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Angry Metal Guy<a href="https://www.angrymetalguy.com/soliloquium-famine-review/" rel="nofollow noopener" target="_blank">Soliloquium – Famine Review</a>By Steel DruhmIn my never-ending quest to accumulate as many bands as possible that remind me of tragically defunct Finnish doom-death legends, Rapture, I crossed paths with Sweden’s two-man project, Soliloquium, back in 2018 through their Contemplations album. It was an entirely pleasant slab of moody, emotive melancholic death borrowing from early Katatonia, Insomnium, and of course, Rapture. It scratched an itch and made me a fan. 2020s Things We Leave Behind hit just as COVID was starting its assault on the world, and the album’s downcast and depressive beauty became a staple in the House of Steel as we watched the world lock down and drift. Somehow, I missed that Soliloquium dropped a new album in 2022, and I almost missed their latest too. Famine is the band’s fifth release, and Stefan Nordström and Jonas Bergkvist are still steering the ship, though this time they invited lots of friends to help out. Can this depressive duo keep the weepy doom-death flowing like fine wine on a cold Swedish day?Things start out promising on the wide-ranging title track. It’s in the usual Soliloquium modality, with morose clean croons and sparse melancholic guitar plucking giving way to darker tones with guttural death roars and blackened shrieks cropping up. Doomy harominies percolate and fall off, and the mood is kept dark and brooding. The equipoise between melodic trills and the crushing quasi-death-doom is well executed and convincing. Strong hints of October Tide and Swallow the Sun flow freely, and the feel of a brutal winter of discontent is achieved. At the 3:45 point, things seem to end, only to lurch back into what sounds like an entirely new composition, and by the end of the 6:37 runtime, the enterprise ends up feeling long but worthwhile. Far superior is “2 A.M.,” which perfectly encapsulates all that’s right with the Soliloquium sound. It has a lot of Rapture’s best elements blended in, and there’s some beautifully emotional guitar work here in the vein of Tuomas Saukkonen’s Before the Dawn / Black Sun Aeon style. Jari Lindholm (Enshine, ex-Slumber) provides amazing lead guitar work here, elevating the song several degrees, and the nods to Katatonia’s Brave Murder Day era are icing on the depression cake.Other solid moments include the later era Anathema-esque fragile Goth of “The Healing Process,” where beautiful vocals from Bianca Höllmüller enhance the weepy charms; and the very Ghost Brigade-esque doom rock of “Poison Well,” where Chelsea Rocha-Murphy of Dawn of Ouroboros drops by to keep things despondent with her haunting vocals. I especially enjoy the death n’ roll bit that erupts around the 3-minute mark. “Själamörker” is also quite tasty. Sung in the duo’s native Swedish, Stefan Nordström effectively blends his sadboi cleans and mammoth cookie monster roars on a bulldozer of a tune that hits every doom-death trope. It’s heavy but sorrowful, crushing but melodic. Unfortunately, things go pear-shaped for the album’s final third, where the heavy reliance on clean singing turns out to be ill-conceived. The last 3 tracks all suffer greatly from vocal issues (Stefan’s or his guests) as clean but underpowered, droning, and overly twee vocal tones become prevalent. The songs themselves have good things going for them, but they can’t overcome the vocal shortcomings. At 51 minutes, Famine also suffers from bloat, especially on the final few “troubled” tracks.While I’ve always appreciated Stefan’s death and blackened vocals, he wasn’t known for his clean singing, usually employing guest singers to do the job. Here, he tries to carry more of the load himself with mixed results. While he’s effective on “The Healing Process,” he too often adopts a static, droning Goth-rock style that feels weak, flat, and entirely lacking in oomph. This derails tracks like “Weight of the Unspoken” and the closing epic “Vigil.” On the plus side, his death roars and blackened rasps are spot on and as effective as ever. His guitar work is always high quality and a reason the material resonates, as he does a good job conveying a bleak, cold atmosphere across Famine, borrowing from all the big names in the genre for some inspired moments.I’m a fan of what Soliloquium do and there are great moments of melancholic doom here, but the writing isn’t as consistent as before and the vocal shortcomings are sometimes glaring. If Famine stopped at “Själamörker, ” this would be a very good album. It doesn’t, though, and by the final act, the weaknesses begin to show through. Warts and all, Famine is still a worthwhile listen with some big moments. Fans of the sadboi ways should give it a chance and see how it hits them in the feelz. I still miss Rapture. Rating: 3.0/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.meusemusicrecords.eu/" rel="nofollow noopener" target="_blank">Meuse Music</a> Websites: <a href="https://soliloquium.bandcamp.com/album/famine" rel="nofollow noopener" target="_blank">soliloquium.bandcamp.com</a> | <a href="https://www.facebook.com/SoliloquiumBand/" rel="nofollow noopener" target="_blank">facebook.com/soliloquiumband</a> Releases Worldwide: April 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/30/" target="_blank">#30</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/before-the-dawn/" target="_blank">#BeforeTheDawn</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/contemplations/" target="_blank">#Contemplations</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/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/famine/" target="_blank">#Famine</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ghost-brigade/" target="_blank">#GhostBrigade</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/katatonia/" target="_blank">#Katatonia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/meuse-music-records/" target="_blank">#MeuseMusicRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/october-tide/" target="_blank">#OctoberTide</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rapture/" target="_blank">#Rapture</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/soliloquium/" target="_blank">#Soliloquium</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swallow-the-sun/" target="_blank">#SwallowTheSun</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/the-things-we-leave-behind/" target="_blank">#TheThingsWeLeaveBehind</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/industrial-puke-alive-to-no-avail-review/" rel="nofollow noopener" target="_blank">Industrial Puke – Alive to No Avail Review</a>By SaundersUsually, the illustrious Mark Z deals with the vomitous streams flowing through the promo sump. But for the second time for this particular act, I’m taking one for the team. However, the subject is not in the vein of vile underground death or hellraising blackened thrash. Rather, Sweden’s Industrial Puke rip through a nasty collection of crossover hardcore/crust/death metal on second LP, Alive to No Avail. Featuring a chunk of the Rentokiller line-up and charismatic, raw-throated vox of Burst frontman Linus Jägerskog, Industrial Puke pull no punches in their bid to fuse genres and bust heads in one hefty swing. The band’s short and sweet debut, <a href="https://www.angrymetalguy.com/industrial-puke-born-into-the-twisting-rope-review/" rel="nofollow noopener" target="_blank">Born into the Twisting Rope</a>, was a solid outing that didn’t break boundaries but executed with oodles of pissed off attitude and breakneck efficiency, resulting in an entertaining listen. Can they capitalize on a promising debut to deliver something more intense and well-rounded on their second opus to match the awesome on paper love of Dismember and Disrupt?Alive to No Avail treads similar worn territory to its predecessor, while sharpening the points of their sound. Again, the formula skews more heavily towards their hardcore and crust influences. However, refreshingly, the old school Swedeath, thrash, and occasional melodeath influences add spark, heaviness, and versatility to their aggro, frantic attacks. Overall, it’s a more adventurous, fully fleshed album, dripping with spiteful aggression, speedy gallops, punchy riffs, and thumping grooves. Alive to No Avail is every bit as vicious as its predecessor, yet by the same token, everything feels bigger, beefier, tighter and altogether stronger in writing and design. Compact in length like the debut, this time around Industrial Puke have upped the runtime to lengths more closely associated with full-length territory, allowing more time to develop and expand their sound across a near half-hour smackdown.Immediately, “Daily Chest Pain” goes straight for the throat, nasty belligerent riffs take hold as Jägerskog’s acidic snarls and gang shouted backing vox lend the song a vicious edge. A short, nifty solo rips through the controlled carnage, adding a welcome melodic spark. While boasting a more pronounced death metal influence, the hardcore crust vibes remain the focal point, thus tolerance towards these influences will likely determine the mileage. Integrating their dueling influences into meaty riffs that pack a solid punch, Industrial Puke leverage their stomping hardcore riffs and motifs, with Slayer-esque thrash chops, gnarled Swedeath riffs, and raw Gothenburg throwbacks (“Alive to No Avail”). Whether incorporating seething hardcore meets sludge tones on The Atlas Moth-esque “The Regretful Climb,” ripping through Slayer-indebted thrash with crossover attitude (“Flaccid Provider”), unleashing violently stomping grooves and punchy gang shouts (Biblical Curse’), or embracing the d-beaten Swedeath fury and dueling vox of “Average Dicks,” Alive to No Avail marks a consistently raucous, nasty ride. Musically, Industrial Puke play fast and tight, demonstrating steady, experienced hands. The influences are broader than the debut, the scope has expanded. However, the raging, jugular ripping directness and amped up speed reign supreme. The death metal influences are slightly more forward, though again the hardcore and crust elements take center stage, generously dosed with old school thrash and snippets of buzzsawing death. As sharp and gnarly as Industrial Puke sound, moments arise where I crave a little more death in the mix. Jägerskog’s vocals are very good, and the recurring gang vocal trade-offs and occasional lower variation lend variety. However, it would be nice to hear more low growls and death vox to complement Jägerskog’s aggro snarl (such as those used to great effect on “Average Dicks”). Industrial Puke write fast, fun, bruising music, featuring the songwriting smarts and raw aggression to draw in listeners from both hardcore and death metal worlds. Alive to No Avail marks a step forward for Industrial Puke, building from the solid groundwork laid on the debut, to punch out an album of deeper substance, stronger riffs, and tons of brawling aggression and headbangable anthems. Metalheads opposed to hardcore influences or put off by the higher-pitched, strained vocal style of Jägerskog will be unlikely to be swayed. On the flipside, fans of crossover styles and hardcore forward metal with a death crust should find much to enjoy here. Rating: 3.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: <a href="https://suiciderecordsswe.bandcamp.com/album/alive-to-no-avail" rel="nofollow noopener" target="_blank">Suicide Records</a> Websites: <a href="https://industrialpuke.bandcamp.com/" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/people/Industrial-Puke/100085972964829/" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: March 28th, 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/alive-to-no-avail/" target="_blank">#AliveToNoAvail</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/burst/" target="_blank">#Burst</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crossover/" target="_blank">#crossover</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crust/" target="_blank">#Crust</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/dismember/" target="_blank">#Dismember</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/disrupt/" target="_blank">#Disrupt</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hardcore/" target="_blank">#Hardcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/industrial-puke/" target="_blank">#IndustrialPuke</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rentokiller/" target="_blank">#Rentokiller</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/slayer/" target="_blank">#Slayer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/suicide-records/" target="_blank">#SuicideRecords</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/the-atlas-moth/" target="_blank">#TheAtlasMoth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/mitochondrial-sun-machine-dialectics-review/" rel="nofollow noopener" target="_blank">Mitochondrial Sun – Machine Dialectics Review</a>By sentynelI am woefully, woefully late with this review. My excuse is that I wanted to avoid a repeat of my <a href="https://www.angrymetalguy.com/contrite-metal-guy-its-beginning-to-look-a-lot-like-wrongness-volume-the-first/" rel="nofollow noopener" target="_blank">embarrassing under-rating</a> of Mitochondrial Sun’s <a href="https://www.angrymetalguy.com/mitochondrial-sun-mitochondrial-sun-review/" rel="nofollow noopener" target="_blank">self-titled first album</a>. In truth, though, it’s mostly because I’ve found it difficult to straighten out how I feel about Machine Dialectics. This is a sparse and purely electronic album; the modern classical piano and cello stylings of the self-titled don’t make a re-appearance. It’s also far from the black metal of <a href="https://www.angrymetalguy.com/mitochondrial-sun-sju-pulsarer-review/" rel="nofollow noopener" target="_blank">Sju Pulsarer</a>. There’s not even much percussion here, leaving almost entirely melodic synths of varying tones and textures. At first blush, I liked it, but felt like there was something missing.Elements of earlier Mitochondrial Sun are certainly here. Songs like “To Those that Dared to Dream” and “The Fate of Animals” are moody, melancholy, or ominous. But it’s far sparser. Songs are very often a lead synth, a little rhythm or ambiance, and not much else. As an exploration of what you can achieve with nothing but a synthesizer and a knack for writing melodies, Machine Dialectics is quite impressive. Avoiding anything that might be described as even slightly dancy puts this in an unusual corner of electronic music. Working to constraints can produce interesting results, and that’s true here. At its best, the minimalism enhances the impact of the big melody lines when they happen, and Sundin really is an excellent songwriter.As a title, Machine Dialectics suggests the experience of attempting to understand something a computer is doing and getting, well, largely inscrutable results. I am professionally deeply familiar with this feeling, and the record does as it portends. It wanders, and sometimes interesting things happen, but very often I’m still left scratching my head. I keep thinking – as this review grows later and later – that I’m on the cusp of getting it, but it hasn’t happened. I’m not getting the emotional impact I did from Mitochondrial Sun. There are long passages that only barely climb above ambient. The song construction is so sparse that the success of the entire album hinges on those moments when the melodic leads hit. They’re good, but they’re not quite good enough to carry the whole thing.Despite that, I do enjoy listening to Machine Dialectics. On “The Fate of Animals,” melody and ambiance lines twist around each other, and the piece progresses from contemplative through ominous to a prettier, almost woodwind-like final movement. Closing track “The Child Sleeps in the Machine” is a bit longer than the others at 8 minutes, which gives it a bit more space to develop. “Trilobite Dreams” is the most immediate track, more urgent than the rest of the album, with a catchy, guitar-like melodic lead. But even here, the couple of different themes are all there really is to the track. I struggled to write much at all of note on some of the most ambient interludes (“Kepler-138 E,” Vast Expanses”).I’ve regularly—and appropriately—reached for Machine Dialectics as a soundtrack when I’m working and need to think. As work music, it’s wormed its way into my head, and I find myself anticipating my favorite moments even when I don’t quite think I’m paying attention. But that lack of attention is a problem, and that makes it challenging to recommend. It’s slow and contemplative to a fault and there are few big payoffs. It ends with its questions left unanswered and me left largely unmoved. Rating: Mixed DR: 7 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.inertial-music.com/" rel="nofollow noopener" target="_blank">Inertial Music</a> Websites: <a href="http://mitochondrialsun.bandcamp.com" rel="nofollow noopener" target="_blank">mitochondrialsun.bandcamp.com</a> | <a href="http://mitochondrialsun.net" rel="nofollow noopener" target="_blank">mitochondrialsun.net</a> | <a href="http://facebook.com/mitochondrialsun" rel="nofollow noopener" target="_blank">facebook.com/mitochondrialsun</a> Releases Worldwide: February 21st, 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/electronic/" target="_blank">#Electronic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/inertial-music/" target="_blank">#InertialMusic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/machine-dialectics/" target="_blank">#MachineDialectics</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mitochondrial-sun/" target="_blank">#MitochondrialSun</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/swedish-metal/" target="_blank">#SwedishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/arch-enemy-blood-dynasty-review/" rel="nofollow noopener" target="_blank">Arch Enemy – Blood Dynasty Review</a>By Dolphin WhispererIncepted as an offshoot of Carcassian lineage, early breakout albums <a href="https://archenemyofficial.bandcamp.com/album/wages-of-sin" rel="nofollow noopener" target="_blank">Wages of Sin</a> (2001) and Doomsday Machine (2005) spread like wildfire in the emerging world of digital accessibility. In particular, clips from the 2006 DVD <a href="https://www.youtube.com/watch?v=wMGpcjzb67Q" rel="nofollow noopener" target="_blank">Live Apocalypse</a>, popped around early YouTube further quenching the thirst for the powerful live performances that the once ravenous act possessed—at least that’s my memory of how the melodeath-leaning Swedes came to be a global powerhouse. Arch Enemy’s current incarnation does not lack stage-ready talent, of course—professionals thrive on the tour. The still vicious Alissa White-Gluz (ex-The Agonist) and youthful shredder Joey Concepcion (ex-Armageddon,<a href="https://www.angrymetalguy.com/arch-enemy-blood-dynasty-review/#fn-213878-1" rel="nofollow noopener" target="_blank">1</a> ex-The Absence) round out the strength of time-tested veterans. But with the hunger of success so satiated, what left does Arch Enemy have to fuel their 12th album, Blood Dynasty?Succeeding primarily on the flash of sticky songs and not engrossing albums, Arch Enemy has little reason to play anything more than a bit of what their fans want and a bit of what they want. In this sense, founding guitarist and primary songwriting contributor Michael Amott feeds off of his second guitarist for energy. While Nevermore shredder Jeff Loomis<a href="https://www.angrymetalguy.com/arch-enemy-blood-dynasty-review/#fn-213878-2" rel="nofollow noopener" target="_blank">2</a> is far from a slouch on the fretboard, his histrionic contributions seemed to follow Arch Enemy down a path of slower builds, chunkier riff platforms, and moodier atmospheres that didn’t always gel with the typically brighter appeal that cemented their lofty status. Particularly on 2022’s preceding Deceivers, the pace had grown so slow that getting to any of blistering guitar heroism—whether from Amott or Loomis—felt like a chore.In fresh character Concepcion’s ’80s tinged trades with Amott bring a lot to the Blood Dynasty table, with Arch Enemy breezing through certain tracks with the fanciful flair of guitar pyrotechnics. Early cut “Dream Stealer” brings with it a Judas Priest-indebted whammy-to-meltdown solo tirade that highlights the axeslingers’ chemistry well. And later cuts “Don’t Look Down” and “Blood Dynasty” lead with the synth-boosted, mid-paced power/melodeath fist-pump that you’d hear in a galloping Kalmah or late era Dark Tranquillity piece. Truthfully, though, Blood Dynasty’s biggest hit, in its soulful and faithful cover of olde French heavy metal act Blaspheme’s “Vivre Libre,” comes when Arch Enemy, quite literally, is not trying to be Arch Enemy at all, White-Gluz eschewing any harsh vocal stylings for a gruff and joyful croon. But this kind of fun feels right in a late career album—quick hitters loaded with light-hearted riffage and falsetto wails (“A Million Suns,” “Paper Tiger,” respectively)—and a full load of it could have spelled well for Arch Enemy decriers.However, true to the typical Arch Enemy experience, a number of songs still exist in the too familiar or too uneventful realm that weigh down the whole of Blood Dynasty. There’s an irony to the theme of “March of the Miscreants,” a festival-ready machination—complete with a bridge ready for “Hey! Hey! Hey! Hey” call and response—about how the underdog can’t be sold and can’t be bought, an ethos that doesn’t sit well while listening to one of the largest metal bands in the world. And between that conundrum, the alternative rock anthemics of “Illuminate the Path,” and the only slightly deathened power metal romps that close the journey (“The Pendulum,” “Liars & Thieves”), Blood Dynasty trips over its most cohesive and swaggering elements to pump out tunes that feel rollicking enough to appeal to fans of modern acts like Unleash the Archers or Frozen Crown without letting harsh vocal moments steer them too far astray. White-Gluz has a diverse and practiced voice that ensures that none of these detours ever sound unpleasant, but the frequent urge to skip these painted-with-broad-strokes cuts persists.Arch Enemy has nothing to prove at this stage. Blood Dynasty holds a higher than expected percentage of fun-inducing tracks that should serve plenty for long-time fans—high bombast, easy-to-digest, chorus-loaded, melodic death(ish) metal. At its most offensive, Arch Enemy simply delivers repeatable words and over horns-up riffs that act as heavy metal placeholders, recognizable as aggressive noise but built to blend in. For those just dipping their toes into the world of amplified abandon, this less extreme endeavor may even be preferable, a shareable, attainable badge of honor. But if your coworker recommends you Blood Dynasty, you can likely blow their mind with <a href="https://www.angrymetalguy.com/tag/30/" rel="nofollow noopener" target="_blank">something better</a>.<a href="https://www.angrymetalguy.com/arch-enemy-blood-dynasty-review/#fn-213878-3" rel="nofollow noopener" target="_blank">3</a> Rating: 2.5/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.centurymedia.com/" rel="nofollow noopener" target="_blank">Century Media</a> | <a href="https://centurymedia.bandcamp.com/music" rel="nofollow noopener" target="_blank">Bandcamp</a> Websites: <a href="http://archenemy.band" rel="nofollow noopener" target="_blank">archenemy.band</a> | <a href="http://archenemyofficial.bandcamp.com/music" rel="nofollow noopener" target="_blank">archenemyofficial.bandcamp.com</a> Releases Worldwide: March 28th, 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/arch-enemy/" target="_blank">#ArchEnemy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blaspheme/" target="_blank">#Blaspheme</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blood-dynasty/" target="_blank">#BloodDynasty</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/century-media-records/" target="_blank">#CenturyMediaRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dark-tranquillity/" target="_blank">#DarkTranquillity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-metal/" target="_blank">#HeavyMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/judas-priest/" target="_blank">#JudasPriest</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kalmah/" target="_blank">#Kalmah</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/melodic-death-metal/" target="_blank">#MelodicDeathMetal</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/swedish-metal/" target="_blank">#SwedishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/kazea-i-ancestral-review/" rel="nofollow noopener" target="_blank">Kazea – I. Ancestral Review</a>By IcebergKazea hail from Sweden, home of the Björiff and the chainsaw song of the HM2. But on their debut album, I. Ancestral, the Gothenburg trio promise to blend “the power of post-rock, the haunting melodies of neo-folk, and the crushing weight of sludge.” If the mere mention of sludge hasn’t sent you screaming from the room, good, because you’re in for a treat today. I dealt with posty sludge from labelmates <a href="https://www.angrymetalguy.com/besra-transitions-review/" rel="nofollow noopener" target="_blank">Besra</a> in my n00b days, but throwing neo-folk into the mix puts an unusual spin on the situation. While both styles revel in their simplicity of content, the open soundscapes of folk could provide much-needed contrast against sludge’s distorted chugging. Or it could devolve into a mishmash of styles that don’t share any common language. Whatever the musical case, there’s no denying the gorgeous poetry of Frederico Garcia Lorca in opener “With A Knife:” “Green, how I want you green. Green wind. Green branches. The ship out on the sea. The horse on the mountain.” Color me intrigued.Kazea choose to separate and highlight, rather than amalgamate, their stylistic influences, a gamble that pays off more often than not. Dusky acoustic guitars reminiscent of Gustavo Santaolalla or A Romance With Violence-era Wayfarer lead the folk-inspired sections, evoking untamed, pagan wilderness (“With A Knife,” “A Strange Burial”). The sludge, which forms the backbone of Kazea’s sound, is more Melvins than Mastodon, and a lot of American Scrap-era Huntsmen, with fuzzy guitars and stomping drum patterns (“Whispering Hand,” “Wailing Blood”). Jonas Mattsson’s vocals may be a bit controversial here, with their Billy Corgan-esque nasal quality, but the more I listened to I. Ancestral the more Mattsson’s performance stuck with me. I hear shades of Layne Staley in his scrawling delivery, and while I wasn’t always able to discern the lyrics, his dynamic croon forms the beating heart of the album’s post-metal tunes (“Trenches,” “Seamlessly Woven”).For a band handing in their debut record, Kazea slither and wind their way around 37 minutes with the hallmarks of seasoned songwriters. An air of storytelling pervades the album, with memorable spoken word fragments (“A Little Knife,” “A Strange Burial”) and ambient soundscapes (“The North Passage,” “Seamlessly Woven”) delivering post-metal’s cinematics within a sludge framework. Post-metal swells and crashes à la This Will Destroy You and Isis are found on “Trenches” and “Seamlessly Woven,” and while these are unsurprisingly the longest tracks on the record they handle their duration well, with the latter providing one of the strongest, heart-wrenching choruses I’ve heard all year long. Even “Whispering Hand,” which is something akin to pop sludge, is a radio-ready anthem full of earworms that evokes the better moments of Them Crooked Vultures.I. Ancestral is a promising opening for Kazea’s proposed musical series, and its flaws are few and far between. Daniel Olsson’s drums are powerful, and the groove laid down in “The North Passage” marches in mammoth lockstep with Rasmus Lindbolm’s bass, but the minimalist tribal kick/toms/snare pattern begins to feel a bit overused the longer one listens to the record. “Pale City Skin” and “Wailing Blood” both start strongly but spin their riff wheels a touch too long, giving in to the tendency of both sludge and post-metal to utilize repetition for content. And while a master by Cult of Luna’s Magnus Lindberg is roomy and darkly colorful, the vocal mix does get buried in the busier sections of the album, which is a shame because these constitute some of the best music I. Ancestral has to offer (“Trenches,” “Seamlessly Woven”). But the overall impression of Kazea’s debut beats its blemishes, presenting a stark and unique voice formed from disparate influences.“…with a knife. With a little knife that just fits into the palm.” The chilling denouement of “With A Knife” has stuck with me as I’ve ruminated over I. Ancestral. It neatly encapsulates the album, weaving shadowy, wooded energy into an unlikely combination of post-metal and sludge. The album is smartly edited and easy to pore over multiple times, with repeat listens revealing some standout moments: “Whispering Hand” is a shamelessly fun sludge anthem, and “Seamlessly Woven” is the most emotionally packed closer I’ve heard since The Drowning’s “Blood Marks My Grave.” I think Kazea have knocked it out of the park with this debut, and are on the verge of coalescing their sound into something truly remarkable. Don’t sleep on these guys. Rating: 3.5/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="http://www.suiciderecords.se/" rel="nofollow noopener" target="_blank">Suicide Records</a> Website: <a href="http://kazea.bandcamp.com/album/i-ancestral" rel="nofollow noopener" target="_blank">Bandcamp</a> Releases Worldwide: March 21st, 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/gustavo-santaolalla/" target="_blank">#GustavoSantaolalla</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hunstmen/" target="_blank">#Hunstmen</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/i-ancestral/" target="_blank">#IAncestral</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/isis/" target="_blank">#Isis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kazea/" target="_blank">#Kazea</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/melvins/" target="_blank">#Melvins</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/neo-folk/" target="_blank">#NeoFolk</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/suicide-records/" target="_blank">#SuicideRecords</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/them-crooked-vultures/" target="_blank">#ThemCrookedVultures</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/this-will-destroy-you/" target="_blank">#ThisWillDestroyYou</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/wayfarer/" target="_blank">#Wayfarer</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/k-l-p-s-k-l-p-s-review/" rel="nofollow noopener" target="_blank">K L P S – K L P S Review</a>By MaddogDetermined to explode my word count while safeguarding my character count, K L P S is a familiar band with an unfamiliar name. The band’s 2023 debut Phantom Centre, released under the name Kollaps\e, got stuck in our filter before I yanked it out. Phantom Centre’s sludgy mix of atmosphere and eighteen-wheeler riffs made it concise and compelling, albeit one-track. Two years on, K L P S sees Sweden’s sludgers drop a backslash and four letters while adding even chunkier riffs, more atmosphere, and three non-breaking spaces.<a href="https://www.angrymetalguy.com/k-l-p-s-k-l-p-s-review/#fn-213820-1" rel="nofollow noopener" target="_blank">1</a> After an already-promising start, K L P S has taken one leap closer to being a titan of their genre.K L P S takes Phantom Centre’s measurements and doubles each one. The riffs are bigger, with distorted rhythmic explosions that recall LLNN. Conversely, even these heavier sections come drenched in post-hardcore sorrow. Adding to the soup, K L P S’ use of chunky riffwork to build meditative atmospheres resembles stoner sludge acts like Dvne. While K L P S has amped up their extremity, K L P S’ softer pieces step up as well. The album’s sparser passages, often featuring just simple guitar melodies and ritualistic drum beats, add stark contrast to its heavyweights. Although K L P S is less rhythmic and bass-focused than Phantom Centre, it magnifies nearly every other dimension of its predecessor. The resulting record bears the familiar markers of sludge, but accentuates them all to avoid fading into irrelevance.K L P S’ blend of heft and emotion makes every track a highlight. The album’s hulking riffs harness sludge’s power while eschewing its typical laziness, tethering themselves to ominous, infectious melodies (“Undertow”). Aided by blackened motifs, even these heavy segments ooze pathos (“Subverse”). K L P S’ descents into minimalism stand in stark musical contrast but embody the same strengths, using subtle melodic tweaks to both hypnotize and grip the listener (“Katarsis”). The record’s greatest triumph is that it never treats these diverse elements as mutually exclusive. The sections that blur the line between heart and muscle show off the best that K L P S has to offer, like the interplay of meditative guitars, post-rock ambience, and climactic riffcraft on “Tribulation.” Like Amenra before them, K L P S wields beauty and brawn in ways that are at once worlds apart and inextricable.Although K L P S remains interesting throughout, its tracks bleed together over several listens. The album’s six songs have similar lengths and lean into similar styles, without a clear sense of evolution or climax in the tracklist. While each song navigates deftly between serene minimalism and sludgy cacophony, this style grows stale by the end. K L P S’ production choices magnify this feeling; although each instrumental line shines through, the loud master and the muddled sludge riffs make K L P S seem more repetitive than it really is. Still, these are faint splotches on an otherwise impressive record. Given its tempered 43-minute runtime, K L P S never threatens to lose my interest altogether. And when the album does prioritize buildup and climax, the results are spectacular. The closer “Aureola” takes the cake, using powerful melodies to anchor the listener before building up into oblivion and then back down into cathartic quiet. K L P S would benefit from more of this continuity overall.K L P S has improved upon their debut on nearly every axis. While Phantom Centre was already a breath of fresh air in a moldy genre, K L P S steps up its riffs, its ambience, and its emotional weight. Displaying an uncanny level of maturity, K L P S’ sophomore release shines by blending these elements into a heady brand of sludge where the riffs have soul and the atmosphere has grit. While I wish K L P S had more ebb and flow as an album, its masterful songs keep me coming back for more. Even skeptics of sludge and post-metal owe this hidden gem a listen. Rating: Very Good! DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://thesehandsmelt.shop/" rel="nofollow noopener" target="_blank">These Hands Melt</a> Websites: <a href="http://kollapsemusic.bandcamp.com" rel="nofollow noopener" target="_blank">kollapsemusic.bandcamp.com</a> | <a href="http://facebook.com/kollapsemusik" rel="nofollow noopener" target="_blank">facebook.com/kollapsemusik</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/amenra/" target="_blank">#Amenra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dvne/" target="_blank">#Dvne</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/k-l-p-s/" target="_blank">#KLPS</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kollapse/" target="_blank">#Kollapse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/llnn/" target="_blank">#LLNN</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/post-hardcore/" target="_blank">#PostHardcore</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/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/these-hands-melt/" target="_blank">#TheseHandsMelt</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/istapp-sol-ter-sortna-review/" rel="nofollow noopener" target="_blank">Istapp – Sól Tér Sortna Review</a>By Doom_et_AlNot many bands can claim to have a 4.5 from AMG Himself and a 4.0 from notorious curmudgeon, Grier. Yet that is exactly what Swedish black metal band, Istapp (Icicle) managed to achieve with debut album, Blekinge, and third album, The Insidious Star, respectively. Yet despite these glowing endorsements, Istapp remained on the periphery of the metal scene since their inception in 2005. Maybe it’s the long turnaround time between albums (4 in 20 years), or perhaps it’s the constantly shifting band line-up. Whatever the reason, Istapp remained relatively obscure, producing albums that people like, but that don’t make any dents in end-of-year lists. Now they’re back after a 6-year gap, with (surprise!) a new lineup and a new album, Sól Tér Sortna (The Sun Turns Dark). Are they about to add a Doom 4.0 to their accolades?Pretty much the only constant in Istapp is founder, songwriter, and vocalist-turned-drummer, Fjalar. And when the opening notes of “Under Jökelisen” begin, you’ll know this is a classic Istapp album, through and through. Melodic chords married to furious blast beats in a way that is both compelling and accessible (by black metal standards). But it’s when the clean vocals hit that the true power of Istapp shines – the ability to incorporate more accessible elements without compromising their core ethos. Istapp manage to sound like a cool mix of Borknagar, Immortal, and Svavelvinter, without ever treading onto “derivative” territory. If this description of Sól Tér Sortna sounds eerily familiar to previous albums, that’s because Istapp maintain the clear, distinctive sound that they’ve perfected since 2005. And yet, for some reason, Sól Tér Sortna just doesn’t hit as hard as those previous albums. And I’ve spent a week trying to puzzle out why. Certainly, when a sound remains unchanged for this long, we start entering “diminishing returns” territory. Istapp are playing it very safe with their aesthetic, and when you become familiar with it, it all starts to blur together. This isn’t helped by the fact that this collection lacks a real banger; something that grabs you by the short and curlys and says, “Listen! This is more interesting than that random chore you are doing!” When the band does try something new, like the introduction of female vocals on “Rägnarok,” it works fantastically, making you wish they had taken a few more risks. The songs on Sól Tér Sortna are consistently very good, but rarely great.The production, as consistent as it is, also sounds weirdly thin. It’s hard to explain, but there’s a chonkiness missing from the guitars. This anemic mix leeches the album of some of its power. Istapp always flourished by relying on those “big” moments in their material; the flattened range makes everything sound a bit tinny and flat. For comparison, I went back to early Immortal, and while the production in those days was clearly inferior, there is real oomph behind the guitars. Even The Insidious Star sounded better balanced. I’m not certain if this production was intentional or not, but it doesn’t help the music.Sól Tér Sortna is an album I really wanted to love, but although its catchy melodies and solid songwriting initially seduced me, I could never firmly commit. It’s a collection that, although never difficult to listen to, is missing something. This is speculation, but perhaps the constant lineup shifts have prevented Fjalar from evolving his brand. Perhaps this is simply the AMG “Law of Diminishing Returns” proving itself again as a band enters its third decade. Or maybe I expected too much from a band that has given us plenty to cheer about in the past. Regardless, Sól Tér Sortna, while rock-solid, simply doesn’t hit like other Istapp material. As a result, it eludes the unqualified Doom stamp of approval. Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: <a href="http://trollzorn.de/en/" rel="nofollow noopener" target="_blank">trollzorn.de/en</a> Websites: <a href="http://istappofficial.bandcamp.com" rel="nofollow noopener" target="_blank">istappofficial.bandcamp.com</a> | <a href="http://facebook.com/IstappOfficial/" rel="nofollow noopener" target="_blank">facebook.com/IstappOfficial</a> Releases Worldwide: March 6th, 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/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/borknagar/" target="_blank">#Borknagar</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/immortal/" target="_blank">#Immortal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/istapp/" target="_blank">#Istapp</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/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/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/trollzorn-records/" target="_blank">#TrollzornRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/kryptan-violence-our-power-review/" rel="nofollow noopener" target="_blank">Kryptan – Violence, Our Power Review</a>By TymeAtmospheric black metal band Kryptan is the brainchild of multi-instrumentalist and thirty-plus-year Swedish metal scene veteran Mattias Norrman. Having spent a decade (1999-2009) as the bassist for Katatonia, Norrman is now most known for his guitar work in October Tide and Moondark. Long influenced and fascinated by black metal, however, especially the Norwegian and Swedish scenes of the nineties, Kryptan represents a passion project, providing Norrman an outlet for yet another avenue of extreme exhibition. Formed in 2020 with fellow October Tide and Moondark vocalist Alexander Högbom, Kryptan released a 2021 self-titled EP with Debemur Morti Productions. Blurbily described by new label Edged Circle Productions as ‘children of the plague and enthusiasts of the sinister,’ Kryptan prepares to offer an official statement of intent with its debut album, Violence, Our Power. Having covered Moondark‘s thirty-years-in-the-making debut album,<a href="https://www.angrymetalguy.com/kryptan-violence-our-power-review/#fn-210502-1" rel="nofollow noopener" target="_blank">1</a> I was excited to write my first review with some connective tissue on the bone, which left me with only one question: is Kryptan any good?Kryptan‘s black metal comes draped in the heaviest of Swedish shrouds. Full of dissonantly lilting strums that float and sway among trilly leads and punk-edgy riffs (“Det är döden som krävs”), Norrman tosses in a dash of speedy Dissection (“Violence, Our Power”) here and a sprinkle of Shining (“Vägen til’ våld”) there to spice up the chalice of blood you’ll drink from during the full-on Watainic rite that is Violence, Our Power. Leave the noisome, Rabid Death’s Curse-like rawness in the basement, Kryptan wears its Sworn to the Dark heart on its sleeve, reveling in Lawless Darkness levels of sonic worship. A deftly injected dose of keyboards rounds out Kryptan‘s sonic palette, adding compelling synth-phonics without ever spilling over into complete Ihsahn-mode. And while Christian Larsson’s mix doesn’t leave much room for Norrman’s bassinations to surface,<a href="https://www.angrymetalguy.com/kryptan-violence-our-power-review/#fn-210502-2" rel="nofollow noopener" target="_blank">2</a> there’s a bottom-heavy warmth to the sound on Violence, Our Power that works, allowing Victor Parri’s capable session drum work to drive the synth-infused riffastation. Mattias Norrman’s trachea-crushing grip on conjuring a swanky Swedish black metal sound means Violence, Our Power is an album full of highlights, and still, Alexander Högbom’s vocal performance elevates the package with voracious variety.<a href="https://www.angrymetalguy.com/kryptan-violence-our-power-review/#fn-210502-3" rel="nofollow noopener" target="_blank">3</a> Högbom manifests his inner Erik Danielsson effectively across the entire Violence, Our Powerscape, lending extra menace to the guttural growls of the chorus from “I Hope They Die” to the Kvarforthian wailings of “Vägen til’ våld,” the pain emoted in his languished shouts and howls (“The Miracle Inside” and “Purge”) is all but undeniable. Violence, Our Power is a strong enough album that it would have held its own against anything released in the Swedish scene from 2005 to 2010. While this indicates, nearly fifteen years later, that Kryptan is not at all interested in pushing the boundaries of black metal to new heights, I give them points for executing at such a high level. From the just-enough-to-leave-me-wanting-more runtime of forty minutes to the cover art, a beautifully rendered ink illustration by German occult artist Ikosidio, Violence, Our Power is the total package and would have had me dropping cold hard cash sight unheard back in the day. My critiques, though minor, lie mainly with the unnecessary intro, “The Unheard Plea from Thousands of Broken Hands,” and the sheer derivative veneration of Watain worship on display, which could turn some listeners off.<a href="https://www.angrymetalguy.com/kryptan-violence-our-power-review/#fn-210502-4" rel="nofollow noopener" target="_blank">4</a> I was so impressed by Violence, Our Power that I wondered why it took Norrman so long to execute his black metal vision. Kryptan has not produced anything so groundbreaking as to land at the top of any year-end lists, but I’ll be damned if it’s not worth your time. Those yearning for that pre The Wild Hunt era Watain sound would be well-advised to listen to Kryptan‘s Violence, Our Power. The super catchy chorus of album closer “Let Us End This” will cling to the synapses of your brain long after the album has ended and what better way to end this review than by citing my favorite song, my eyes and ears sharply peeled for what Kryptan does next. Rating: 3.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: <a href="https://edgedcircleproductions.com/" rel="nofollow noopener" target="_blank">Edged Circle Productions</a> | <a href="https://edgedcircleproductions.bandcamp.com/album/violence-our-power" rel="nofollow noopener" target="_blank">Bandcamp</a> Websites: <a href="https://kryptan.bandcamp.com/album/kryptan" rel="nofollow noopener" target="_blank">kryptan.bandcamp.com</a> | <a href="https://kryptan.net/" rel="nofollow noopener" target="_blank">kryptan.net</a> Releases Worldwide: February 14, 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/atmospheric-black-metal/" target="_blank">#AtmosphericBlackMetal</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/dissection/" target="_blank">#Dissection</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/edged-circle-productions/" target="_blank">#EdgedCircleProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kryptan/" target="_blank">#Kryptan</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/shining/" target="_blank">#Shining</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/violence-our-power/" target="_blank">#ViolenceOurPower</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/watain/" target="_blank">#Watain</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/retromorphosis-psalmus-mortis-review/" rel="nofollow noopener" target="_blank">Retromorphosis – Psalmus Mortis Review</a>By SaundersWhen Sweden’s Spawn of Possession drew curtains on their distinguished career in 2017, it spelled the end of one of modern tech death’s finest acts. Bands across the globe flooded the scene in the intervening years, saturating the market to varying degrees of success. Emerging like fresh shoots from the earth in which Spawn of Possession were laid to rest, Retromorphosis features the gold plated pedigree of former Spawn of Possession mainstays Dennis Röndum (vocals), Jonas Bryssling (guitars) and Erlend Caspersen (bass), joining forces with another former SoP member and legendary shredder Christian Muenzner (Necrophagist, Obscura, Alkaloid), and classy, octopus-limbed drummer KC Howard (ex-Decrepit Birth, Odious Mortem). Boasting a bulletproof cast of esteemed metal musicians at their disposal, Retromorphosis appear hellbent on adding their own fresh perspective on the knotty tech death formula SoP made their own throughout their influential career. Debut album Psalmus Mortis naturally comes with lofty expectations and a line-up to salivate over.Right away, it’s difficult to completely separate Retromorphosis from the SoP legacy. Beyond the obviously strong band DNA comes the fact that Retromorphosis share many of the same musical and songwriting traits. That said, it does a disservice to purely pin them as Spawn of Possession 2.0. This new incarnation has some tricks up their collective sleeves, unleashing an intricately constructed storm of cyclonic riffs, technical wizardry, rapid-fire blasts, and complex drum patterns. Similarities aside, Psalmus Mortis contains its own mutated characteristics and is not simply a rehashing of recycled ideas. The songwriting is exciting and inspired. There’s a little more flashy pizzazz in the solo department and more pronounced use of keys and synths adds a touch of epic bombast and sinister atmosphere to otherwise meaty, twisty compositions. However, the technicality does not compromise memorable, song-based writing.Drenched in killer atmosphere and slow-building tension, opening instrumental “Obscure Exordium” crams loads of free-flowing ideas, orchestral touches, and good old-fashioned blasting into its short timeframe. The segue into the aggressive “Vanished” is smoothly executed, shifting gears from a brooding atmosphere to rugged, speedy attacks and whirlwind tempo shifts that define the track. Best absorbed in its entirety, the eight juggernauts boast dynamic variations, remarkable fluidity, and individual character. Robust, progressive-leaning shifts of “The Tree” navigates maze-like complexities through multiple moving parts, deftly maintaining fluency and memorability. Complex, thrashy, and aggressively riffy monster jams “Aunt Christie’s Will” and “Retromorphosis” represent ripping examples of the album’s strengths, exhibited through warped harmonies, lightspeed tempos, headbangable grooves, and grippingly infectious dual axework. “Machine” plunders and steamrolls through nine minutes of chugging riffage, brooding atmospheres, whip-smart tempo shifts, and proggy transitions, making every moment count. Only a couple of tracks fall marginally short of the overall pristine standards, though it’s a consistently gripping front-to-back listen.Whereas some tech death bands fall victim to overindulgence, resulting in the deathly elements becoming afterthoughts, Retromorphosis avoid this pitfall. Thunderous kicks, machine gunning blasts, Röndum’s impactful growls, and the malevolent, sick old school grooves erupting from the labyrinthine arrangements offer resoundingly beefy, aggressive oomph to proceedings. Freakishly skilled talents abound, the musicianship is next-level awesome. Bryssling and Muenzner are a formidable force in the tech realms, delivering a masterclass of staggering technical mindfuckery, bamboozling solos, and an array of striking harmonies, otherworldly melodies, and intricate, catchy tech death riffs. The underrated vox and spitfire growls of Röndum (ex-Visceral Bleeding) lend the album a brutal, old-school edge, while Howard and Caspersen refuse to be overshadowed. The former’s blisteringly intense performance is perfectly matched to the complexity and dynamics of the material. Casperson makes his presence felt at key moments, offering a notable melodic counterpoint and presence. The sharp, punchy sound is polished but contains ample warmth and heft, the breathable master a big plus.Featuring the bulk of the Incurso line-up, Psalmus Mortis is something of a spiritual successor, albeit a sleeker, polished counterpart. While it can’t quite match that modern classic, it’s an immense, dizzying tech-death debut of serious fucking proportions and exemplary musical chops. Retromorphosis more than live up to the dreaded supergroup tag. carrying on and reimagining the legacy of the legendary band in which they spawned. Retromorphosis raise the bar and put the tech death scene on notice in 2025. It’s an exciting prospect to see how Retromorphosis develops and evolves from here. All that’s missing is a Chalky guest spot.Rating: 4.0/5.0 DR: 9 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.season-of-mist.com/" rel="nofollow noopener" target="_blank">Season of Mist</a> Websites: <a href="http://retromorphosisofficial.bandcamp.com" rel="nofollow noopener" target="_blank">retromorphosisofficial.bandcamp.com</a> | <a href="http://facebook.com/retromorphosis.swe" rel="nofollow noopener" target="_blank">facebook.com/retromorphosis.swe</a> Releases Worldwide: February 21st, 2025 MaddogThe 2012 release of Spawn of Possession’s <a href="https://spawnofpossession.bandcamp.com/album/incurso" rel="nofollow noopener" target="_blank">Incurso</a> is Sharpied into my memory. At the time, I had devoured Cabinet and dabbled in Noctambulant but was no expert. Then, a now-defunct <a href="https://www.heavyblogisheavy.com/2012/03/05/spawn-of-possession-incurso/" rel="nofollow noopener" target="_blank">review</a> on <a href="https://www.heavyblogisheavy.com/" rel="nofollow noopener" target="_blank">Heavy Blog is Heavy</a> awarded Incurso a perfect score, arguing that it was the greatest tech-death album ever. Flabbergasted, I gave Incurso a listen. Spawn of Possession’s swansong ratcheted up the band’s technicality while trimming the band’s “Jonas” count from three to one. New guitarist Christian Muenzner (ex-Necrophagist, ex-Obscura, every other band) decorated the album with gorgeous leads. Meanwhile, Erlend Caspersen’s hyperactive bass lines balanced wizardry with finesse followed up with <a href="https://www.youtube.com/watch?v=3PvGJn_MJhA" rel="nofollow noopener" target="_blank">the coolest bass playthrough</a> ever (“The Evangelist”). I grew to adore Spawn of Possession, and their subsequent fizzle-out was heartbreaking. Retromorphosis’ recent inception was equally thrilling. Retromorphosis’ debut Psalmus Mortis aims to resurrect SoP’s legacy and boasts four of the five members of the Incurso line-up. My expectations started out sky-high.BOOM, BANG boom, weedle-weedle skree, BOOM, BANG boom, weedle-weedle-weedle weedle-DOO, BOOM, WEE-bang-DLE-doo—yes, they’re back. Spawn of Possession’s signature sprawls across Psalmus Mortis, and the universe is better off for it. Guitarists Jonas Bryssling and Christian Muenzner offer neither a Viraemian noodle fest nor a monotony of has-been death metal. Rather, their hybrid approach is at once acrobatic, shamelessly melodic, and more riff-centric than Incurso. Retromorphosis’ neoclassical melodies flail and interweave, evoking Necrophagist while wielding both heft and beauty. On the other hand, Psalmus Mortis’ chunky riffs flirt with old-school death metal and even death-doom (“Obscure Exordium,” “Vanished”). Similarly, new drummer KC Howard (Odious Mortem, ex-Decrepit Birth) bludgeons his kit with both class and frenzy, guiding the music through bewildering rhythms. Dennis Röndum’s vocals take a manic Archspiresque approach without sacrificing clarity. Like Spawn of Possession, Retromorphosis uses backing synths and foreboding guitar melodies to set the scene. Landing between Noctambulant and Incurso, Psalmus Mortis’ style feels familiar but fresh.When Psalmus Mortis delivers, it’s a thrill. The album grabs the listener with both its technical gymnastics and its MMA maneuvers. The closer “Exalted Splendour” showcases trapezing Obscura-style leads that balance grandeur and fun, while “Vanished” remains headbangable even through its spastic rhythm changes. Even when Psalmus Mortis resorts to unrestrained noodling, it uses its melodic backbone to avoid getting soggy (“Retromorphosis”). Conversely, the straightforward six-note tremolo riff that underpins “Aunt Christie’s Will” is the record’s most memorable snippet, while the midsection of “Retromorphosis” is tinged with Immolation’s Unholy Cult. Still, Psalmus Mortis’ 42 minutes aren’t consistently engaging. This is partly because of bloat, like the sleepy first half of the nine-minute “Machine.” It’s partly because of a frustratingly muted bass presence from the phenomenal Caspersen. And it’s partly just because certain riffs lack power (“Never to Awake”). Psalmus Mortis is a strong outing, but it sometimes feels more like a purely intellectual exercise than an exciting ride.However, Incurso’s narrative quality remains Psalmus Mortis’ greatest asset. Psalmus Mortis feels like a collection of Poe stories. Retromorphosis’ smooth but dogged plot development defines “The Tree,” a tale of environmental neglect where the protagonist’s escalating missteps are accompanied by escalating musical urgency. Throughout the record, guitar melodies summon suffocating atmospheres, wrenching the mood from awe to terror and back again. Plot twists and masterful storytelling culminate in colossal climaxes, like the dramatic melody that accompanies the narrator’s revelation in “Retromorphosis.” Even as they evolve, Psalmus Mortis’ songs stay tethered to recognizable themes, like the main melody and lyrical refrain that anchor “Aunt Christie’s Will.” Psalmus Mortis’ narrative flow stands unmatched by any genre-mates other than Gorod and Spawn of Possession themselves.Psalmus Mortis isn’t a modern classic, but it’s better than we deserve. Spawn of Possession’s take on death metal has proven to be both immortal and peerless. Retromorphosis’ debut offers an unforeseen glimpse at a style that had seemingly faded into the realm of archaeology. Dips in quality and underuse of Caspersen’s bass prowess hold it back from excellence. But Psalmus Mortis’ blend of XXXXL death metal riffs, dizzying rhythms, and blistering technicality is highly combustible. Most of all, the record’s approach to storytelling stands apart. The last decade taught me that while Spawn of Possession hits hard at first, it improves with age. Come 2030, I may regret underrating this album. Rating: Very Good<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/40/" target="_blank">#40</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/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/decrepit-birth/" target="_blank">#DecrepitBirth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gorod/" target="_blank">#Gorod</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/immolation/" target="_blank">#Immolation</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/obscura/" target="_blank">#Obscura</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/odious-mortem/" target="_blank">#OdiousMortem</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/psalmus-mortis/" target="_blank">#PsalmusMortis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/retromorphosis/" target="_blank">#Retromorphosis</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/season-of-mist/" target="_blank">#SeasonOfMist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/season-of-mist-records/" target="_blank">#SeasonOfMistRecords</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/swedish-metal/" target="_blank">#SwedishMetal</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/viraemia/" target="_blank">#Viraemia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/visceral-bleeding/" target="_blank">#VisceralBleeding</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/apocalypse-orchestra-a-plague-upon-thee-review/" rel="nofollow noopener" target="_blank">Apocalypse Orchestra – A Plague upon Thee Review</a>By TwelveI love Apocalypse Orchestra. When I first came across the Swedish group in late 2017 via their debut, The End is Nigh, our connection was instant—doom metal and folk metal fused together under a medieval lens, boasting lyrics that suggested a genuine effort for historical accuracy. The End is Nigh still makes the strongest claim of any album I’ve heard for the tag of “medieval metal,” and is one of my favorite doom metal albums. I’ve waited patiently for nearly eight years, and, finally, Apocalypse Orchestra are releasing their sophomore full-length, A Plague upon Thee, in which they continue their carefully treaded way down the dismal course of medieval European history.If you’re not familiar with Apocalypse Orchestra, here’s a crash course on their sound. Jonas Lindh (Guitars), Andreas Skoglund (drums), and Rikard Jansson (bass) play mid-paced, somewhat progressive doom meta, similar to King Goat; strong riffs, great ebb and flow, and active play. Then, Mikael Lindström gets involved, adding hurdy gurdy, bagpipes, and mandola, both in lead and supporting capacities, and as primary drivers of melody. The folk instruments add a rustic filter, which is complemented by Erik Larsson (more guitars, more mandola, lute, cittern, vocals), whose singing style is something I can’t quite put into words—his baritone fits the “medieval” theme of A Plague upon Thee with unique grace. His growls are very strong, but used sparsely. All five band members also contribute backing vocals, to phenomenal effect, giving the album an epic undertone. Of course, there’s no keyboard;<a href="https://www.angrymetalguy.com/apocalypse-orchestra-a-plague-upon-thee-review/#fn-212458-1" rel="nofollow noopener" target="_blank">1</a> anywhere one could conceivably be used, the choir shows up instead. Put all of this together, and Apocalypse Orchestra have claim to a unique sound, one they’ve clearly been honing for years.With so many instruments and so much history to work from, A Plague upon Thee does not lack for ideas. “Glass and Sun” tackles religious dominance in the era, letting the bagpipes lead in a stunning display to mirror the worship common from the time. “Tempest” takes its inspiration from Revelations; it is the darkest song on the album and one of its best. Never has a hurdy-gurdy—or Larsson, for that matter—sounded so commanding. This is one of few songs that make use of his cruel growls in a thematically welcome turn, and also one of the few to feature a guitar solo. “Anchorhold” is a mid-paced folk-doom march with a huge chorus that tells the story of a dispirited anchorite. The mournful hurdy-gurdy leads echo their frustration and despair, supported by huge riffs crashing through with modern rage. Apocalypse Orchestra also excel in smaller, subtler moments; the choral melody in “Virago” is so quiet but so effective; similarly, the mandolin in “From the Athanor” is easy to miss, but the verses would be notably different without it. At every turn—musically, lyrically, and thematically—there is careful thought and clear intent throughout A Plague upon Thee.For all that Apocalypse Orchestra does differently than most bands, there are still hallmarks of doom metal alongside their creativity. With the exception of “To Arrive” (a powerful interlude), every song falls between seven and nine minutes long, giving the eight-song album a runtime of just under an hour. As mentioned earlier, Apocalypse Orchestra, and especially Mikael Lindström, know how to keep things interesting, but if there is one critique I can make for A Plague upon Thee, it is that there is a clear formula at work. The band excels with huge choruses, supported by choral vocals; each song has a distinct lead from the hurdy-gurdy or bagpipes; and each song is roughly the same length with a similar design. This is not to say that every song sounds the same—not even close—but most of the excitement happens within a similar formula. More variety in the formula itself might endear A Plague upon Thee to a wider audience because the music itself is nothing short of great.To some extent, the “medieval metal” tag has always been vague—what constitutes medieval influence anyway? But what Apocalypse Orchestra is doing is a clear attempt at genuine authenticity in colliding these two opposing worlds. In this sense, A Plague upon Thee is a triumph. It effortlessly blends folk music, medieval instruments, and modern metal into a captivating whole. I do hope to hear more before another eight years pass—but this will keep me happy if they do. Rating: 4.0/5.0 DR: 8 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://despotz.se/" rel="nofollow noopener" target="_blank">Despotz Records</a> Websites: <a href="http://apocalypseorchestra.bandcamp.com" rel="nofollow noopener" target="_blank">apocalypseorchestra.bandcamp.com</a> | <a href="http://facebook.com/apocalypseorchestra" rel="nofollow noopener" target="_blank">facebook.com/apocalypseorchestra</a> Releases Worldwide: February 14th, 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/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/a-plague-upon-thee/" target="_blank">#APlagueUponThee</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apocalypse-orchestra/" target="_blank">#ApocalypseOrchestra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/despotz-records/" target="_blank">#DespotzRecords</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/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/folk-metal/" target="_blank">#FolkMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/king-goat/" target="_blank">#KingGoat</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/medieval-metal/" target="_blank">#MedievalMetal</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/swedish-metal/" target="_blank">#SwedishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/novarupta-astral-sands-review/" rel="nofollow noopener" target="_blank">Novarupta – Astral Sands Review</a>By CarcharodonNovarupta’s Astral Sands is the fourth and final part of a tetralogy based on the elements fire, water, air, and earth. Covering the ‘earth’ part of that equation, Astral Sands follows ‘air,’ which came in the form of 2022’s Carrion Movements. A departure from previous outings, that album was an instrumental piece, comprising just two sprawling compositions but was executed so well that I couldn’t help but award it a 4.0. Astral Sands sees Novarupta not only reintroduce the vocals but return to the model seen on the series’ first two installments, Disillusioned Fire and Marine Snow, respectively, working with a different vocalist for each track on the album. Despite this choice having the potential to sap cohesion, to date Novarupta has somehow made it work. Can the band see out its ambitious series on a high?Compared to the ethereal grandeur and restraint of Carrion Movements, there is an instant sense of presence and immediacy to Astral Sands from the off, even on instrumental intro “Ensamstående: Enastående.” The whole record combines a heavily distorted sound, that borders on sludge in the atmosphere it generates, without actually delivering sludge in the music (opening of “Seven Collides” or the back half of “Terraforming Celestial Bodies,” for example). In that sense, there’s something of Bossk’s Migration about it. Paired with upbeat drumming that borders on d-beat in places (closer “Now We are Here (at the Inevitable End)” or “The Clay Keeps”), Novarupta has a propulsive energy throughout that is at odds with much of their previous output, which is often ponderous and slow build. Even as Novarupta descend into morose trad doom a la Tiamat (“Breathe Breathe,” with vocals from Patrik Wirén of Misery Loves Co.) there’s a shimmering lightness to the guitars, enhanced by the synths, which slide from left to right and back again in the mix, that keeps the whole surprisingly vibrant.Inevitably, with an album that changes vocalist on eight of its nine tracks (with one instrumental number), your enjoyment of Astral Sands will vary somewhat track by track, according to whose voice you like best. The indisputable highlight of the piece—at least for me and it’s my review, so it’s indisputable for present purposes—is closer, “Now We are Here (at the Inevitable End),” which finds Martin Wegeland of Domkraft on mic duties. Initially airy, vulnerable, and breathy in his delivery, by the end of the track and, therefore, the album, Wegeland hits the sort of manic intensity and urgency that I look for in the likes of Julie Christmas. Other standouts include the almost poppy “Endless Joy” and “Terraforming Celestial Bodies,” with the latter (featuring Greanleaf’s Arvid Hällagård on vox) nodding towards The Cure.<a href="https://www.angrymetalguy.com/novarupta-astral-sands-review/#fn-212289-1" rel="nofollow noopener" target="_blank">1</a>Throughout the shifts in pacing and mood on Astral Sands, driven principally by the ever-changing vocal line-up, there’s a consistency in the sound, which knits together Novarupta’s songwriting. Whether it’s the lush post-metal guitars and bass groove (“Cosmographia”), or the spangly, fizzing synths, there’s a through line to the record that holds it together. It also helps that the various singers adopt a broadly comparable approach, with no harsh vocals on show and most taking a slightly distant, almost 80s-synthwave approach to their delivery. The production throughout, presumably to deliver that earthy feel, leans heavily into fuzz and distortion at the front of the soundstage, even though there’s an almost crystalline quality to some of the soundscapes and melodies behind that.To be honest, I had no idea what to expect from Astral Sands. I had been tipped off in advance that the vocals were back but had resolutely resisted listening to the singles. And I’ll admit I was nervous. While I enjoyed Marine Snow, for me the highlight of Novarupta’s catalogue was Carrion Movements, where the abandonment of ever-shifting vocalists allowed mainmen Alex Stjernfeldt and Arjen Kunnen to focus on their compositions, which were huge in scope and delicately executed. On Astral Sands, the pair have reverted to their previous model, while learning from what they delivered on Carrion Movements. Although the album is structured as nine tracks, there is flow and a sense of grandeur to it, which builds on Carrion Movements. Even the bookending of the album, with reflected similarities between the start of sonorous opener “Ensamstående: Enastående” and more intense closer “Now We are Here (at the Inevitable End),” highlights this. More than a worthy closing movement in Novarupta’s tetralogy, Astral Sands is the pick of the series. Rating: 4.0/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.suiciderecords.se/" rel="nofollow noopener" target="_blank">Suicide Records</a> Website: <a href="http://facebook.com/novaruptaband" rel="nofollow noopener" target="_blank">facebook.com/novaruptaband</a> Releases Worldwide: February 14th, 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/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alternative-metal/" target="_blank">#AlternativeMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ambient-metal/" target="_blank">#AmbientMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/astral-sands/" target="_blank">#AstralSands</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bossk/" target="_blank">#Bossk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/domkraft/" target="_blank">#Domkraft</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/geenleaf/" target="_blank">#Geenleaf</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/julie-christmas/" target="_blank">#JulieChristmas</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/misery-loves-co/" target="_blank">#MiseryLovesCo_</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/novarupta/" target="_blank">#Novarupta</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/suicide-records/" target="_blank">#SuicideRecords</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/the-cure/" target="_blank">#TheCure</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tiamat/" target="_blank">#Tiamat</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/the-night-flight-orchestra-give-us-the-moon-review/" rel="nofollow noopener" target="_blank">The Night Flight Orchestra – Give Us The Moon Review</a>By Mystikus HugebeardAs the youngest writer currently staffed at and embarrassing the great AMG lineage, I glean real pleasure at the irony of me reviewing The Night Flight Orchestra (NFO). I mean, NFO is basically “Hey the 80’s called, they want their music back” whereas I’m smack in the later part of “only 90’s kids remember this,” blessedly not part of the “skibidi” generation by a couple of years. Pimply little scamp though I might be, I fucking love NFO, which just goes to show that all ages are vulnerable to the raw magnetism of that slick, sexy 80’s sound. Pumping synths, dancing guitars, bodacious vocals, and big n’ burly mustaches; that’s what I’ve been comin’ to NFO for since 2017’s Amber Galactic, and I’m happy to say that in Give Us The Moon, NFO gives more of exactly what I want, and what all of you damn well should want.Anyone who’s heard NFO before already knows what to expect on Give Us The Moon, but allow me to break it down for any newbies who, having never heard NFO, have probably never felt joy a day in their life: NFO plays extremely fun rock n’ roll pulled straight from the 80’s, characterized by infectious energy, memorable choruses, and the killer vocals by Bjorn “Speed” Strid.” An arbitrary but fun trend I’ve noticed in determining the quality of an NFO album lies in how hard a respective album’s third song goes. In the past we’ve had iconic jams like Amber Galactic’s “Gemini,” Sometimes The World Ain’t Enough’s “Paralyzed,” and Aeromantic’s “Divinyls.” Give Us The Moon earns its place alongside these albums with the instant classic “Like The Beating of a Heart” (since I don’t count the scene-setting intro song). The synth intro bursts into a deliriously funky synth/guitar line, leading into a verse where the drums maintain a momentum that keeps your head nodding like clockwork. Then the chorus explodes with an unforgettable melody, the kind where you can’t help but try and sing along despite not knowing a damn word. It’s fun, it’s exciting, it leaves me with a stupid grin; it’s NFO, baby!The entirety of Give Us The Moon basically feels like a smorgasbord of the many hats (or aviators, I guess) NFO wears with extreme style. You’ve got tracks that ooze with romantic camp (“Paloma,” “Runaways,” “Way to Spend the Night”), straightforward rock n’ rollers (“Stratus,” “Melbourne, May I?”), or songs that dial up the funk to reach critical funk (“A Paris Point of View,” “Miraculous”). The album’s first single, “Shooting Velvet,” is a particularly kickass tune with a lethally catchy chorus and a tasty guitar solo I wish was about four times as long. “Paloma” is an instant winner as well, with a dramatic escalation of big guitar chords and synths sounding like the climactic catharsis of that scene in the romance movie where they finally smooch. The consistently high quality of Give Us The Moon’s tracklist makes it exceptionally easy to just throw on without a second thought and before you know it an hour has passed.Speaking of an hour passing, if I were to complain about anything in Give Us The Moon, it’s that it does feel just a little long. Even though there’s never really a point in Give Us The Moon where I feel compelled to skip, I do struggle to retain some tracks like “Miraculous” or “Cosmic Tides” even after several listens. Furthermore, I’m a little torn on Give Us The Moon’s closer, “Stewardess, Empress, Hot Mess (and the Captain of Pain). In addition to it’s ultra tubular title, it’s a dynamic and adventurous track that unquestionably ends the album on a high note. But I find it lacks the staying power and hyper-catchy hooks that enamored me to practically any of NFO’s previous closing songs. But as basically anyone who’s reviewed NFO before me has expounded upon, NFO at their worst is still pretty damn good.Give Us The Moon is everything I want from an NFO record, and was a blast of excitement after I was a little underwhelmed with Aeromantic II. Once Give Us The Moon is over, the only thing I’m thinking is a resounding “fuck yeah, dude.” It’s the product of a band who has nailed their sound and songwriting down to an extremely sexy science and is bound to contain a couple of favorite tunes for any NFO fan out there. And if this is your first NFO album, I’m glad to be the one to deliver joy unto you for the first time. Rating: 3.5/5.0 DR: n/a | Format Reviewed: Stream Label: <a href="https://label.napalmrecords.com/" rel="nofollow noopener" target="_blank">Napalm Records</a> Websites: <a href="https://thenightflightorchestra.com/" rel="nofollow noopener" target="_blank">official</a> | <a href="https://www.facebook.com/thenightflightorchestraofficial/" rel="nofollow noopener" target="_blank">facebook</a> | <a href="https://thenightflightorchestra.bandcamp.com/album/give-us-the-moon?from=search&search_item_id=3489321372&search_item_type=b&search_match_part=%3F&search_page_id=4082017165&search_page_no=1&search_rank=1&search_sig=e2158579d0d6e77ff36dbdf4e262477e" rel="nofollow noopener" target="_blank">bandcamp</a> Releases Worldwide: January 31st, 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/aeromantic/" target="_blank">#Aeromantic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aeromantic-ii/" target="_blank">#AeromanticII</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/album-oriented-rock/" target="_blank">#AlbumOrientedRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amber-galactic/" target="_blank">#AmberGalactic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/give-us-the-moon/" target="_blank">#GiveUsTheMoon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hard-rock/" target="_blank">#HardRock</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/napalm-records/" target="_blank">#NapalmRecords</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/sometimes-the-world-aint-enough/" target="_blank">#SometimesTheWorldAinTEnough</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/the-night-flight-orchestra/" target="_blank">#TheNightFlightOrchestra</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/moondark-the-abysmal-womb-review/" rel="nofollow noopener" target="_blank">Moondark – The Abysmal Womb Review</a>By TymeThirty years is a long time to spend brewing up a debut album, but for Sweden’s Moondark, it’s taken precisely that. Neither the result of sloth nor overwrought perfectionism, Moondark‘s cadre of musicians—composed of current members from Interment and October Tide—have put in plenty of work during this time, contributing to some of Sweden’s heaviest hitters like Katatonia, Centinex, Necrophobic and the tragically short-lived Trees of Eternity.<a href="https://www.angrymetalguy.com/moondark-the-abysmal-womb-review/#fn-207654-1" rel="nofollow noopener" target="_blank">1</a> Not so hot on the heels then of their independently released Demo #1 in 1993, which Xtreem Music reissued as The Shadowpath in 2015, Moondark and label Pulverised Records are finally ready to serve up debut proper The Abysmal Womb to the masses. Will it shine brightly as a beacon at night, or would it be better for this lunar body to remain eclipsed?Moondark trades the HM2 pedals and melodicism of their day jobs for a pummeling, straightforward death-doom style on The Abysmal Womb. Solo-less and stripped of technicality as it is, the simple harmonized leads layered over crushing power chords rend the ears and do most of The Abysmal Womb’s damage. Johan Jansson’s and Mattias Norrman’s deliberately restrained yet devastating guitar work conjures strong Bolt Thrower vibes (“Suffer the Dark,” “Infernal Genocide”), as well as whiffs of Bloodbath (“Palliative Dusk”) and sludgy sprinklings of early Crowbar (“Sterile Earth”). Combined with Allan Lundholm’s beefy bass lines and Kennet Englund’s crushing drums, Moondark leaves listeners battered and bruised, as if having survived a ruthless session of sledgehammer flagellation.Don’t let its near holiday release fool you, there’s no joy within the cavernous confines of Moondark’s creation. The Abysmal Womb’s opening salvo is a one-two punch to the solar plexus and the album’s highlight. “Where Once Was Life,” with its almost Cathedral-esque doom bluesy swagger, will have your head bobbing and your face stanking while the dismal dirge of follow-up “Suffer the Dark” steamrolls you into submission under tank treads of skull-crushing riffs. You’ll be left pining for General Willets and his army of Warmasters to come to the rescue as The Abysmal Womb continues to march, one boot-stomping riff after another. Decimating the last bastion of hope then, and perfectly placed in Peter Bjärgö’s warm and hearty mix are the brutishly discernible growls and icy rasps of vocalist Alexander Högbom, whose Peter Tätgren-does-Ofermod delivery solidifies the relentless atmosphere Moondark is trying to achieve.However, as The Abysmal Womb crawls past its midpoint, it becomes painfully clear that the horse has been annihilated, yet the beatings continue. Moondark’s firm commitment to plodding pace and nothing-but-bludgeoning riff patterns sees fatigue set in by the end of “Infernal Genocide,” rendering the remainder of The Abysmal Womb a nearly indistinguishable collection of mid-paced riffs as opposed to individually diverse songs. And while I wouldn’t categorize The Abysmal Womb as overtly bloated at just over forty-six minutes, it could benefit from some sloughing. The final track, “Immersed to Crypts,” is the prime example of trimmable fat; with its funeral-like pace and near eight-minute run time—two minutes of which are an ambient outro—spoiling what could have been a stronger outing had the album concluded with the title track.Scouring the promo pit in December can be tricky, and if you asked me whether I’d enjoy an album made up entirely of mid-paced Bolt Thrower-core and “Eaten”-like Bloodbathery I would immediately tell you, “Hell yes!” But too much of a good thing can sometimes be too much. The Abysmal Womb is a good album, but it suffers under the weight of its commitment. With a dash of the speedy ferocity from Interment and a pinch of October Tide’s melodicism, Moondark might have a masterpiece in its future; the cachet of its members suggests as much. I just hope we don’t have to wait another thirty years to find out. Rating: 3.0/5.0 DR: 9 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.pulverised.net/" rel="nofollow noopener" target="_blank">Pulverised Records</a> Websites: <a href="https://moondark666.bandcamp.com/album/the-shadowpath" rel="nofollow noopener" target="_blank">moondark666.bandcamp.com</a> | <a href="https://pulverised.bandcamp.com/" rel="nofollow noopener" target="_blank">pulverised.bandcamp.com</a> | <a href="https://www.facebook.com/moondark666/" rel="nofollow noopener" target="_blank">facebook.com/moondark666</a> Releases Worldwide: December 20th, 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/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bloodbath/" target="_blank">#Bloodbath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bolt-thrower/" target="_blank">#BoltThrower</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crowbar/" target="_blank">#Crowbar</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/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/moondark/" target="_blank">#Moondark</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pulverised-records/" target="_blank">#PulverisedRecords</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-metal/" target="_blank">#SludgeMetal</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/the-abysmal-womb/" target="_blank">#TheAbysmalWomb</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. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ainsi-finit-le-jour/" target="_blank">#AinsiFinitLeJour</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/analepsy/" target="_blank">#Analepsy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/annihilist/" target="_blank">#Annihilist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/architects/" target="_blank">#Architects</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/asphyx/" target="_blank">#Asphyx</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atmospheric-black-metal/" target="_blank">#AtmosphericBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/australian-metal/" target="_blank">#AustralianMetal</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/bong-ra/" target="_blank">#BongRa</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/born-of-osiris/" target="_blank">#BornOfOsiris</a> <a rel="nofollow 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Angry Metal Guy<a href="https://www.angrymetalguy.com/avatarium-between-you-god-the-devil-and-the-dead-review/" rel="nofollow noopener" target="_blank">Avatarium – Between You, God, the Devil and the Dead Review</a>By Steel DruhmAs a hardcore Candlemass enthusiast,<a href="https://www.angrymetalguy.com/avatarium-between-you-god-the-devil-and-the-dead-review/#fn-210238-1" rel="nofollow noopener" target="_blank">1</a> I was predestined to love Leif Edling’s spinoff project, Avatarium. Featuring Leif’s original doom alchemy and the truly awe-inspiring vocals of Jennie-Ann Smith, there was a lot to love about them. The debut had enough nods to Candlemass to satisfy, and <a href="https://www.angrymetalguy.com/avatarium-the-girl-with-the-raven-mask-review/" rel="nofollow noopener" target="_blank">The Girl With the Raven Mask</a> began to build a unique entity, fusing ’70s psychedelic rock, prog, and jazzy cabaret coolness into the doom foundation. Each subsequent album had its own thing going on with the doom element waxing and waning according. 2022’s <a href="https://www.angrymetalguy.com/avatarium-death-where-is-your-sting-review/" rel="nofollow noopener" target="_blank">Death, Where is Your Sting</a> was the first album without Leif Edling and it ended up their least “metal” outing, often feeling like an early ’70s rock release close to Jefferson Airplane. It was still an enjoyable spin, but the heaviness factor was minimal. This left me longing for the older, more forceful sound and hoping for more actual metal. Now we get Between You, God, the Devil and the Dead. Will the scales rebalance and put things right, or has the slide into retro rock intensified?Between is a slightly heavier album than Death, Where is Your Sting, with a few rougher edges to the ’70s rock-oriented sound, but it’s far from a return to the band’s early days. However, it’s still a tremendous showcase for the massive vocal talents of Jennie-Ann Smith, and the lady could sing me a Chinese take-out menu and still hold my rapt attention. The songs run the gamut of ’70s hard rock, delta blues. jazz cabaret fare and sometimes, actual doom, but I’d be hard-pressed to claim this is a metal album. Opener “Long Black Waves” is a cool blend of ’70s rock and classic doom with Jennie-Ann leading the way with her pristine, soulful vocals supported by oceans of retro organ work and restrained but toothsome lead work. It’s an instant winner and sticks like hot tar in long hair with a sullen but sultry hypnotic attraction. “Being With the Dead” is about as close to a call back to their debut as Avatarium gets these days, and the song is legitimately doom and fairly heavy too. There’s tons of Deep Purple-centric organ abuse coursing through the song and the riffs recall Sabbath’s “Buried Alive” a bit too closely at times.The remainder of Between shows off the band’s “softer” side. “I See You Better in the Dark” is an upbeat, Delta blues-inflected mood rocker, with Jennie-Ann impressing as always though the song needs more oomph and punch. “My Hair is on Fire (But I’ll Take Your Hand)” approaches Messa’s cozy cabaret energy and it’s good but doesn’t fully stick with me. The closing title track is a schmaltzy emo-ballad that smacks of the excesses of Jim Steinman-era Meat Loaf and it’s a bit much. Toss in an instrumental with a greater doom-focus than the surrounding cuts and you have a slightly frustrating listen if you hoped for more metal tuneage. Keeping most songs in the 3-5 minute window with fairly tight writing aids the album’s flow, and Jennie-Ann can elevate pretty much anything to likable, but this isn’t the Avatarium I fell in love with originally. I find myself desperately wishing for more crunch and power and in the end, I’m a bit bored by the band’s output for the first time.I’ve raved about Jennie-Ann on enough reviews to feel like I’m beating a dead horse, but the woman has a one-of-a-kind voice and can fit into almost any style and sound great. With Leif gone, she’s the center of gravity for the band, and rightly so. She’s got a love it or really love it voice and it’s hard to find fault in anything she does. Marcus Jindell (ex-Royal Hunt, ex-Evergrey, ex-Soen) is a gifted riff crafter capable of creating a wide spectrum of moods, often looking to 70s rock for inspiration. He’s on his game as usual here, though he dips into the metal pond too sparingly for my tastes with only a few big doom leads surfacing. Former Candlemass keyboardist Rickard Nilsson provides a lot of 70s-centric organ noodling to flesh out the various soundscapes the band dabbles in, and he hits the Deep Purple button early and often for some Moog rocking fun.There’s a wealth of talent and interesting music here, I guess I just want them to trend heavier when that isn’t their predilection anymore. Between is a solid slab of ’70s rock worship with a few high points, but this isn’t something I see myself returning to much, just as I rarely spin their last album. I’ll keep checking in on future releases though, because Avatarium could do something special and I’d hate to miss it.Rating: 3.0/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.afm-records.de/en/" rel="nofollow noopener" target="_blank">AFM</a> Websites: <a href="https://www.instagram.com/avatariumofficial/" rel="nofollow noopener" target="_blank">instagram.com/avatariumofficial</a> | <a href="https://www.facebook.com/avatariumofficial" rel="nofollow noopener" target="_blank">facebook.com/avatariumofficial</a> Releases Worldwide: January 24th, 2025 Dolphin WhispererEvery now and then a band rolls around featuring a one-of-a-kind performer that near regardless of their choices will keep them in good graces. In the case of Swedish doom-rockers Avatarium, this kind of star rests in none other than premier vocalist Jennie-Ann Smith. Her penchant for powerful, highly enunciated, and frightfully fragile deliveries mirrors no one else in the active metal world today, allowing Avatarium to live as morphing and thoughtful riff-based support for her wiles. Mostly anyway, as Avatarium’s Candlemassive roots with doom maestro Leif Edling had raised them in a lumbering, Sabbathian tradition. But starting with Edling’s complete step away from songwriting for 2022’s Death, Where Is Your Sting and into this newest Between You, God, the Devil and the Dead, Avatarium has forged a path steeped in their own emotional rock rather than just fat, evil riffage. An omission of true metal, though, does not necessary spell out a bad time.<a href="https://www.angrymetalguy.com/avatarium-between-you-god-the-devil-and-the-dead-review/#fn-210238-2" rel="nofollow noopener" target="_blank">2</a>Fortunately for Avatarium, the husband wife duo of guitarist (and cellist and pianist) Marcus Jidell (ex-Royal Hunt, ex-<a href="https://www.angrymetalguy.com/angry-metal-guys-top-10ish-records-o-2017/" rel="nofollow noopener" target="_blank">Soen</a>) and Ms. Smith continues to provide a beyond steady songwriting flair, even if it isn’t quite of the epic and crushing variety. Choice intros like jagged crunch of “Long Black Waves” or the rolling tom thunder of “Until Forever and Again” bellow in a familiar, foreboding manner the ambience of all things smoke-filled and brooding. But rather than lean on amplified fuzz for dramatic impact, a comfortable and punchy master highlights stadium weight kicks and growling organ underpinnings to frame a grooving sway and occult atmosphere around Jidell’s bluesy licks and Smith’s Heartfelt croons. No matter the influence, Avatarium sounds huge.Though retro has always been the flavor of Avatarium’s grand plans, Between wears more proudly than past outings a Coverdale/Hughes-era Deep Purple aura in its bones. From the bass-led swagger of “I See You Better in the Dark,” complete Smith’s blue-eyed soul, stomping verses, to the psychedelic instrumental “Notes from the Underground,” a constant burn of attitude-toned string bends and snaking neoclassical charms color Avatarium’s unique personality. And though Heart comes as an easy comparison for the power balladry of cuts like “My Hair Is on Fire” and “Lovers Give a Kingdom to Each Other,” there’s a panache to the guitar-forward nature and careful vocal escalations that reminds of 70s Scorpions before the arena took over their more psych-leaning sound. Returning keyboardist Rickard Nilsson (of <a href="https://www.angrymetalguy.com/avatarium-hurricanes-and-halos-review/" rel="nofollow noopener" target="_blank">Hurricanes</a> and <a href="https://www.angrymetalguy.com/avatarium-the-fire-i-long-for-review/" rel="nofollow noopener" target="_blank">The Fire I Long For</a>) provides that extra cherry on top with hissing Hammond and blipping Nord flurries that provide the low end with an oscillating swell that sizzles under Smith’s sultry lines.The path that Avatarium follows is well-worn, right down to the conflicting mood that arises from the monstrously squishy but nonetheless sticky serenade that closes Between. Similar to the gentler mood of preceding album Death, nuance in the recording of Smith’s vocalizations tether an interest just as much as the inherent fortitude of her proudest offered crescendos. Forceful “p” pushes, slithering and tooth-whistling sibilant crackles, and tickling fricative “f” squishes (especially on titles that feature the “f” like “Until Forever and Again”) pepper the texture of every passing lyric. Smith tonally is already a joy to the ears, and the attention to detail that twists letters into moments elevates the experience of lesser passages. While it’s true that I don’t necessarily want to listen to sappy credits roll title track, I can’t help but pay attention when Smith rests so elegantly over its cloying construction.It’s a rare talent that a band like Avatarium, who actively makes musical choices that are at odds with my listening desires, continues to make compelling collections of songs that I want to hear again and again. In this case, though, the closer might be a little too sweet in the tooth still—and signaled in an odd manner after the vibey instrumental piece. Yet as part of a greater whole, Between You, God, the Devil and the Dead possesses a classic trajectory and classy ensemble of killer tunes. The power of doom may no longer much reside in the foot-tapping thump of Avatarium’s catchy shuffle, but volume and repetition assists its enjoyment all the same.Rating: 3.5/5.0 <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/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/afm-records/" target="_blank">#AFMRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/avatarium/" target="_blank">#Avatarium</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/between-you-god-the-devil-and-the-dead/" target="_blank">#BetweenYouGodTheDevilAndTheDead</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-sabbath/" target="_blank">#BlackSabbath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/candlemass/" target="_blank">#Candlemass</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-where-is-your-sting/" target="_blank">#DeathWhereIsYourSting</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deep-purple/" target="_blank">#DeepPurple</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/hard-rock/" target="_blank">#HardRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heart/" target="_blank">#Heart</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-metal/" target="_blank">#HeavyMetal</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/jefferson-airplane/" target="_blank">#JeffersonAirplane</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/messa/" target="_blank">#Messa</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/scorpions/" target="_blank">#Scorpions</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/the-girl-with-the-raven-mask/" target="_blank">#TheGirlWithTheRavenMask</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/century-sign-of-the-storm-review/" rel="nofollow noopener" target="_blank">Century – Sign of the Storm Review</a>By HoldeneyeThere’s something so magical about epic traditional metal. Of course, I could be speaking about the genre’s sword and sorcery themes, but I actually mean it in a much larger sense. So much of today’s metal is unmistakably modern in the way that it is produced, played, and marketed, and, yes, I enjoy a ton of this perfectly polished output. But it’s so much fun to have a sub-genre of our favorite music that not only transports us back decades in time through conscious aesthetic choices but also teleports us to another universe where might and magic reign supreme. Fortunately for fans of epic metal like myself, there is a mighty host of modern bands assembling on the field to carry on the work that arguably began with Rainbow’s “Stargazer” and was unquestionably perfected by bands like Manowar, Cirith Ungol, and Manilla Road. This host aims to expand the borders of the empire founded by those mighty forbears, and by all accounts, many of these fresh reinforcements, whom some like to refer to as the New Wave of Traditional Heavy Metal, seem poised for a breakthrough.Founded in 2020, Sweden’s Century are relatively new recruits, but the success of their campaign already speaks for itself. The band’s 2023 debut, The Conquest of Time, was a fantastic platter of traditional, verging-on-epic metal, and follow-up Sign of the Storm picks up right where it left off. Obviously influenced by some of the bands mentioned above, plus usual suspects like Maiden and Priest, Century themselves would probably add fellow Swedes Heavy Load to their roster of stylistic ancestors. They do all of these inspirations proud by playing an incredibly authentic, diverse, and well-executed version of a classic sound. Their songwriting, style, and production aesthetic are so authentic, in fact, that you’d be forgiven if you were to listen to Century and surmise that they were an early influence on Satan, even if the converse is likely true. Press ‘play’ on embedded single and album opener “Sacrifice,” and feel yourself being transported back to the late 70’s/early 80’s, a time when heavy music was genre-fluid and could morph between hard rock, heavy metal, and early forms of speed and power metal in the blink of an eye.That stylistic fluidity is one of the things that makes Sign of the Storm so much fun. On any given track, Century might be cruising through NWoBHM territory (“Children of the Past” or “Possessed by the Night”), accelerating into pure speed metal (“Necromancer” or the aforementioned “Sacrifice”), or slowing down and taking a turn for the epic (“Chains of Hell” and “Fallen Hero”). 70’s rock rears its mustachioed face when Century suddenly sounds like a metalized Blue Öyster Cult on the catchy-as-hell “Fly Away” and “No Time for Tomorrow.” All this variety allows for the potential for a disjointed, forced affair, but these guys flow in and out of each style so convincingly that they all blend together into one delicious, cohesive sonic smoothie.I was surprised to learn that Century is comprised of just two talented gentlemen, and I think that’s because the production on Sign of the Storm is just so damn pristine and old-school. The album sounds like it’s 40-plus years old, so my brain was imagining a full band recording these tunes in a studio. But no, it’s just Staffan Tengnér (vocals/guitars) and Leo Ekström Sollenmo (drums/bass), and yes, they absolutely nail their performances. Tengnér’s voice is smooth, yet deceptively powerful, and it matches all of Century’s different moods perfectly—and his classic metal/rock guitar work is simply a delight to behold. My complaints with the record are few and minor. I might switch up the track order a little, the middle of the album takes a slight dip in quality on “Chain of Hell,” and the closing instrumental, while excellently played, feels like an optional bonus track as penultimate number “Possessed by the Night” would have ended the album perfectly. But then again, who doesn’t want to have a little high-quality Maiden worship to walk them to the door on the way out?I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year, and with Sign of the Storm, Century have set the bar pretty high for all subsequent challengers. This album channels its source material with such effortless swagger that it may lull you into a false sense of security. Don’t miss the signs, or this traditional tempest might blow you away. Rating: 3.5/5.0 DR: 9 | Format Reviewed: 320 kbps mp3 Labels: <a href="https://dying-victims.de/" rel="nofollow noopener" target="_blank">Dying Victims Productions</a> | <a href="https://electricassaultrecords.bandcamp.com/" rel="nofollow noopener" target="_blank">Electric Assault Records</a> Websites: <a href="http://centuryswe.bandcamp.com" rel="nofollow noopener" target="_blank">centuryswe.bandcamp.com</a> | <a href="http://facebook.com/centuryswe" rel="nofollow noopener" target="_blank">facebook.com/centuryswe</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/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blue-oyster-cult/" target="_blank">#BlueOysterCult</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/century/" target="_blank">#Century</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cirith-ungol/" target="_blank">#CirithUngol</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dying-victims-productions/" target="_blank">#DyingVictimsProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/electric-assault-records/" target="_blank">#ElectricAssaultRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-load/" target="_blank">#HeavyLoad</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-metal/" target="_blank">#HeavyMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/iron-maiden/" target="_blank">#IronMaiden</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/judas-priest/" target="_blank">#JudasPriest</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/manilla-road/" target="_blank">#ManillaRoad</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/manowar/" target="_blank">#Manowar</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nwobhm/" target="_blank">#NWOBHM</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rainbow/" target="_blank">#Rainbow</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/satan/" target="_blank">#Satan</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sign-of-the-storm/" target="_blank">#SignOfTheStorm</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swedish-metal/" target="_blank">#SwedishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/jarnbord-filmer-for-blinda-review/" rel="nofollow noopener" target="_blank">Järnbörd – Filmer för blinda Review</a>By Dolphin WhispererThough every album lands into our grabby hands with a visual artistic adornment of some sort, and that representation may reflect in the music to varying extents, a lot of compositions don’t rely on the strength of that accompaniment for a full impact. To an extent, our eyes get the opportunity to shop before our ears in the modern day, with absurd band names and grand images (or conversely, the rejection of AI images) standing on lists and tag trees as important first impressions where a faceless radio single may have filled in before. Järnbörd takes the idea a step further using their own narrative recordings to adorn their grind-loaded messages with a fun cinematic flair—Filmer för blinda (films for the blind) indeed. I don’t speak a lick of Swedish though, so I haven’t the slightest clue what they’re saying. But that’s the beauty of mood and a killer riff, right?On past affairs like their 2021’s Gör Om, Gör Fel, Järnbörd boasted a blackened punk feel in line with their countrymen in Martyrdöd, though finding a little more pleasure still in recorded diatribes and even harsh electronics remixes to accompany. These Malmö-based miscreants fancy themselves on the experimental side, with the noise-minded cuts and misanthropic monologues presenting like the abstract nature of Need to Control (Brutal Truth) grind or the bass-loaded paranoia of Die Kreuzen. Where Järnbörd before had harbored a tight and familiar sound, Filmer för blinda leans into exploring a romping metalpunk outing enriched by switchboard textures and analog manipulations. Though we can’t glean a vision into the meticulous layering that these Swedes have put into the various layers of electronics and growling instruments that adorn this careful work, Järnbörd’s detail flows through how rockin’ the complete package remains.No matter how experimental Filmer för blinda turns in its twists down hypnotic asides and moody sermons, Järnbörd brings with them an interesting array of screaming, punky riffage. Finding easy breakaways down blasting and d-beating lanes, bassist Dan Widing<a href="https://www.angrymetalguy.com/jarnbord-filmer-for-blinda-review/#fn-207627-1" rel="nofollow noopener" target="_blank">1</a> (Pyramido, ex-Crowpath), much like he did <a href="https://www.angrymetalguy.com/hatchend-summer-of-69-review/" rel="nofollow noopener" target="_blank">last year</a> with crusty ensemble Hatchend, barrels through accompanying amp lines and alongside relentless barks to tear a wanting pit apart (“Gärning Och Lidande,” “Filmer för Blinda,” “Okomplicerad”). But unlike that faraway Summer of ’69,<a href="https://www.angrymetalguy.com/jarnbord-filmer-for-blinda-review/#fn-207627-2" rel="nofollow noopener" target="_blank">2</a> Filmer för blinda wears a more spacious mix that scales well with the crank in volume it deserves. And letting that loudness fly allows Järnbörd’s jangly guitar character to rattle a psychedelic vibe when the beat breaks more industrial and motorik-like (“Rockens Heraldik,” “Flickan i snön”), even finding a brief Morbid Angel chuggening before tripping back into mosh land (“Dött format”).Continued enjoyment of Filmer för blinda has allowed its quick quips of manufactured atmosphere to creep in as a necessary part of the experience. With most songs dedicating a majority of runtime to ripping and rolling with shouty fervor, the brief noise fizzles and spoken word clips that pepper the first few tracks don’t ever feel overbearing in exposition to the Järnbörd vision. And with one body dedicated to turning dials and crafting oscillating chirps and bleeps,<a href="https://www.angrymetalguy.com/jarnbord-filmer-for-blinda-review/#fn-207627-3" rel="nofollow noopener" target="_blank">3</a> the synth integration in the most engrossed tracks feels lively and natural (“Rockens Heraldik,” “Dött format,” “Nu kör vi”). Additionally, Järnbörd invites a wide range of guests to add their unique voices to different recitations—an eerie reading here, a wailing hardcore lashing there (Anna Wagner of Dead Sleep on “Flickan i snön”), and bright harmonized backings abound—which helps this small package of grind feel like a pinball machine that just keeps spitting balls into play.In its consistency and commitment to self-expression, Filmer för blinda serves a sneaky slab of grind that solidifies Järnbörd as an eclectic, interesting outfit. Part of the success in Järnbörd’s attitude comes in the simplicity of their total assault, albeit refined and reinforced with a monstrous bass identity, a classically manic lead throat, and a thoughtful application of outsider influences. As a grind-wanter at heart, Filmer för blinda’s most skanking and stanking moments—the gnarled title track hook and the constant acceleration of “Okomplicerad”—leave me with pit-satiated but not as battered and bruised as I would hope. Nevertheless, Järnbörd’s charm rests in their ability to tell a story with their craft. And though I need a translator to comprehend their message, I don’t need one to understand their heart. Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Labels: Self Release (digital) | <a href="https://denihilrecords.bigcartel.com/" rel="nofollow noopener" target="_blank">De:hinil Records</a> + <a href="https://www.7degrees-records.de/" rel="nofollow noopener" target="_blank">7 Degrees Records</a> (vinyl) | <a href="https://esagoya.bandcamp.com/merch" rel="nofollow noopener" target="_blank">Esagoya Records</a> + Hecatombe Records (CD) Website: <a href="https://jarnboerd.bandcamp.com/music" rel="nofollow noopener" target="_blank">jarnboerd.bandcamp.com</a> | <a href="https://www.facebook.com/jarnboerd" rel="nofollow noopener" target="_blank">facebook.com/jarnboerd</a> Releases Worldwide: January 10th, 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/7-degrees-records/" target="_blank">#7DegreesRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/brutal-truth/" target="_blank">#BrutalTruth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/denihil-records/" target="_blank">#DeNihilRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/die-kreuzen/" target="_blank">#DieKreuzen</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/esagoya-records/" target="_blank">#EsagoyaRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/filmer-for-blinda/" target="_blank">#FilmerFörBlinda</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/grindcore/" target="_blank">#Grindcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hardcore/" target="_blank">#Hardcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hatchend/" target="_blank">#Hatchend</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hecatombe-records/" target="_blank">#HecatombeRecords</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/jarnbord/" target="_blank">#Järnbörd</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/martyrdod/" target="_blank">#Martyrdöd</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/noise-rock/" target="_blank">#NoiseRock</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/swedish-metal/" target="_blank">#SwedishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/the-halo-effect-march-of-the-unheard-review/" rel="nofollow noopener" target="_blank">The Halo Effect – March of the Unheard Review</a>By Steel DruhmIt seems like only yesterday I was writing about a supergroup helmed by Mikael Stanne of Dark Tranquillity fame. That’s because I just covered Cemetery Skyline, his Goth rock project that dropped the very successful <a href="https://www.angrymetalguy.com/cemetery-skyline-nordic-gothic-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank">Nordic Gothic</a> release late last year. Now in the blink of a Mind’s I, he’s back with the sophomore outing from The Halo Effect. This star-studded collective features various past members of In Flames. It’s essentially a salute to the early days of the Gothenburg sound, with an approach that conjures nostalgia of the glory days of both Dark Tranquillity and In Flames equally. This formula largely worked on 2022s Days of the Lost, and it works again on March of the Unheard. Part of that may be the enduring appeal of the core sound, but a lot of it comes from the sheer talent and charisma of the assembled cast. Aiding in the charm offensive, there’s a greater incorporation of traditional metal ideas and influences this time out, as well as more consistently interesting songsmithing. This makes what could have been a yawner of the throwback album something just a bit more compelling.If you need an elevator pitch for what to expect here, think Fiction / We Are the Void era Dark Tranquillity meets Whoracle era In Flames. On paper that seems enticing and in practice it works quite well too. Opener “Conspire to Deceive” reminds me why I fell for the Gothenburg sound back in the early 90s. Stanne is his usual badass self, utterly comfortable in his melodeath growls and barks as melodic but crunchy leads and polished, glossy harmonies envelope him. The guitar work by Jesper Strömblad (Ex-Hammerfall, ex-In Flames) and Niclas Engelin (ex-Gardenia, ex-In Flames) is bright and shiny, full of melodic noodling but girded by meaty riffs. It reads more like a DT cut overall and that’s just fine by me. “Detonate” is just a fun, rocking dose of melodeath that belongs on your cardio playlists toot sweet. It’s uncomplicated and catchy and Stanne owns the hooky chorus. “Our Channel to the Darkness” is very much a DT creation at its core, thrashy, punchy, dark and regal. This could appear on any DT album from Damage Done to We Are the Void and be right at home. The riffs have bite and aggression and Stanne sounds extra venomous.I’ll admit I kept waiting for March of the Unheard to go off the rails and become stale and boring. The strength of the album’s first half surprised me, but what really got my goat was how consistent all the material is. Tracks like “Cruel Perception” and “What We Become” offer melodeath fans all they could want, and later cut “Forever Astray” marries DT’s cold, sterile aesthetic with gleaming and glorious guitar harmonies for a rousing ride as Stanne throws in some effective clean singing for extra oomph. “Between Directions” drills down into DT’s frigid sound and again nails the clean bits for maximum maximumness. Only the inclusion of a relatively bland mid-album interlude and a long and unnecessary symphonic/folksy instrumental closer mar what is a very enjoyable romp through the salad days of Swedish metal. At 48-plus minutes, the album feels a touch too long due to the instrumental padding, but it’s still easy enough to spin. The sound and mix are fine for the material, with enough meat on the guitars and allowing Stanne enough room to shine.Speaking of which, Stanne continues to be a legend in the melodeath universe and he’s aging like fine wine. He adds +2 to every song he graces and the man is a boon to whatever project he touches. His always expert delivery is enhanced by the solid and polished guitar work from Strömblad and Engelin. They split time mining the main acts of the members for inspiration, but they also bring in bits and pieces of Omnium Gatherum and Insominum and add subtle nods to the NWoBHM as well. It’s melodeath made for those of us who were there at ground zero in the 90s and offers nothing new whatsoever. That’s okay though when the writing and execution is this solid.You can appreciate March of the Unheard as a lost Dark Tranquillity album or as a slick homage to a specific moment in metal history and it works well both ways. This is a superior album to Days of the Lost with a much greater replay potential and I’ve been surprised by how vital and fresh much of it is. Remove the instrumental flab and this clicks up to very good. Not bad for a bunch of olde dawgs retreading their own ancient stomping grounds. Here’s to the olden ways in these confusing modern days. Rating: 3.0/5.0 DR: 7 | Format Reviewed: 192 kbps mp3 Label: <a href="https://www.nuclearblast.com/de/" rel="nofollow noopener" target="_blank">Nuclear Blast</a> Websites: <a href="https://www.thehaloeffect.band/" rel="nofollow noopener" target="_blank">thehaloeffect.band</a> | <a href="https://www.instagram.com/thehaloeffectse/" rel="nofollow noopener" target="_blank">instagram.com/thehaloeffectse</a> Releases Worldwide: January 10th, 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/dark-tranquillity/" target="_blank">#DarkTranquillity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gardenian/" target="_blank">#Gardenian</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hammerfall/" target="_blank">#Hammerfall</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/in-flames/" target="_blank">#InFlames</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/march-of-the-unheard/" target="_blank">#MarchOfTheUnheard</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melodic-death-metal/" target="_blank">#MelodicDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nuclear-blast-records/" target="_blank">#NuclearBlastRecords</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/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-halo-effect/" target="_blank">#TheHaloEffect</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/forndom-mothir-review/" rel="nofollow noopener" target="_blank">Forndom – Moþir Review</a>By TwelveI remember perfectly where I was the first time I heard Forndom’s music through the album <a href="https://www.angrymetalguy.com/forndom-fabir-review/" rel="nofollow noopener" target="_blank">Faþir</a>. Very early in the Covid-19 pandemic, Faþir was a peaceful harmony at the onset of an extremely troubling time. In part because of that emotional connection—and because it is an exemplary album—it remains in my regular rotation four years later. The ambient, Nordic folk musings of Ludvig Swärd continue to offer incredible catharsis in times of joy and sorrow. To say I am excited to be reviewing the follow-up and third full-length album from the project is a severe understatement—but with that excitement comes trepidation, the fear of disappointment, the knowledge that it would genuinely break my heart to write negative things about Moþir after such a <a href="https://www.angrymetalguy.com/sentynel-and-twelves-top-tenish-o-2020/" rel="nofollow noopener" target="_blank">strong initial impression</a> of the project. Such is the life of the reviewer. So does Moþir live up to the incredible standard Forndom has raised? Can it?One of the most amazing things about Forndom’s music is how effectively it transports the listener. All of the above emotions vanished within seconds of “Tunridor” beginning, and by the time it was halfway through I’m not even sure I was in the twenty-first century anymore. Truly, the songwriting on Moþir is phenomenal; slow orchestral passages, performed by the Uppsala Temple Orchestra, build to aching heights, bringing the listener to warm wintry sunrises and faraway fields. Swärd’s singing acts as a guide, friend, and storyteller in an unknown time, with choral accompaniment from Janne Posti and Gullan Swärd. Often at the helm, Thomas von Wachenfeldt (Bards of Skaði) performs incredible leads on his violin, his emotional tremolandos and measured pizzicatos soaring atop the ancient folk harmonies. The result is both acoustic and orchestral, authentic and polished, and highly effective.As was the case with Faþir, Moþir excels through emotional melodies and harmonies rooted in a deep respect for the history, mythology, and tradition of Swärd’s native Sweden. From the very first track this is on full display; “Tunridor” is slow to start; ritualistic chants and rhythmic percussion lull the listener into a sense of peace. Then a scream (Disa Åman) emerges from the distance and a gorgeous, reverent melody takes the song in a completely new direction. “Moderstårar” is written like a power ballad, beginning with quiet singing atop pizzicato strings and slowly, slowly building on that theme to an emotional crescendo over seven minutes that fly by. “Jord” is one of the two instrumentals, and even these are effective, despite the absence of Swärd’s emotional delivery; such is the strength of the songwriting and the impassioned playing by every involved musician.Moþir is unmistakably a folk album, but the inclusion of von Wachenfeldt and the Uppsala Temple Orchestra overtakes a lot of the traditional acoustic stylings of past Forndom releases. The result is an album that toes the line between cinematic orchestral music and dark, ritualistic folk. As I mentioned earlier, it is entirely acoustic, but the orchestra blurs that line a bit. “Den kärlek s om vi gav,” the album closer and, in my view, the best song, is a great example both of the balance needed and the way Swärd approaches it. It is a cinematic journey that builds and builds, with a memorable and evocative chorus wherein the layers of strings, chorus, singing, and lead violin are haunting. Just as you think the song is about to end, the violin returns with a solo, transitioning the song to its orchestral conclusion. It’s a fine balance, but Forndom does it well, and I appreciate the direction. It helps that the production, by Swärd, and mastering, from Tore Stjerna, offer warmth and balance to the music, allowing each instrument to shine and contributing to an accessible whole.Moþir is a powerful album. It is a feat of storytelling and an amazing expression of culture, history, and tradition. Forndom is the kind of project that you can put on for thematic, intriguing background noise—but the more you listen and pay attention, the more lost you become in the details, the more swept away you are by the evocative, cathartic melodies. Moþir is an album that attempts to defy time. I can’t seem to stop listening to it because it succeeds. Rating: 4.0/5.0 DR: 9 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.nordvis.com/" rel="nofollow noopener" target="_blank">Nordvis Produktion</a> Websites: <a href="http://forndom.bandcamp.com" rel="nofollow noopener" target="_blank">forndom.bandcamp.com</a> | <a href="http://forndom.com" rel="nofollow noopener" target="_blank">forndom.com</a> | <a href="http://facebook.com/Forndom" rel="nofollow noopener" target="_blank">facebook.com/Forndom</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/bards-of-skadi/" target="_blank">#BardsOfSkadi</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/folk/" target="_blank">#Folk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/forndom/" target="_blank">#Forndom</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mothir/" target="_blank">#Moþir</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/neofolk/" target="_blank">#Neofolk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nordvis-produktion/" target="_blank">#NordvisProduktion</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/not-metal/" target="_blank">#NotMetal</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/swedish-metal/" target="_blank">#SwedishMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/a-swarm-of-the-sun-an-empire-things-you-might-have-missed-2024/" rel="nofollow noopener" target="_blank">A Swarm of the Sun – An Empire [Things You Might Have Missed 2024]</a>By Carcharodon“Imagine the best parts of Katatonia, Anathema, My Dying Bride and Agalloch all submerged into a minimalist post-metal miasma, so thick not even the faintest ray of hope can penetrate.” This is how Steel Druhm invited us to envisage Swedish joy vampires A Swarm of the Sun, in his <a href="https://www.angrymetalguy.com/swarm-sun-rifts-review/" rel="nofollow noopener" target="_blank">review</a> of their second album, The Rifts. That review introduced me to A Swarm of the Sun and to that list I might add the claustrophobic, stripped-back sorrow of NONE. Despite being unflinchingly beautiful, The Rifts and its successor, The Woods, blanket and suffocate you, so that when you emerge after … well, a period of time that’s extremely hard to gauge, you feel like you’ve been underwater, holding your breath longer than is comfortable and you surface, gasping for air. A Swarm of the Sun’s fourth LP, An Empire, is no different.Talking to Grymm about An Empire, he said, in that way he has of cutting straight to the core of things, that it’s “incredible how gorgeous it is.” He’s not wrong and, to be honest, I could have left this write-up of A Swarm of the Sun’s latest symphony of depression there. But, perhaps, I should attempt a long-form descriptor of why it’s so gorgeous. As with all previous outputs from Jakob Berglund and Erik Nilsson, the record feels like a single living composition, that moves, flows, and breathes. So, while it technically comprises six tracks, there was really no point in subdividing it, other than to label different movements within the whole. An Empire is not a record you pick a favorite track from to add to a playlist. The movements, spread over 71 minutes, range from sparse, haunting fare (“This Will End in Fire”) to heavier, post-doom (parts of “The Pyre”) and even mesmeric drone (title track). But separating it into its constituent elements somehow diminishes the album, while also failing to convey what it is.As A Swarm of the Sun wend their way through An Empire, they build layer upon sunless layer. Speaking about the album, the band said that one early direction, when writing it, was to develop the album’s instrumentation purely in terms of texture, and you can hear that. As the instrumentation—which includes everything from guitars, piano, and a variety of organs, through to synths, harmonium, musical saw, and trombone—develops, the textures are so rich, even in the album’s starkest moments, that you can almost bite into them. Consistent across the piece is Berglund’s distinctive crooning, which has a fragile, reedy, Billy Corgan-like (Smashing Pumpkins) quality, but one which is always threatening to crack with emotional strain. For the most part, this is set to stripped-back, ponderous keys, delicately plucked strings, and minimalist percussion falling somewhere between drone and the most post of post-metal.However, while Berglund’s voice feels like a thread to clasp hold of across An Empire, there are extended instrumental passages to A Swarm of the Sun’s sound, which feel every part as emotive. The heavier, doom-adjacent parts of 18-minute epic “The Pyre,” which are the closest thing to metal on An Empire, build for so long that you’re almost unaware of them, until they break over you like a wave. At which point it’s as though a valve has blown and all the pent-up pressure is released. Similarly, the rumbling drone, breathed into being by the dying gasp of a long sustained note from Berglund, which forms a chunk of the title track feels every bit as much a part of An Empire as the delicate keys that open “Heathen.” It would be easy to underestimate the songwriting skill and confidence that it takes to craft an album like An Empire. But its very simplicity is its haunting, despairing magic.“It’s incredible how gorgeous it is.” – Grymm.Tracks to Check Out: No, I’m not doing this, you’ll listen to the whole goddamn thing and you’ll bloody well cry like I did!<a href="https://www.angrymetalguy.com/a-swarm-of-the-sun-an-empire-things-you-might-have-missed-2024/#fn-206945-1" rel="nofollow noopener" target="_blank">1</a><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/a-swarm-of-the-sun/" target="_blank">#ASwarmOfTheSun</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/agalloch/" target="_blank">#Agalloch</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/an-empire/" target="_blank">#AnEmpire</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/anathema/" target="_blank">#Anathema</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/avante-garde/" target="_blank">#AvanteGarde</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/drone/" target="_blank">#Drone</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/katatonia/" target="_blank">#Katatonia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/my-dying-bride/" target="_blank">#MyDyingBride</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/none/" target="_blank">#None</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pelagic-records/" target="_blank">#PelagicRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-doom/" target="_blank">#PostDoom</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/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/things-you-might-have-missed-2024/" target="_blank">#ThingsYouMightHaveMissed2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tymhm/" target="_blank">#TYMHM</a>

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