records</a>]Full of youthful vigour, London’s Vacuous demonstrate their willing ability to evolve with their sophomore, In His Blood. While debut <a href="https://www.angrymetalguy.com/vacuous-dreams-of-dysphoria-review/" rel="nofollow noopener" target="_blank">Dreams of Dysphoria</a>, which I covered back in 2022, played more or less by the disso-death book, here they are already experimenting. Strange, almost post-metal atmosphere now haunts the boundaries (“Hunger,” “Public Humiliation,” “No Longer Human”), combining brilliantly with the band’s already cavernous death metal sound, and amplifying its fearsomeness. Crowning example of this is the gem Vacuous save for the record’s final act in closer “No Longer Human.” In His Blood also sees them flirt with a punkier energy that borrows more than a little bit of malice from the blackened handbook (“In His Blood,” “Flesh Parade”), backed up by d-beats, and contrasting well with their now less frequent crawls. At its most explosive, In His Blood feels downright unhinged, in the best way (“Stress Positions,” “Immersion”), but it never feels messy, and there’s potential in here for Vacuous to evolve into yet another, incredibly potent form of unique, modern hybrid extreme metal. I wish there were more than 30 minutes of this. Dolphin Whisperer’s Bottom o’ the Barrel Boons Pissgrave // <a href="https://pissgrave.bandcamp.com/album/malignant-worthlessness" rel="nofollow noopener" target="_blank">Malignant Worthlessness</a> [February 21st, 2025 – <a href="https://profoundlorerecords.bandcamp.com/music" rel="nofollow noopener" target="_blank">Profound Lore Records</a>]Though it may appear, at a glance, that I have gold-colored glasses for bands of <a href="https://www.angrymetalguy.com/ep-split-single-roundup-of-2024-part-2/" rel="nofollow noopener" target="_blank">rank and urological reference</a>, I’d call it more of a chance happening that such miscreant acts have created intriguing works. And, truthfully, PISSGRAVE has leaned closer to filth first, function second with the war-leaning crackle (and brazenly offensive cover art) that relegates their lineage to corners of listening ears <del>who need therapy</del> with a high tolerance for guts and grime. Malignant Worthlessness, of course, is not accessible by any means, though, despite these Philly boys packing these nine ode to a failed society in a package that doesn’t cause immediate squirm. But with grooves trapped in an endless skronk and blast, and vocals shifted and layered to reflect the sound of a swarm of Daffy Ducks with a serious disdain for life, PISSGRAVE still embodies an endless swirl of unleashed aggression rendered in riffed and regurgitated form. Malignant Worthlessness lives on the dry and crispy side with most of its tones, which allows copious hits of quick delay and reverb on OUGHs and EEEEEEEUGHs to land with an extra psychedelic knocking when you least expect it. Little slows down the pain train here, with tracks like “Heaping Pile of Electrified Gore” and “Internment Orgy” taking brief detours into chunky guitar builds that feel within grasp of normalcy just before dropping back into an intensified flaying. Elsewhere, a martial urgency that reminds of Paracletus-era Deathspell Omega or the industrial-tinged pummel of <a href="https://www.angrymetalguy.com/concrete-winds-concrete-winds-review/" rel="nofollow noopener" target="_blank">Concrete Winds</a>, stirs a twitching movement response, all while retaining a grinding death snarl and chromatic fury, leading its fused-by-hatred structures toward an explosive and fuming conclusion. Humanity has no place in the PISSGRAVE environs, and Malignant Worthlessness, in its celebration of a hostile world, does everything it can to reinforce that.終末回路 // <a href="https://kairoqq.bandcamp.com/album/-" rel="nofollow noopener" target="_blank">終端から引き剥がす</a> [February 20th, 2025 – Self Release]For things that wander around the math rock world, nailing a vibe remains essential to enjoyment. It’s all too easy in this day and edge to fall into the comfortable trap of ambient tapping and comfortable posty swirls to pleasant crescendos that renders many modern acts to high brow background music (even including bands I like, to a degree, like Covet or Jizue). New Japanese act 終末回路,<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/#fn-214280-6" rel="nofollow noopener" target="_blank">6</a> however, chooses to imbue their nimble and tricky instrumental center with the searing emotion and urgency of a noisy post-hardcore, with searing vocal inclusions adding a gravitas to passages that would otherwise threaten to flutter away in glee (“誤殖,” “知らねぇよ”). On one end, 終末回路 delivers a bright playfulness that swings with the pedal power and psychedelia of a young Tera Melos. Yet, weighted with a punk urgency and rawer Japanese assembly of tones, which give a physical clang to tight kit heads and blazing squeal to shrill loops and feedback, 終末回路 finds a constant momentum in their shorter form excursion that makes my lack of understanding of its introspective lyrics a non-issue. Packing plaintive piano melodies (“ご自由に “), speaker blowing synth cranking (“dgdf++be”), and prog-tinged guitar flutters (“知らねぇよ”) into one listening session isn’t easy, but with this debut outing of 終端から引き剥がす,<a href="https://www.angrymetalguy.com/stuck-in-the-filter-february-2025s-angry-misses/#fn-214280-7" rel="nofollow noopener" target="_blank">7</a> 終末回路 makes it seem as if they’ve been honing the craft for years. Saunders’ Salacious Skeeves<a href="https://www.facebook.com/mouthsweden/" rel="nofollow noopener" target="_blank"> Möuth</a><a href="https://www.facebook.com/mouthsweden/" rel="nofollow noopener" target="_blank"></a> // Gobal Warning [February 14th, 2025 – <a href="https://mouthsweden.bandcamp.com/album/global-warning" rel="nofollow noopener" target="_blank">Self Release</a>)Veteran rockers The Hellacopters returned with a typically rollicking, fun album in February. Elsewhere, dropping with little fanfare, fellow Swedes and unsung power trio Möuth emerged with an intriguing debut rock platter, entitled Global Warning. Featuring more than meets the eye and flashing a dynamic rock sound, Möuth embrace both retro and modern influences, whipped into an infectious concoction of styles, ranging from Sabbathian lurches, doomy grooves, stoner vibes, and elements of psych, punk and hard rock. For the most part it works a treat, creating a welcome change of pace. Fuzzy, upbeat rockers (“Dirt,” “Appetite”) snugly reside amongst moody, psych-bending numbers (“Alike,” “Mantra”), and heavier doom-laden rock, such as powerful opener “Holy Ground,” and brooding, emotive album centerpiece, “Sheep.” Vocally, the passionate, Ozzy-esque croons hit the spot, matching up well to the band’s multi-pronged rock flavors. Compact and infectious, varied in delivery and featuring enough tasty rhythms, fuzzy melodies and rock punch to satisfy, Global Warning marks an intriguing starting point for these Swedish rockers. <a href="https://www.facebook.com/ChaosInception" rel="nofollow noopener" target="_blank">Chaos Inception</a> // Vengeance Evangel [February 21st, 2025 – <a href="https://lavadome.org/" rel="nofollow noopener" target="_blank">Lavadome Productions</a>]Emerging from a deep slumber in the depths of the underground, Alabama’s long dormant death metal crew Chaos Inception returned with their first album since 2012’s The Abrogation. Third album Vengeance Evangel went under the radar, festering unclaimed in the promo sump. After the fact, the album’s crushing, controlled chaos smacked me upside the skull with a violent modern interpretation of the classic Floridian death metal sound, with the musty hues of Tucker-era <a href="https://www.angrymetalguy.com/morbid-angel-kingdoms-disdained-review/" rel="nofollow noopener" target="_blank">Morbid Angel</a> most prevalent. This is blast-riddled, relentless stuff, played expertly by the trio of Matt Barnes (guitars), Gray White (vocals) and session drummer Kevin Paradis (ex-<a href="https://www.angrymetalguy.com/benighted-ekbom-review/" rel="nofollow noopener" target="_blank">Benighted</a>). Incredibly dense, atmospheric, and blazingly fast, Vengeance Evangel is a brutal, knotty, technical hammering, punctuated by sick, wildly inventive soloing. While not traditionally catchy, Vengeance Evangel is the kind of intense, layered death metal album that gets under the skin, grafting a deeper impression across repeated listens. The insane tempo shifts, jigsaw arrangements, and wickedly deranged axework delivers big time. From the violent, intricate throes of opener “Artillery of Humwawa,” and disturbed soundscapes of “La Niebla en el Cementerio Etrusco,” through to the brutish grooves of ‘Thymos Beast,” and exotic, tech death shards of “Empire of Prevarication,” Vengeance Evangel does not neatly fit into any one subgenre category but ticks many boxes to cast a wide appeal to death fans of varied equations. Steel Druhm’s Viscous Biscuits<a href="https://erebaltor.bandcamp.com/album/h-lsingem-rker" rel="nofollow noopener" target="_blank">Ereb Altor</a> // Hälsingemörker [ February 7th, 2025 – <a href="https://www.hammerheart.com/" rel="nofollow noopener" target="_blank">Hammerheart Records</a>]Steel loves his epic metal. I was raised on the stirring odes to swordsmanship and ungovernable back hair from <a href="https://www.angrymetalguy.com/manowar-the-lord-steel-review/" rel="nofollow noopener" target="_blank">Manowar</a> and Cirth Ungol, and in time, I took a place at the great table in Wotan’s Golden Halls to appreciate the Viking metal exploits of <a href="https://www.angrymetalguy.com/yer-metal-olde-bathory-hammerheart/" rel="nofollow noopener" target="_blank">Bathory</a> and later adherents like <a href="https://www.angrymetalguy.com/falkenbach-asa-review/" rel="nofollow noopener" target="_blank">Falkenbach</a> and <a href="https://www.angrymetalguy.com/moonsorrow-jumalten-aika-review/" rel="nofollow noopener" target="_blank">Moonsorrow</a>. Sweden’s Ereb Altor got in the game late with their epic By Honour debut in 2008, boasting a very Bathory-esque sound and emotional tapestry that felt larger-than-life and stirred the loins to begird themselves. 10th album Hälsingemörker is a glorious return to those halls of heroes and bravery. This is the large-scale songcraft first heard on Bathory albums like Hammerheart and Twilight of the Gods, and it’s most welcome to these ape ears. Cuts like “Valkyrian Fate” are exactly the kind of sweeping, epic numbers the band’s excelled at over the years. It takes the core sound of Viking era Bathory and builds outward to craft bombastic and heroic compositions that feel HUUUGE. It’s the kind of metal song that embiggens the soul and makes you want to take on a marauding horde by your lonesome and usurp all their battle booty. On “Hälsingemörker,” you get a fat dose of Moonsorrow worship, and elsewhere, <a href="https://www.angrymetalguy.com/primordial-how-it-ends-review/" rel="nofollow noopener" target="_blank">Primordial</a> is strongly referenced to very good effect. Hälsingemörker is easily the best Ereb Altor album in a while and the most in line with their beloved early sound. 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href="https://www.angrymetalguy.com/tag/vultures-vengeance/" target="_blank">#VultureSVengeance</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/%e7%b5%82%e6%9c%ab%e5%9b%9e%e8%b7%af/" target="_blank">#終末回路</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/%e7%b5%82%e7%ab%af%e3%81%8b%e3%82%89%e5%bc%95%e3%81%8d%e5%89%a5%e3%81%8c%e3%81%99/" target="_blank">#終端から引き剥がす</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/felgrave-otherlike-darknesses-review/" rel="nofollow noopener" target="_blank">Felgrave – Otherlike Darknesses Review</a>By Thus SpokeWhen a promo doesn’t adequately prepare you for what an album will sound like, one of two things is usually the case. Either the promo is poorly written, or the music is particularly description-defying. The promo for Felgrave’s sophomore, Otherlike Darknesses, while well-written, was insufficient to convey the music’s especially idiosyncratic nature. Despite the forewarnings that it “[melds] doom, black, and death metal in a way rarely done before,”<a href="https://www.angrymetalguy.com/felgrave-otherlike-darknesses-review/#fn-215460-1" rel="nofollow noopener" target="_blank">1</a> and contains “intense and complex parts that wouldn’t be out of place on a technical death metal album,” Otherlike Darknesses is far stranger and deeper than expected.In a fashion mimicking the genre of Felgrave’s early work—doom—Otherlike Darknesses consists of just three songs, each titanic in scope. But rather than steadily constructing towers of hefty riffs and crescendoing melodies, these songs erratically climb up and down the steep walls of already ruined castles, throwing the listener off the edge of a parapet to crash to earth or float down with chilling grace. Without abandoning compositional coherence, themes are not so much reprises as tethers that bind chaos into monstrous complex wholes. The twisted dissonance of guitars—accelerating and contorting discomfortingly, chirruping like alarms (“Winds Batter My Keep”), and walking in jerky rhythms—over a backdrop of variously whooshing and moaning synths (“Pale Flowers Under an Empty Sky”) is both confrontational and horribly transfixing. It’s a sound so vibrantly reminiscent of Thantifaxath, that I felt the need to confirm multiple times that no affiliation exists between them and Felgrave. But this similarity is only one side of Otherlike Darknesses. In a way that seems to amplify distress, Felgrave incorporate ample use of cleans and disquieting calm. While the latter heightens tension insidiously, the former do so overtly, as belted-out, half-sung wails, often multi-tracked until they are noisier than the instrumentation, or eerily intoned as a softly repeated refrain (“Pale Flowers…”). And yet, amidst the horror, there is also strange elegance and heart.Otherlike Darknesses is an intense listening experience. The moaning, discordant cries and throaty screams that narrate it respectively ring with haunting strangeness, and drip with malevolence. The endlessly shifting, slowing down, speeding up, lurching cacophony of tremolos and plucks and impossibly fast and flexible drums contains barely a few minutes of (relative) calm in all its near-50, and even these are menacing thanks to the cruel shifts between harmony and dissonance (“Pale Flowers…,” “Otherlike Darknesses”), and the spiderlike wanderings of fretless bass prominent against stripped-back ambience (“Winds Batter…”). It is nauseating and jaw-droppingly brilliant. Felgrave aren’t throwing things haphazardly at the wall to show off or shock; the pieces that appear scattered fit together into grand, compelling compositions, no matter how unconventional. It’s impressive and terrifying, given the wild places they go, just how easily and how organically Felgrave maintain such coherence. How a diabolical chaos can hide the subtle theme that hums in a later synth and manifests again as gut-clenching a series of chords (“Winds Batter…” “Otherlike Darknesses”); how a stillness can turn so quickly into a storm and singing fall into place so naturally beside them both (“Pale Flowers…). When at last, a mournful melody blossoms (“Otherlike Darknesses”) its brevity and natural fulfilment of its origins make it precious and magnificent. The acrobatic, terrifying things M.L Jupe is doing with guitars, and the profound distinction and interplay between the synths, creeping bass, and manic treble is frightening and wonderful, and never feel self-indulgent. The drumming—courtesy of Robin Stone (Evilyn, Norse)— is as insanely good as it is insane; often inhumanly fast, presciently dynamic, and in constant evolution.In spite of my awe, it would be remiss not to admit that Otherlike Darknesses is still a bit much.<a href="https://www.angrymetalguy.com/felgrave-otherlike-darknesses-review/#fn-215460-2" rel="nofollow noopener" target="_blank">2</a> Due to its structure, one must endure its itinerant movements without even the brief respite that comes from such music being split into more, shorter songs, and this can prove a little exhausting, considering their calibre. Felgrave’s clever weaving of disparate elements create just enough order to maintain integrity, and slips into snatches of quiet and melody just in time, and so manages to keep the derangement from becoming overwhelming. The congruence that this album possesses is, admittedly, of the sort grasped better through patience and repeated listens, but unlike many such unusual extreme metal works, its assets are so immediately transparent they make for powerful motivators to take up this mantle.Otherlike Darknesses proved to be the best kind of surprise. Though following its trajectory can be daunting, Felgrave has created an experience that is consuming and thrilling enough to make that journey far easier than one might expect. Twisted and scary, but human and graceful, and nonchalantly epic, it’s not something I’ll soon forget. Rating: Very Good DR: 8 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="https://felgrave-label.bandcamp.com/album/otherlike-darknesses" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/felgrave.doom" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: April 25th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-black-metal/" target="_blank">#DissonantBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/evilyn/" target="_blank">#Evilyn</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/experimental-metal/" target="_blank">#ExperimentalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/felgrave/" target="_blank">#Felgrave</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mar25/" target="_blank">#Mar25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/norse/" target="_blank">#Norse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/norwegian-metal/" target="_blank">#NorwegianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/otherlike-darknesses/" target="_blank">#OtherlikeDarknesses</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thantifaxath/" target="_blank">#Thantifaxath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/crypts-of-despair-we-belong-in-the-grave-review/" rel="nofollow noopener" target="_blank">Crypts of Despair – We Belong in the Grave Review</a>By KenstrosityWhen Lithuanian death metal outfit Crypts of Despair dropped <a href="https://www.angrymetalguy.com/crypts-of-despair-all-light-swallowed-review/" rel="nofollow noopener" target="_blank">All Light Swallowed</a> back in 2021, I was impressed with their destructive riffs, dynamic songwriting, and oppressive tone. The record boasted a never-ending assault of killer passages and memorable atmosphere that, in time, only grew in depth. Unsurprisingly, I felt great excitement at the prospect of a new Crypts of Despair when Transcending Obscurity announced third LP We Belong in the Grave late last year. By that same coin, you can imagine my utter disappointment at what arose from this crypt.What was once easily categorized as a brutal take on the blackened death metal blueprint now lies in ashes. Today, Crypts of Despair plays a thankfully still brutal take on deathcore. So stark is the difference that at first, I was certain I had mixed up my bands when I picked this up. I was shocked to learn I had not. How this happened, I am uncertain, as only their second guitarist changed between 2021 and 2025. Nonetheless, the ripping tremolos and buttery-smooth songwriting of All Light Swallowed are a thing of the past. In its place, chugging ruts, Deathcore Standard Eerie Background Melodies (DSEBM for short), monotonous guttural roars backed by stereotypical scathing rasps, and what sounds to these ears like a total lack of songwriting identity. I could easily pick Crypts of Despair out of a lineup four years ago. Now, I doubt my ability to discern. At least the pools of skronky death and core from which they pull are decent company—I hear notes of early <a href="https://www.angrymetalguy.com/nightmarer-cacophony-of-terror-review/" rel="nofollow noopener" target="_blank">Nightmarer</a>, <a href="https://angelmaker.bandcamp.com/album/angelmaker" rel="nofollow noopener" target="_blank">AngelMaker</a>, and <a href="https://www.angrymetalguy.com/fit-autopsy-great-collapse-review/" rel="nofollow noopener" target="_blank">Fit for an Autopsy</a> peppering We Belong in the Grave. Nonetheless, the stylistic whiplash proved a monumental obstacle to my enjoyment of this new record, an obstacle that vexes me even as I write this piece.First the positives: Crypts of Despair are still well versed in the way of The Riff™. Early standouts “Terminal Dais” and “Expulsion to Purgatory” offer massively headbangable motifs that are guaranteed to crush the strongest of bone into dust. Back-half heroes “Undisillusioned” and “Precipitous” muster a stompy groove the likes of which threaten the structural integrity of any concert floor, certain to incur considerable repair expenses to any venue. Blackened touches and intimidating background atmosphere still exist in an effort to invoke Crypts of Despair’s apocalyptic character, giving otherwise boilerplate tracks “Obliteration of the Impure” and “Seizures” much-needed flavor. Many such elements are similar on the surface to what Crypts of Despair implemented in the past, but are applied a bit differently now. That’s not a bad thing, as it showcases Crypts of Despair’s willingness to experiment with their sound and grow accustomed to unexplored sonic territory.The unfortunate piece of that journey here is the total lack of songwriting that came along for the ride. Even decent tracks like “Seizures” struggle to impress upon the listener a sense of story, character development, or substance. Opener “We Belong in the Grave” constitutes a dire misfire, feeling every bit as fluffy and forgettable as your average throwaway instrumental intro, and yet it is a fully equipped “song.” The problem is that it lacks any sort of distinguishing characteristics or movement to earn it the moniker. The same critique can be extended to the closing duo “Gaze of the Adversary” and “Burial of the World.” Neither exhibits any evidence of a fully fleshed-out idea, instead spinning their wheels deeper and deeper into the mucky byproduct of wasted time. The production reflects this lack of depth as well, imposingly loud and deeply polished with flat, modern tones that feel at odds with Crypts of Despair’s mission statement up to this point.One thing that remains untouched: Crypts of Despair are as livid as ever at humanity writ large. And they are right to be, for any number of reasons! That said, nothing much else remains intact after this updated set of sonic, visual, and engineering aesthetics bulldozed what was once a powerful, distinct, and compelling identity. We Belong in the Grave represents a band trying something different and making a real effort to make an unfamiliar style work in their image. It also represents a band failing to back that new sound up with the same elevated songwriting that made All Light Swallowed a triumph. For those who enjoy the chugging breakdowns and mid-paced monotony of cookie-cutter deathcore, this might be a step up from what populates that rotation. Otherwise, if you are familiar with Crypts of Despair, prepare to despair. This adjustment is going to hurt. Rating: Disappointing DR: 5 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="http://cryptsofdespair.bandcamp.com" rel="nofollow noopener" target="_blank">cryptsofdespair.bandcamp.com</a> | <a href="http://facebook.com/cryptsofdespair" rel="nofollow noopener" target="_blank">facebook.com/cryptsofdespair</a> Releases Worldwide: April 18th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/20/" target="_blank">#20</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/angelmaker/" target="_blank">#AngelMaker</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apr25/" target="_blank">#Apr25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crypts-of-despair/" target="_blank">#CryptsOfDespair</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fit-for-an-autopsy/" target="_blank">#FitForAnAutopsy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lithuanian-metal/" target="_blank">#LithuanianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nightmarer/" target="_blank">#Nightmarer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/we-belong-in-the-grave/" target="_blank">#WeBelongInTheGrave</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/shrine-of-denial-i-moloch-review/" rel="nofollow noopener" target="_blank">Shrine of Denial – I, Moloch Review</a>By Thus SpokeI’m starting to think there might be something in the water over in Turkey. Not two full years after Serpent of Old and their phenomenal debut Ensemble Under the Dark Sun blew my tiny mind, Shrine of Denial threaten to do the same. Sharing a home country and a label and implying a similar sound to Serpent of Old in their one-sheet, it was easy to go in expecting a carbon-copy of the former. While certain quirks suggest the idea of a native style, Shrine of Denial have more than enough personality of their own, forming I, Moloch with blackened death metal channeled through a sound that feels as old and trve as it does fresh and unique.I, Moloch is gritty, fast, and technical. Punchily-delivered vocals and fast, off-beat tempos that almost recall The Black Dahlia Murder, meet with menacing riffwork that mimics a faster Morbid Angel, and is most closely akin to last years’ Keres, and throaty growls barked or roared, often in unison. Lurking about the compositions are tones and some pretensions to atmospheric dissonance that sound—yes—a bit like Serpent of Old (“Climbing Through Nothingness,” “The Mesmer”). But Shrine of Denial eschew eerie ambiguity in favour of straightforward meanness, delivering their discordant harmonies through spidery fretwork and the occasional twisting, piercing line. The low-DR, new-school-old-school production that wraps guitar solos in delicious echo, pushes the percussion to the front and into the golden zone of satisfyingly crisp crashy-bangyness, and emphasises the roughness of the vocals is the perfect packaging. This sounds bloody fantastic.Shrine of Denial excel at elevating the elements of their music in a way that injects new vitality and intrigue into old styles, but doesn’t denigrate their unvarnished heaviness. There is much that feels vaguely familiar on I, Moloch, but it is reinterpreted and reinvigorated through impressive performances and idiosyncratic habits that give Shrine of Denial instant individuality. Guitar lines threading through compositions are immediate and hooky (“Oneiros,” “Headless Idol”), but subtly they spin a more complex web that gives the songs depth, and take you almost by surprise as thematic reprise bursts into a thrilling solo (“I, Moloch,” “Pillars of Ice”). The drumwork is far more complex than it needed to be, but the effort pays off in spades, with the compositions becoming exhilaratingly energetic; my jaw was frequently on the floor in appreciation of the flicky precision and kicky fills (especially “A Sanctuary In The Depths Of The Realms,” “Pillars of Ice,” and “Oneiros”). Further, the way Shrine of Denial use syncopation between percussion, vocal delivery, and on-off riff patterns gives them that much more impact, where otherwise they might have shrunken under their technicality (“I, Moloch,” “Temple of the Corpse Misuser”). What few truly melodious passages there are shine when they do appear in the aforementioned solos, or in the hints of grace to certain quite OSDM-sounding refrains; the beauty of their high, cavernous resonance makes it that much more heartbreaking that they are so rare.There is precious little wastage on I, Moloch. With a runtime this swift, but songs this compelling, it’s clear that Shrine of Denial are smart songwriters, knowing that to win over their listener, it’s better to leave them a little hungry. These 31 minutes are bursting with slick, thrilling, downright gnarly musicianship, and a presence that belies this brevity. Everything exudes a fresh and snappy approach to disso-death, and blackened death, and whatever subgenres they incorporate, that makes them more approachable, but keeps just enough conventionality, and more than enough brutality and technicality, to satisfy. The main problems, therefore, with I, Moloch are: a) I would like more, and b) I would like them to let their extreme tendencies play out a little further; that is to say—there aren’t any real problems. In seriousness, I, Moloch’s abbreviation and slight camouflage of seeming more straightforward than it is does let Shrine of Denial down a tad; but it’s early days, and I’m more than happy to wait for them to really let loose.Really, I, Moloch does everything you could ask it to. It’s punchy and slick, with clear signs of powerful promise waiting to be capitalised upon once Shrine of Denial fully lock in. It’s a bite-sized helping of top-shelf blackened death that gets me very excited for the band’s future career, and it’s another impressive debut to come from a country with a growing reputation of fostering extreme metal talent. Rating: Very Good DR: 5 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity</a> Websites: <a href="https://shrineofdenial.bandcamp.com/album/i-moloch" rel="nofollow noopener" target="_blank">shrineofdenial.bandcamp</a> | <a href="https://www.facebook.com/shrineofdenial/" rel="nofollow noopener" target="_blank">facebook.com/shrineofdenial</a> Releases Worldwide: March 7th, 2025 <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackened-death-metal/" target="_blank">#BlackenedDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackened-thrash-metal/" target="_blank">#BlackenedThrashMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/i-moloch/" target="_blank">#IMoloch</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/keres/" target="_blank">#Keres</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mar25/" target="_blank">#Mar25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/morbid-angel/" target="_blank">#MorbidAngel</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/serpent-of-old/" target="_blank">#SerpentOfOld</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/shrine-of-denial/" target="_blank">#ShrineOfDenial</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-black-dahlia-murder/" target="_blank">#TheBlackDahliaMurder</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/turkish-metal/" target="_blank">#TurkishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/fleshbore-painted-paradise-review/" rel="nofollow noopener" target="_blank">Fleshbore – Painted Paradise Review</a>By KenstrosityStarting the year off strong on the album art front, Indianapolis’ technical death metal quartet Fleshbore adorn their sophomore record Painted Paradise with an idyllic landscape—courtesy of one Mark Erskine—that lives up to its title. Naturally, I was drawn to this depiction, knowing full well that those tunes which lurk just beneath may strike a darker, nastier tone altogether. Then again, extreme metal can be a fickle beast, and the promo sump even more so. That leaves me no choice but to dive right in like Mary Poppins into a chalk mural in the asphalt. And away we go!If, like me, you play the game of “guess the sound by the artwork,” you might expect Fleshbore to align with technical death legends <a href="https://www.angrymetalguy.com/fallujah-empyrean-review/" rel="nofollow noopener" target="_blank">Fallujah</a>. Guess again, hotshot. There’s nothing remotely atmospheric about Fleshbore’s approach. Instead, both 2021’s Embers Gathering and this year’s upcoming Painted Paradise trudge the serrated, blood-soaked trenches scoured by now-defunct touchstones Necrophagist and Spawn of Possession. Modernized with a subtle melodic bent and machine gun bars reminiscent of <a href="https://www.angrymetalguy.com/archspire-bleed-the-future-review/" rel="nofollow noopener" target="_blank">Archspire</a>, and paired with a spewing vocal tone shared with acts like <a href="https://www.angrymetalguy.com/aethereus-leiden-review/" rel="nofollow noopener" target="_blank">Aethereus</a>, Fleshbore offer a sound that is at once deeply familiar to fans of the style and just barely distinct enough to start pulling away from the standard tech-death conglomerate.When Painted Paradise hits hardest, it punches far above its weight class. Starting strong with opener “Setting Sun,” Fleshbore make an impressive first impression with crushing, high-tech riffing, and shredding lead work. The Spawn of Possession influence is strong here, but Fleshbore’s particular application of melody effortlessly straddles the boundary from their uncompromising inspirations and something altogether bouncier and more playful. Re-upping its riff payload with mid-album highlights “Inadequate” and “The Ancient Knowledge,” and signing off on another one-two detonation between “Painted Paradise” and “Laplace’s Game,” Painted Paradise’s back half maintains a relentless momentum that pulls more of that darkness which brought definition to Fleshbore’s relative levity at the start back to the fore. In this way, Fleshbore integrated much-appreciated dynamics from a wider perspective than on a simple song-by-song basis. Consequently, Painted Paradise makes for a deeply engaging, cohesive experience when given intent focus.On the other hand, some of Fleshbore’s ambitious detailing threatens to derail that same experience. The initial source of this concern comes from the vocals. Embers Gathering offered plenty of rapid verse work that coalesced perfectly with the surrounding instrumentation. On Painted Paradise, attempts to push for an increased rate of lyrical fire result in a slight, but noticeable disconnect between the pacing of individual performances. Most clearly heard on earlier verses of “The World” and especially on the isolated, quasi-a-capella segments of “Target Fixation,” these vocal reaches cause palpable discomfort to these ears. I yearn for simpler lines that better support the songs themselves rather than requiring a vocalist to push the upper limits of their skill set. In other areas, less inspired riffing and cookie-cutter passages conspire to undermine Painted Paradise’s bid for tech-death domination. As examples, “Target Fixation” and “Wandering Twilight” offer plenty of quality portions that would easily satisfy the appetites of tech-death fans, but they lack the same impressive vivaciousness of Painted Paradise’s stronger cuts, thereby compromising listener immersion. Additionally, for those sensitive to production characteristics, Painted Paradise’s glossy finish and plastic snare tone might abrade the sensibilities of those wishing for a nastier palette to better complement Fleshbore’s vicious writing.Rating Painted Paradise posed an interesting challenge when it came time to finalize my assessment. Initially, I was so put off by the floundering, albeit admirable, attempt to match Archspire’s words-per-second speed that I couldn’t lock into the rest of the content presented. In time, that avoidant impulse subsided enough that I could appreciate the greater quality of Fleshbore’s latest work. When it comes down to it, Painted Paradise is a strong early entry into 2025’s tech death canon, sure to appeal to fans of the style and likely to attract new blood to the ranks. At the very least, it solidifies Fleshbore’s status as a band to watch. Rating: Good DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="http://fleshbore.bandcamp.com" rel="nofollow noopener" target="_blank">fleshbore.bandcamp.com</a> | <a href="http://facebook.com/fleshbore" rel="nofollow noopener" target="_blank">facebook.com/fleshbore</a> Releases Worldwide: January 24th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aethereus/" target="_blank">#Aethereus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/archspire/" target="_blank">#Archspire</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fleshbore/" target="_blank">#Fleshbore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jan25/" target="_blank">#Jan25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/necrophagist/" target="_blank">#Necrophagist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/painted-paradise/" target="_blank">#PaintedParadise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/spawn-of-possession/" target="_blank">#SpawnOfPossession</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tech-death/" target="_blank">#TechDeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: October 2024’s Angry Misses</a>By KenstrosityNever fear, the blog’s penchant for <del>deep lateness</del> punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold! Kenstrosity’s Belated Bombardments <a href="https://www.facebook.com/Cosmic-Putrefaction-331030417723505/" rel="nofollow noopener" target="_blank">Cosmic Putrefaction</a> // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – <a href="http://www.profoundlorerecords.com/" rel="nofollow noopener" target="_blank">Profound Lore Records</a>]I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.<a href="https://www.facebook.com/feralswe/" rel="nofollow noopener" target="_blank">Feral</a> // To Usurp the Thrones [October 18th, 2024 – <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a>]Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where <a href="https://www.angrymetalguy.com/feral-flesh-of-funerals-eternal-review/" rel="nofollow noopener" target="_blank">Flesh for Funerals Eternal</a> impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s <a href="https://www.angrymetalguy.com/helslave-from-the-sulphur-depths-review/" rel="nofollow noopener" target="_blank">From the Sulphur Depths</a> conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!<a href="https://www.facebook.com/sunworshipband" rel="nofollow noopener" target="_blank">Sun Worship</a> // Upon the Hills of Divination [October 31st, 2024 – <a href="https://vendettarecs.wordpress.com/" rel="nofollow noopener" target="_blank">Vendetta Records</a>]Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, <a href="https://www.angrymetalguy.com/sun-worship-emanations-of-desolation-things-you-might-have-missed-2019/" rel="nofollow noopener" target="_blank">Emanations of Desolation</a>. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of <a href="https://www.angrymetalguy.com/hulder-verses-in-oath-review/" rel="nofollow noopener" target="_blank">Hulder</a>, <a href="https://www.angrymetalguy.com/gaerea-coma-review/" rel="nofollow noopener" target="_blank">Gaerea</a>, and <a href="https://www.angrymetalguy.com/vorga-beyond-the-palest-star-review/" rel="nofollow noopener" target="_blank">Vorga</a> melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment. Dolphin Whisperer’s Duty Free Rifftrocity<a href="https://www.facebook.com/extortednz/" rel="nofollow noopener" target="_blank">Extorted</a> // <a href="https://extorted.bandcamp.com/album/cognitive-dissonance" rel="nofollow noopener" target="_blank">Cognitive Dissonance</a> [October 16th, 2024 – Self Release]You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (<a href="https://www.angrymetalguy.com/asphyx-necroceros-review/" rel="nofollow noopener" target="_blank">Asphyx</a>, ex-<a href="https://www.angrymetalguy.com/pestilence-exitivm-review/" rel="nofollow noopener" target="_blank">Pestilence</a>) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.<a href="https://brii.bandcamp.com/" rel="nofollow noopener" target="_blank">Bríi</a> // Camaradagem Póstuma [October 11th, 2024 – Self Release] With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the <a href="https://www.angrymetalguy.com/bong-ra-meditations-review/" rel="nofollow noopener" target="_blank">Bong-Ra</a> of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or <a href="https://www.angrymetalguy.com/yer-prog-is-olde-king-crimson-in-the-court-of-the-crimson-king/" rel="nofollow noopener" target="_blank">King Crimson</a> colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic <a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-wist-strange-balance/" rel="nofollow noopener" target="_blank">Wist album</a> from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi. Thus Spoke’s Rotten Remnants<a href="http://www.facebook.com/livloesband" rel="nofollow noopener" target="_blank">Livløs</a> // The Crescent King [October 4th, 2024 – Noctum Productions]Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to <a href="https://www.angrymetalguy.com/hath-all-that-was-promised-review/" rel="nofollow noopener" target="_blank">Hath</a>, to <a href="https://www.angrymetalguy.com/cognizance-malignant-dominion-review/" rel="nofollow noopener" target="_blank">Cognizance</a>, and to <a href="https://www.angrymetalguy.com/in-mourning-the-bleeding-veil-review/" rel="nofollow noopener" target="_blank">In Mourning</a>. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.<a href="https://www.facebook.com/sordideband" rel="nofollow noopener" target="_blank">Sordide</a> // Ainsi finit le jour [October 25th, 2024 – <a href="https://lesacteursdelombre.net/" rel="nofollow noopener" target="_blank">Les Acteurs de l’Ombre Productions</a>]And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, <a href="https://sordide.bandcamp.com/album/les-id-es-blanches-2" rel="nofollow noopener" target="_blank">melty art.</a><a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/#fn-207332-1" rel="nofollow noopener" target="_blank">1</a> Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten. Dear Hollow’s Droll Hashals <a href="https://www.facebook.com/annihilistmetal/" rel="nofollow noopener" target="_blank">Annihilist </a>// Reform [October 18th, 2024 – Self Release]What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or <a href="https://www.angrymetalguy.com/the-human-abstract-digital-veil-review/" rel="nofollow noopener" target="_blank">The Human Abstract</a> in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of <a href="https://www.angrymetalguy.com/lamb-of-god-lamb-of-god-review/" rel="nofollow noopener" target="_blank">Lamb of God</a>, early <a href="https://www.angrymetalguy.com/architects-the-here-and-now-review/" rel="nofollow noopener" target="_blank">Architects</a>, Born of Osiris, and <a href="https://www.angrymetalguy.com/children-of-bodom-hexed-review/" rel="nofollow noopener" target="_blank">Children of Bodom </a>are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will. Under Alekhines Gun<a href="https://www.facebook.com/TheurgyBDM/" rel="nofollow noopener" target="_blank">Theurgy</a> // Emanations of Unconscious Luminescence [October 17th, 2024 – <a href="https://newstandardelite.bandcamp.com/" rel="nofollow noopener" target="_blank">New Standard Elite</a>]In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era <a href="https://www.angrymetalguy.com/rings-saturn-lugal-ki-en-review/" rel="nofollow noopener" target="_blank">Rings of Saturn</a>, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of <a href="https://www.angrymetalguy.com/devourment-obscene-majesty-review/" rel="nofollow noopener" target="_blank">Devourment</a>‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (<a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">In </a><a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">Flames</a>), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about. GardensTale’s Great Glacier<a href="https://www.facebook.com/GhostsofGlaciers/" rel="nofollow noopener" target="_blank">Ghosts of Glaciers</a> // Eternal [October 25th, 2024 – <a href="https://translationloss.com/" rel="nofollow noopener" target="_blank">Translation Loss Records</a>]Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since <a href="https://www.angrymetalguy.com/ghosts-of-glaciers-the-greatest-burden-review/" rel="nofollow noopener" target="_blank">my review</a> in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. 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Angry Metal Guy<a href="https://www.angrymetalguy.com/hierarchies-hierarchies-review/" rel="nofollow noopener" target="_blank">Hierarchies – Hierarchies Review</a>By Thus SpokeUltra-dissonance is so hot right now.<a href="https://www.angrymetalguy.com/hierarchies-hierarchies-review/#fn-209103-1" rel="nofollow noopener" target="_blank">1</a> Yes, dissonance itself has been a thing for a long time in metal, and in music generally for far longer, but ever since artists picked up what Gorguts threw down and ran with it, this adjective has become associated with ever-increasingly twisted and abrasive soundscapes, the dial of ‘extremity’ moving further and further. The last few years in particular have seen an acceleration of this trend as an explosion of acts offer their take. Enter Hierarchies—formed of members from Acausal Intrusion and Dwelling Below<a href="https://www.angrymetalguy.com/hierarchies-hierarchies-review/#fn-209103-2" rel="nofollow noopener" target="_blank">2</a>—who on their self-titled debut, serve up some more wonky, ugly, technical death metal fun for your listening pleasure (or pain).If you’ve heard Acausal Intrusion, or any of the artists’ other death metal projects, then you’re some way towards knowing what Hierarchies sounds like. But aside from this, the other most immediate impression I got was the similarity to two acts not associated with Hierarchies’ members: namely, Ad Nauseam and Pyrrhon. Hierarchies is sophisticated in its technicality, but naïve in its sprawling, ugly execution. Chaotic and abrasive, it is replete with jangling percussion and stomach-turning riffs, with squealing chords spliced in, and narrated by gurgling, inhuman roars. The soundscapes substitute suffocation with that uncomfortable spaciousness that makes the wild and twisting (“Consecrate Phenomenon,” “Complexity Parallels”) or uneven and creeping (“Twilight Tradition,” “Subtraction”) disharmonies stand out more obviously. It is neither grand nor groovy, but grotesque, complex in a way that wards off rather than entices easy enjoyment. That’s not pejorative, because, in this genre, you work for your enjoyment and sometimes you just witness the weirdness and grin.Hierarchies are not easy to paint with one broad stroke. At times, there are glimpses of a more ‘accessible’<a href="https://www.angrymetalguy.com/hierarchies-hierarchies-review/#fn-209103-3" rel="nofollow noopener" target="_blank">3</a> strain of (blackened) death metal à la Gigan or Immolation (“Entity,” “Vultures”). The fact that this opens the album exemplifies one way in which Hierarchies ambushes its listener. Other ambushes would be the flirtations with the (almost) atmospheric by way of quiet, pensive strums (“Twilight Tradition,” “Abstract,” “Vultures”) and genuine slips into swooping melody, though they are caught just before they become anything resembling a refrain (“Dimension,” “Abstract”). Hierarchies play very fast and loose with structure, shifting nonchalantly between tempos, riff patterns, structure, and vibe. It is more or less impossible to tell where a song is going to go, and as Hierarchies, broadly speaking, gets more chaotic and unhinged as it goes on, the album thus walks on the knife edge between exhilarating and exhausting. A gnarly bit of guitar might come skittering down out of nowhere (“Dimension,” “Complexity Parallels,” “Subtraction”), and it might even be sort of beautiful. There might even be the thrill of a repeated pattern, before things get weird again (“Abstract”). The very turmoil and technicality of the music on display is quite arresting, often making up for any lack of structure or harmony (“Twilight Tradition,” “Complexity Parallels,” “Vultures”). Yet, as an entity formed of such compositions, flitting wildly between its elements, Hierarchies overall feels a little fickle and a little too restless, as though someone had their finger on the fast-forward button in a whirlwind tour of disso-death.Hierarchies is helped and hindered by that spacious production hinted at above. Every jarring, smooth, quiet, and furious note, roar, and beat has a clear voice in the fracas. It makes the impressive technicality and scope of these pieces easier to appreciate than if things were denser, but it also amplifies their intensity, as one can’t help but absorb every tiny detail that encompasses every sudden and swooping switch. This is a multi-layered album that unveils progressively more of its intricacies with each listen, and this in itself is a feat. Yet Hierarchies design things neither for mind-boggling scope, nor for intoxicating frenzy, and the result is a behemoth of undeniable prowess whose vacillation makes it hard to keep in step with.For all its trials and triumphs, Hierarchies remains a very solid slab of ‘ultra-dissonant’ death metal. Given its members’ experience, it’s no real surprise it’s as strong as it is. But in this era, where smart, mind-bending, and savage interpretations of this extreme genre abound, Hierarchies have not done quite enough to elevate theirs above the norm. If you can’t get enough of this stuff, Hierarchies will serve you well; I’m not about to pretend I didn’t have fun with it. Its stamp on the scene, however, will likely be fairly short-lived for all but the most ardent of fans. Rating: Good DR: 8 | Format Reviewed: 320kbps mp3 Label: T<a href="https://tometal.com/" rel="nofollow noopener" target="_blank">ranscending Obscurity</a> Websites: <a href="https://hierarchiesdm.bandcamp.com/album/hierarchies" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/people/Hierarchies-death-metal/61564013775330/" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: January 17th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/acausal-intrusion/" target="_blank">#AcausalIntrusion</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ad-nauseam/" target="_blank">#AdNauseam</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dwelling-below/" target="_blank">#DwellingBelow</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hierarchies/" target="_blank">#Hierarchies</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jan25/" target="_blank">#Jan25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pyrrhon/" target="_blank">#Pyrrhon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/misanthropy-the-ever-crushing-weight-of-stagnance-review/" rel="nofollow noopener" target="_blank">Misanthropy – The Ever-Crushing Weight of Stagnance Review</a>By KenstrosityApparently, Chicago progressive tech death quartet Misanthropy used to play thrash metal. Once I learned of this shift, it felt like I could suddenly hear a thrashy thread running through their newest release, The Ever-Crushing Weight of Stagnance. Having no prior experience with Misanthropy’s back catalog, I walked into their third record with an open mind, ready and willing to be probed by the wild and the wacky. Sometimes, unexpected changes make for unexpected pleasures.You’d be forgiven for mistakenly clocking Misanthropy as boilerplate tech death based solely on outward appearances. You’d nonetheless be incorrect. For the longest time, I struggled to nail down exactly what amalgamation of sounds and styles Misanthropy represented. But then I started writing this piece and it hit me. Imagine a dirtier Augury fed through an Atrae Bilis filter and finished with a proggy Atvm glaze, and you have a roughly accurate blueprint of what to expect from current Misanthropy. Twisting, gnarled compositions, motivated by Paul’s multifaceted kitwork, mesh and morph against guitarists Kevin’s and Jose Valles’ unending cavalcade of mind-shredding riffs. Mark’s burbling bass and vicious vox form both the throbbing underbelly and the piercing voice of the record, propelling The Ever-Crushing Weight of Stagnance through its forty-five-minute tale with gusto and gravity. In totality, The Ever-Crushing Weight of Stagnance represents a fierce and furious affair. Yet, countless stops and swaps between blistering grooves, manic freakouts, mind-melting churns, and ground-shaking stomps leave me mostly rapt throughout.Highlighting standout moments on The Ever-Crushing Weight of Stagnance proves a challenge, as Misanthropy penned so many killer passages into these seven songs that it’s hard to pick favorites. Even so, massive pit-opening grooves and slithering riffs elevate thrashier songs like “The All-Devouring” to the top of the pile. An eerie, waltzing dalliance with jazz rhythms allows opener “Of Sulking and the Wrathful” to shine in its back half as well, showcasing Misanthropy’s knack for oddball transitions that work deceivingly well in the context of their chosen style. At first I struggled to appreciate “Condemned to a Nameless Tomb” and “Descent” for their unorthodox combination of Veilburner stream-of-consciousness writing and Artificial Brain shimmer, but with time I grew to appreciate their place in the lineup as the next-door-neighbor monstrosities that they are. Unafraid to get down and dirty, “Sepulcher” offers just the right amount of funky Alkaloid intelligence to offset filthy Incantation tones and harmonized riffing, expertly juggling straightforward and slimy with weird and wretched.Impressive though it is that Misanthropy managed to cover so much stylistic ground without sullying their unique new character, The Ever-Crushing Weight of Stagnance remains a touch disjointed as a whole. Tonally, Misanthropy play fearlessly with rough-hewn textures inside a more clinical environment, but there are moments of mild uncanny valley associated with that experiment, as certain elements of Misanthropy’s flexible sound clash rather than coalesce (“A Cure for the Pestilence”). Misanthropy’s willingness and ability to throw everything but the kitchen sink at their compositions without totally destabilizing everything deserves great respect, but it sometimes comes at the cost of fluidity and cohesion (“Consumed by the Abyss”). This, therefore, makes certain sections of The Ever-Crushing Weight of Stagnance somewhat difficult to listen to casually, as I often lose details or miss quality segments when not listening intently. Additionally, the occasional abrupt switch between unexpected change-ups make already lengthy tracks (most soar past the six minute mark) feel even lengthier.Thankfully, listening intently is quite literally my job here, and I spend lots of time with my charges. Consequently, I can assure you that The Ever-Crushing Weight of Stagnance represents yet another killer in Transcending Obscurity’s lineup of crazy beasts. It may not be everyone’s favorite creature, but if you aren’t careful, it’s liable to sink its teeth into your flesh and rend it from the bone regardless. Some, if not most, of you would probably love that, I’m sure. If so, Misanthropy’s third unleashment is a fine selection for your sick kicks. Rating: Very Good DR: 5 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="http://misanthropychicago.bandcamp.com" rel="nofollow noopener" target="_blank">misanthropychicago.bandcamp.com</a> | <a href="http://facebook.com/MisanthropyChicago" rel="nofollow noopener" target="_blank">facebook.com/MisanthropyChicago</a> Releases Worldwide: December 13th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alkaloid/" target="_blank">#Alkaloid</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/artificial-brain/" target="_blank">#ArtificialBrain</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atrae-bilis/" target="_blank">#AtraeBilis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atvm/" target="_blank">#Atvm</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/augury/" target="_blank">#Augury</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dec24/" target="_blank">#Dec24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/incantation/" target="_blank">#Incantation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/misanthropy/" target="_blank">#Misanthropy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-death-metal/" target="_blank">#ProgressiveDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-metal/" target="_blank">#ProgressiveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-ever-crushing-weight-of-stagnance/" target="_blank">#TheEverCrushingWeightOfStagnance</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/veilburner/" target="_blank">#Veilburner</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/pillar-of-light-caldera-review/" rel="nofollow noopener" target="_blank">Pillar of Light – Caldera Review</a>By Thus SpokeA Caldera is a hollow resulting from the collapse of a volcano’s magma chamber, normally after an eruption. This lasting effect of catastrophe, in the form of a deep depression, describes a mental state as much as it does a geological phenomenon. Pillar of Light—who dedicate their debut Caldera to late friend Steven Jon Muczynski (Hollow Earth/Tharsis They)—channel this state in an unflinching exploration of mortality and misery. Through a crushing brand of sludgy doom, Pillar of Light rain bitter feelings and agonized resignation in a shower of pathos as massive and confrontational as that haunting, incandescent door.It can be paradoxically enjoyable to indulge in one’s gloominess, and Caldera takes this right to the brink of real despair. With Aaron Whitfield screaming pure sadness and spite over the deceptively simple interplay of Scott Christie, Alex Kennedy, and James Obenour’s resonant riffs and crushing chords, to the pulse of Eric Scobie’s thump and crash, Pillar of Light ensures that every note, beat, and breath hits you firmly and squarely in the chest. The presence of reverberant guitar in a dense production is weighty enough, trudging bleakly along to sluggardly sludge, But it grants a solidity also to the mournful refrains that spill down out of an opening in the grey cloud in delicate atmospheric drops, or a downpour of rich tremolo. In their violence, and patient creep towards devastating, destructive outpourings, Pillar of Light frequently reminds me of Amenra—almost too much at times, though such a comparison is only a good thing for Caldera’s effectiveness.If Caldera is designed to rip your heart out, then it succeeds. Drums and concrete guitar batter and beat you down, you crawl along the tense path of blunt near-dissonance, your breath catches in moments of atmospheric anticipation, or a shivering build, and then is knocked clean from you as you collapse in a devastatingly beautiful catharsis. If you’re me, listening alone in my flat on a dark November evening, you’re crying. If you’re not me, you might not be crying, but you’d have to have a heart of stone not to be moved by the grief (“Leaving”), the despair (“Infernal Gaze”), and the surrender (“Certain End”) that bleeds out of these massive mournful melodies. More muted harmonies bleed with apathy (“Wolf to Man,” “”Spared,” “Unseeing”) before they too succumb to pulchritudinous despair. Venomous barks and somber spoken-word become a mantra of misery as they repeat over blunt and beautiful themes alike (“Wolf to Man,” “Infernal Gaze”). Quiet should be taken gratefully, even as delicately wrought plucks precipitate further despondence (“Leaving,” “Eden,” “Unseeing”).Across its near-hour-long runtime, Caldera hardly lets up on its emotional abuse, changing only the manner in which it assaults. “Spared” and “Unseeing,” etched with screeching slides, are cold and depressive whether dwelling in ringing atmospheres or dissonant chugging. Unflinching and inexorable next to the more overtly pathetic “Leaving,” and “Infernal Gaze,” with “Unseeing”‘s battering, disharmonic conclusion setting the stage for “Certain End”‘s crippling finale. Only the aptly-titled “Eden” offers peace in its three instrumental minutes that bridge “Spared,” and “Infernal Gaze,” its hazy, perhaps overlong reprieve serving to make “Infernal Gaze” that much more devastating. If one wanted to trim anything, taking a smidge out of “Eden” could be a start, while “Unseeing” could also be pared down. In all honesty, however, Caldera doesn’t feel nearly as long as it is. Something else worthy of note is that “Certain End” hits with a particular type of nostalgic intimacy due its theme reminding me very strongly of Amenra’s “A Solitary Reign.” It took me a couple of listens to realize the reason it felt so familiar, but I wouldn’t class it as plagiarism, just strong inspiration that makes a good song better.It seems that every year, something lands right at the cusp of list season that threatens to demolish the neatly-considered line-up. Pillar of Light are guilty of this terrible timing as they single-handedly snatch my personal Best Doom of the Year title. Stunning by itself, as a debut Caldera sets a heavy precedent and stamps a deep imprint on the scene. As enduring as its namesake, Caldera is gorgeous and heartbreaking, and it won’t let me go. Rating: Great DR: 7 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity</a> Websites: <a href="https://pillaroflight.bandcamp.com/album/caldera" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/pillaroflightband" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: December 6th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amenra/" target="_blank">#Amenra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/caldera/" target="_blank">#Caldera</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dec24/" target="_blank">#Dec24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-sludge/" target="_blank">#DoomSludge</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pillar-of-light/" target="_blank">#PillarOfLight</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-metal/" target="_blank">#PostMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sludge/" target="_blank">#Sludge</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/veilburner-the-duality-of-decapitation-and-wisdom-review/" rel="nofollow noopener" target="_blank">Veilburner – The Duality of Decapitation and Wisdom Review</a>By KenstrosityAsheville, North Carolina’s motto, for the whole time I’d lived there, is “Stay Weird.” For the most part, we Ashevillians take that to heart. So, too, it seems, do Pennsylvania’s weird blackened death duo Veilburner. A studio project well regarded for their unorthodox songwriting style, Veilburner’s discography represents a masterclass on making weird and freaky music remarkably accessible without sacrificing grit or grime. The pinnacle of that exercise, Lurkers in the Capsule of Skull, saw Veilburner at their zenith, handily securing a top spot on my <a href="https://www.angrymetalguy.com/thekenwords-and-carcharodons-top-tenish-of-2021/" rel="nofollow noopener" target="_blank">Albums o’ the Year in 2021</a>. Follow-up <a href="https://www.angrymetalguy.com/veilburner-vlbrnr-review/" rel="nofollow noopener" target="_blank">VLBRNR</a> fell shy of performing the same feat, and yet it still earned high marks. Consequently, I’ve come to rely on this duo for a good time, every time. Seventh in an unbroken streak of high-caliber strangeness, The Duality of Decapitation and Wisdom perpetuates Veilburner’s stalwart reliability.No longer bound by the same thematic thread that strung A Sire to the Ghouls of Lunacy and Lurkers in the Capsule of Skull together, VLBRNR and Duality freely explore new concepts and concoctions. For Duality, Veilburner chose to expound on the mystical qualities and cultural significance of the number seven. Gimmicky? Arguably, but seven happens to be my favorite number, so I’m locked in like Monica Geller in “The One with Phoebe’s Uterus.” Seven songs. Seven minutes per song. DR score of seven. Numerous other compositional/lyrical nods to our whole number of the day. Veilburner committed, and it shows not just in their concrete cohesion of tones, textures, and themes. Duality contains an otherworldly, eerie, and distinctly ethereal character (even when compared to previous efforts); a laminar flow that allows forty-nine minutes of oddball blackened death to travel through a mere mortal’s nervous system like tea through a perfectly rendered clay kettle; and an infallible set of creative performances from Mephisto Deleterio (instruments) and Chrisom Infernium (vocals) that constitutes something just a bit different, but still unmistakably Veilburner.Duality adeptly rebalances Veilburner’s two main draws, then accentuates them with subtle, but creative, adaptations to the format they’ve perfected over the course of their career. Opener “Tem Ohp Ab in Mysticum” isn’t particularly representative of those adaptations—however, listeners need not wait long before things get twisty. Standouts like “III Visions of Hex-Shaped Hiss, Behead the Howling Spirit” and “The Duality of Decapitation and Wisdom Pt. II” showcase a newfound emphasis on the psychedelic. Using this as the basis to form kaleidoscopic, yet hellish, atmospheres, Veilburner conjure up wild and writhing synths, bendy guitar leads, and staggering percussive rhythms. In concert, these tweaked elements coalesce into twisted visages of an alien nature that are at once terrifyingly tangible and invitingly incorporeal. No doubt, Chrisom Infernium’s scathing, psychotic rasps placed atop a rhythm that only occasionally aligns with the surrounding instrumentation strengthens the sensory power of this effect. Meanwhile, Veilburner penned some of their strongest hooks and most aggressive tempos to ground the aforementioned psychedelics. “The Duality of Decapitation and Wisdom Pt. I,” and album highlights “Shadow of a Shadow” and “Woe Ye’ Who Build These Crosses… Are Those Who Will Serve Us Death,” each embody the Hyde to Duality’s Jekyll, boasting extremely memorable riffs and motifs, grotesquely shimmering solo work, and, in the latter’s case, a downright thrashy energy that recalls old school <a href="https://www.angrymetalguy.com/yer-metal-is-olde-metallica-and-justice-for-all/" rel="nofollow noopener" target="_blank">Metallica</a> if they hailed from the seventh circle of hell.It’s unfortunate that Duality’s bookends are its weakest links. While the opener and closer fit extremely well within the context of the album and serve with a purpose innumerable bands struggle to capture, they lack zest on their own. “Tem Ohp…” is by-the-numbers Veilburner fare, which is a fine standard to hold as a starting point. However, Veilburner are not known for laurel-resting, and to hear, for the first time, material that could be transplanted on any of their last three records without much conflict gives me slight pause. Closer “V.I.I.,” on the other hand, veers a touch too far into experimental territory. Psychedelic and quasi-tribal in tone, but droning in nature, this closing act lives and dies by the percussive variety provided by the immensely talented Mephisto Deleterio. This alone prevents the song from falling into a repetitive pattern of admittedly sticky hooks and intriguing choral elements. Even so, “V.I.I.” prematurely saps momentum from Duality’s final moments.These are mere quibbles, of course. Duality remains a unique, and exceedingly cool, record in the rich metallic tapestry that represents 2024. It would have to grow strongly from here—in an unrealistically short period of time—to reach the same list-topping glory as did Lurkers. Nonetheless, listeners can rest assured that Duality reinforces Veilburner’s reputation for reliability and creativity in an extremely challenging field. To those who would disagree, I say, “off with their heads!” Rating: Very Good! DR: 7 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="http://veilburner.bandcamp.com" rel="nofollow noopener" target="_blank">veilburner.bandcamp.com</a> | <a href="http://facebook.com/veilburner" rel="nofollow noopener" target="_blank">facebook.com/veilburner</a> Releases Worldwide: November 15th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/metallica/" target="_blank">#Metallica</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nov24/" target="_blank">#Nov24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-black-metal/" target="_blank">#ProgressiveBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-death-metal/" target="_blank">#ProgressiveDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-metal/" target="_blank">#ProgressiveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/psychedelic-metal/" target="_blank">#PsychedelicMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-duality-of-decapitation-and-wisdom/" target="_blank">#TheDualityOfDecapitationAndWisdom</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/veilburner/" target="_blank">#Veilburner</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/devenial-verdict-blessing-of-despair-review/" rel="nofollow noopener" target="_blank">Devenial Verdict – Blessing of Despair Review</a>By Thus SpokeThe moment the single “I Have Become the Sun” appeared on Transcending Obscurity’s 2024 label sampler, Devenial Verdict’s sophomore album Blessing of Despair became one of my most anticipated of the year. Ash Blind, 2022’s profound and uncompromisingly heavy atmospheric death metal debut, blindsided me and cruised nonchalantly into my year-end list. Tagged as ‘dissonant,’ Devenial Verdict rather occupies that ideal zone of pseudo-disso-death that warps disharmony into mournfulness and urgency, creating a <a href="https://www.angrymetalguy.com/devenial-verdict-ash-blind-review/" rel="nofollow noopener" target="_blank">“huge, sinister, and darkly beautiful”</a> sound. With Lewandowski’s “Absolute Authority” standing as a signifier, Blessing of Despair spins parables of the cursed. Its movements are the laments of doomed creation; the expression of the infinite distance between the hoped-for divine purpose, and reality.Blessing of Despair is a moody record. It maintains and further refines the atmospheres of its predecessor. Devenial Verdict swings back and forth with greater frequency (and greater ease) between temper tantrums—stomping, chuggy battering—and lethally graceful restraint. Already compelling, these swings produce a vice grip of coercive control thanks to the intense groove holding everything together. Percussion (Okko Tolvanen), strings (Sebastian Frigren and Antti Poutanen), and vocals (Riku Saressalo), jointly compose rhythms so satisfying and irresistible they almost shouldn’t be allowed in extreme music this atmospheric (particularly on “Blessing of Despair” and “Solus”). For, as my ears bear witness, it can become almost impossible to crawl out of the abyss of delicious darkness Blessing of Despair opens up.What makes Blessing of Despair so powerful is that it dials everything that makes Devenial Verdict unique up a notch, purifying and evolving an already distinctive sound. There were thunderous cascades of bass beats and throat-rending roars before, but nothing like the chest-slamming thrill that opens the album after a visceral inhale (“I Have Become the Sun”), nor the glorious devastation crashing through “Blessing of Despair,” nor the insidious aggression of “Garden of Eyes,” and “Solus.” There were flirtations with distorted, alien wails in the guitarwork, but they pale next to the undulations of “Moon-Starved;” the disquieting “wouarm”-ing of “Cold Lantern,” and the electrifying slides and squeals Devenial Verdict yank out of chord progressions hither and yon. Blessing of Despair excels at developing melody and integrating it into the soundscape. Melancholy weaves in and out (“Moon-Starved” or “The Quietus”) if it doesn’t hang like a specter in resonance (“A Curse Made Flesh”). The dragging drawls of “A Curse Made Flesh,” the suddenly sirenlike descent in “Solus,” and, especially, interlude “Shunned Wander,”<a href="https://www.angrymetalguy.com/devenial-verdict-blessing-of-despair-review/#fn-204005-1" rel="nofollow noopener" target="_blank">1</a> don’t give me chills just because they’re beautiful. Themes carried on the stream of Blessing of Despair’s grander composition, these songs flow seamlessly out of and into those surrounding them.And so it is that Blessing of Despair’s best moments are those where the idiosyncratic musicianship and calamitous heaviness combine with mournful refrains and irresistible groove. The final act of “Solus” is hands-down the best musical moment of the year so far; fusing a yearning, morose minor strain with a magnetic cadence. Aided by solemn refrains, rhythm combines with shivering atmosphere (“Blessing of Despair,” “A Curse Made Flesh”), and the addition of half-whispered growls (“The Quietus,” “Cold Lantern”) to create breathless and inexorable tides of an unresistable meter. The magnitude of such highs does—perhaps inevitably—throw a little shade upon other songs. “Counting Silence” is weaker than its brethren, extending its runtime beyond what its mysterious chords and explosive eventuality can justify. The pensive “A Curse Made Flesh” is an understated way to end the album, lacking the authority that the glorious “World Breaker” had on Ash Blind. Yet this latter ordering nitpick doesn’t detract from a song that is, in its individuality at least, brilliantly crafted. And the more I listen to it, the more I appreciate the somber introspection it lends as the final chords hum and fade away.Blessing of Despair proves that lightning can strike twice for Devenial Verdict. With a song of the year contender in its midst,<a href="https://www.angrymetalguy.com/devenial-verdict-blessing-of-despair-review/#fn-204005-2" rel="nofollow noopener" target="_blank">2</a> it’s a force to be reckoned with. Being consistently this strong is no mean feat. Anticipation rewarded with this catharsis of forward-thinking, stellar atmospheric death metal is a blessing. Rating: Great DR: 7 | Format Reviewed: 320 kb/s CBR mp3 Label: <a href="https://tometal.com/https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity</a> Websites: <a href="https://devenialverdictband.bandcamp.com/album/blessing-of-despair" rel="nofollow noopener" target="_blank">Bandcamp</a> |<a href="https://www.facebook.com/DevenialVerdict/" rel="nofollow noopener" target="_blank"> Facebook</a> Releases Worldwide: October 4th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atmospheric-death-metal/" target="_blank">#AtmosphericDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blessing-of-despair/" target="_blank">#BlessingOfDespair</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blog/" target="_blank">#Blog</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/devenial-verdict/" target="_blank">#DevenialVerdict</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/finnish-metal/" target="_blank">#FinnishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/evilyn-mondestrunken-review/" rel="nofollow noopener" target="_blank">Evilyn – Mondestrunken Review</a>By Dear HollowAt first glance, it appears that international death metal act Evilyn only has your demise and destruction in mind. Mondestrunken is uncompromisingly heavy, riffs pushed to their shimmering limits like oil from the collapsing god machine, hellish growls from beyond the stars, and drums funneled through warp speed directly into the collapsing horror of a black hole. It feels like a background of cosmic noise, lifeless, unfriendly, and directionless, but patience yields results: obelisks emerge into the view. Not that they were ever absent, but that our eyes could not behold them. Beneath the fray of entropy, the eyeless stars, and the unending weight of time, patterns emerge. Lifelessness itself resurrects. The dead shall rise again. We were never alone, and that should make us more terrified than ever.Evilyn was originally founded by Coma Cluster Void’s Jeanne Comateuse, attempting to make cosmic-themed old school death metal with a substantial hit of dissonance. With debut EP Inside Shells, the template was set: devastating death metal with shifting nebulae of tempos and time signatures alongside ruthless discordance. Evilyn’s lineup has shifted,<a href="https://www.angrymetalguy.com/evilyn-mondestrunken-review/#fn-201561-1" rel="nofollow noopener" target="_blank">1</a> its sole remaining member, guitarist/vocalist Anthony Lipari of Thoren, now including bassist Alex Weber of Malignancy and drummer Robin Stone of Norse and Ashen Horde, but the emphasis is as uncompromising as ever. First full-length Mondestrunken (German for “moon-drunk”) is as punishing as it is puzzling, a relentless bombast of death metal insanity fractured and splattered across the face of infinity.Across thirty-seven minutes, Evilyn creates an OSDM template that is splintered through the fractured light of an alien prism, the result just as chaotic and alienating as you would expect – dissonance is relentless, the tempos and rhythms are constantly shifting, and Lipari’s vocals remain in deep growl mode. Initially overwhelming in terms of utter saturation, repeated listens unearth more and more. Contrary to the dissonance-for-dissonance’s-sake screeching of Mithridatum or Scarcity, or the improvised assaults of Acausal Intrusion or Ar’lyxkq’wr, Evilyn’s palette emerges in the form of motifs. While initially an apparent clusterfuck of discordance and chugs, blastbeats, and aggressing plodding, the motif gradually reveals itself and the song suddenly makes sense – these take several forms. While the off-kilter morphogenetic riffs of “Dread,” “Limits,” “Penance,” and “Slithering” ground their respective sounds like a traditional Morbid Angel blueprint, the pinch harmonics of “Omission” and “Forgotten” are a flaying reminder of pain. “Forgotten” and “Eat the Elite” explore their riffs with careful precision, each rendition more warped and rusted than the last.The most tantalizing tracks aboard Mondestrunken are the ones with whom only a framework or structure becomes the motif, Evilyn soaring in mood and madness. The album title is most apparent in “Forgotten,” which truly feels like a cosmic drunken dissodeath passage, deepening in intricacy as it continues – its pinch harmonics nearly a misdirect to the approaching doom – while “Interwoven” lives up to its name with a dynamic structure of growing dissonance with each worming riff. “Bloviate” approaches its sound with a “traditional” proto-chorus, a midsection of contemplative open strums that add greater monolithic weight to the obliteration surrounding it. Resounding highlights are centerpieces “Penance” and “Vacuous,” their mercilessly mechanical sound achieving a hypnotic effect. The clockwork guitar plucking in the former collapses to dizzying shredding and animalistic blastbeats that rend planets, while the dissonance achieves a distinctly dying warble. The latter’s constant shifting between 6/8 and 4/4 enacts a cosmic pendulum, swaying between destruction and creation, the clarity of its cohesive conclusion feeling more punishing than the chaos surrounding it. Overall, Mondestrunken’s viciousness is palpable, the breadth organic – continuous and relentless hiss against the breath of life – each instrument organic and audible through the alien shimmering. Evilyn embraces experimentation with just a kernel of a tenet that keeps the mind secured to mortal realms.Don’t be surprised if you hate Evilyn’s brand of bombastic saturation off the bat. Its dissonance is unending, its vocals one-dimensional, and shifting passages feel like cosmic whiplash again and again. However, it’s a surefire slow burn in spite of its relentless attack, its revelations feeling like the solution of a difficult cosmic puzzle and the kernel of accessibility blooming into monolithic significance. Its audience is limited, but fans of Fractal Generator, Artificial Brain, Aseitas, and Asystole – rejoice! For those willing to ride Evilyn’s warped spiral of the abstract and maddening, Mondestrunken’s secrets are revealed with tantalizing fulfillment. Rating: 4.0/5.0 DR: 9 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="https://evilyndm.bandcamp.com/" rel="nofollow noopener" target="_blank">evilyndm.bandcamp.com</a> | <a href="https://www.facebook.com/evilyndeath/" rel="nofollow noopener" target="_blank">facebook.com/evilyndeath</a> Releases Worldwide: August 16th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/acausal-intrusion/" target="_blank">#AcausalIntrusion</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/arlyxkqwr/" target="_blank">#ArLyxkqWr</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/artificial-brain/" target="_blank">#ArtificialBrain</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aseitas/" target="_blank">#Aseitas</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ashen-horde/" target="_blank">#AshenHorde</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/asystole/" target="_blank">#Asystole</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/avant-garde-death-metal/" target="_blank">#AvantGardeDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/coma-cluster-void/" target="_blank">#ComaClusterVoid</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/evilyn/" target="_blank">#Evilyn</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fractal-generator/" target="_blank">#FractalGenerator</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/international-metal/" target="_blank">#InternationalMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/malignancy/" target="_blank">#Malignancy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mithridatum/" target="_blank">#Mithridatum</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mondestrunken/" target="_blank">#Mondestrunken</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/morbid-angel/" target="_blank">#MorbidAngel</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/norse/" target="_blank">#Norse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/old-school-death-metal/" target="_blank">#OldSchoolDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/osdm/" target="_blank">#OSDM</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/scarcity/" target="_blank">#Scarcity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thoren/" target="_blank">#Thoren</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/" rel="nofollow noopener" target="_blank">Monument of Misanthropy – Vile Postmortem Irrumatio Review</a>By Thus SpokeIf you’re squeamish…skip this paragraph. Or don’t, because any good fan of death and grind should be ok with a little gore. Vile Postmortem Irrumatio continues Monument of Misanthropy’s recent trend of writing albums centred around certain serial killers, following 2021’s eponymously-titled Unterweger (about Austrian-born killer Jack Unterweger). This time, the subject is Ed Kemper, whose crimes might have been indistinct from the many other misogynist multiple-murderers of the late sixties and early seventies were it not for his particular habit of decapitating his victims post-mortem, and…orally copulating with the heads. He did this not only with the six co-eds he killed, but also his own mother. If you didn’t know what irrumatio meant, now you do. Death metal is far from estranged from the violent and depraved, and Monument of Misanthropy again live up to their name and genre bracket with an example of one of history’s more violent and depraved men, and an excuse-for-misanthropy of a human being. How does the music fit its subject?As album number three, Vile Postmortem Irrumatio cements the band’s sound as a lean, mean, deathgrind machine. As much a product of the stomping, crushing aggressiveness of the old style as the cutthroat, technical, mania of the new. Now leaning harder into the slick and twisted speed alongside sharp, scaling riffs, Monument of Misanthropy now sound a bit like if Cattle Decapitation had a baby with Aborted, minus the goblin cleans of the former and a large portion of the urgent melodies of the latter. Recognizable from previous efforts, the music is that much slicker, faster, and absolutely face-destroying. Speaking as someone who’s not typically this genre’s hugest fan, the album’s relentless pace, groove, and malice infectiously wormed their way into my brain, bringing a smile to my face, and an unstoppable repetitive bang to my head. Because, it’s clear, from the raison d’être of death metal as a whole to the specific instance of Vile Postmortem Irrumatio itself, that none of this is to be taken seriously, or as any glorification of Kemper. It’s morbid fascination, with a healthy sense of humor. And so the gleefully extreme guitar-wrangling and clustering drum-battering are simply thrilling, and the interview samples<a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/#fn-200930-1" rel="nofollow noopener" target="_blank">1</a> that divide the record have that perfect horror-movie chill, enhanced by the building of creepy synth-accented accompaniment.Vile Postmortem Irrumatio works because it’s a lot of things masquerading as only one thing. You think you’re getting a slab of dumb, silly-heavy fun (and you are), but crammed into that hulking,<a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/#fn-200930-2" rel="nofollow noopener" target="_blank">2</a> brutal body is much more. There’s unexpectedly aesthetic minor melodies soloing and swooping over the gory blastbeats and bass churning (“Manipulating the Experts”, title track, “A Nice Beheading for MoM”). There’s groove aplenty (“The Atascasdero Years,” “The Devil’s Slide,” “A Nice Beheading…”). There are vibrant flashes of electrifying tremolos and lurching disso-death shivers irreverently joining forces (“Hits One and Two,” “The Devil’s Slide,” “Your Treachery Will Die with You”). There’s a satisfying range of vocal styles, from guttural gurgles to squealing screams. What might sound like a set of Barnum statements for modern brutal death metal, really only applies to the top-shelf stuff, the stuff that gets people like myself, who struggle with the death metal pedigree, on board. Riffs, vocal delivery, and the crucial percussive factor<a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/#fn-200930-3" rel="nofollow noopener" target="_blank">3</a> are punchy as fuck, rhythmically smacking you about the head to a series of slamming (“Pueblo Paranoia”), bouncing (“A Nice Beheading….”), buzzing (“The Atascasdero Years”), stomping (title track) swings. This hits hard in the most enjoyable way.You would think that inserting multiple instrumental, interview-sample-bedecked interludes would cause issues for flow. Ok, it does, a tiny bit, but really not very much, and in this regard Monument of Misanthropy have come leaps and bounds beyond Unterweger, where the spoken-word sections did jam up the gears a bit. “Why Did You Keep the Heads” comes the closest to compromising the album’s momentum, but it still falls naturally within the structure of the record’s story, its concept. Opener “First Time It Makes You Sick To Your Stomach” and later “Oh, I Suppose You’re Gonna Want To Sit Up And Talk All Night Now” are unironically creepy in the aforementioned horror-movie way, and amp up the suspense quite brilliantly before their respective following tracks come tearing in. This, in combination with the sheer ease with which the music pulls off its tricks, make its jams pretty memorable. And we haven’t even got to the obvious implications for lifting abilities with literally any of the (non-interlude) cuts blaring in your ears.There remains a question of the true longevity of Vile Postmortem Irrumatio, but a considerable part can be attributed to a snobbishness towards the genre. It’s loud, and it’s certainly not pretty—proclaiming a DR that isn’t 3 only because of it’s very dynamic interludes—but it is a slick, nasty, solid bit of fun. And from a brutal death metal album about a necrophilic serial killer, what more could you possibly ask?Rating: Very Good DR: 5 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity</a> Websites: <a href="https://monumentofmisanthropydm.bandcamp.com/album/vile-postmortem-irrumatio" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/OfficialMonumentOfMisanthropy.BrutalDeathMetal/" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: August 9th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aborted/" target="_blank">#Aborted</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/austrian-metal/" target="_blank">#AustrianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/brutal-death-metal/" target="_blank">#BrutalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cattle-decapitation/" target="_blank">#CattleDecapitation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathgrind/" target="_blank">#Deathgrind</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/grind/" target="_blank">#Grind</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/monument-of-misanthropy/" target="_blank">#MonumentOfMisanthropy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vile-postmortem-irrumatio/" target="_blank">#VilePostmortemIrrumatio</a>

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