Marilyn Manson : "One Assassination Under God pt. 2"

 His 13th album and the fourth to be produced by Tyler Bates, with whom he has a pretty decent track record thus far. This album feels darker than Part One. The opening track is particularly strong, though he rocks out more on the second song, "Don't     Answer the Door". Though I have never needed him to be particularly heavy and felt sonically he is at his best somewhere between industrial and Alice Cooper, the guitars on "Front Toward Enemy" carry more heft. Still, the groove of the bass line is more moving. His voice sounds like he has not aged since "Anitchrist Superstar" on this one. Lyrically, he seems to be sorting through his more publicized life in recent years.

Tim Skold is in the touring band but not sure if he is playing on this release, though "All the Vilest Things' feels like something he would have done with him, yet it also bears many of the signature traits of the Bates years. The most commercial chorus so far is on "None of the Suns," as it marks the album beginning to take on a smoother, more 80s-influenced synth-wave sound that is still guitar-driven. It carries over into the dancier feel on "Lucifer's Teardrop." He continues to take things down an equally dark and melodic road on "The Arsonist". Lyrically, it's great..

"Exit Wounds" is the first song that meets rather than exceeds expectations, but after repeat listens it grows on me and checks off all the boxes for what you might want from him. There are some heavier riffs on it as well. "Extaniomorph" closes the album; there is a slight experimental hint with the creepy samples that open the song. It is the closest this album comes to having a ballad... Maybe it's the clean car smell of new songs, but I think this album edges out the previous one in terms of vocals and songwriting, so I will give it a 10.Out on Nuclear Blast.  

7

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Black Metal History Month - Into the Dark Castle - Dimmu Borgir 's "For all tid"

In keeping with the tradition of reviewing the entire catalog of an influential band, I am going to review the entire catalog of one of my favorite black metal bands, the Norwegian legends Dimmu Borgir. This is a weird one for me since Silenoz is the vocalist and Shagrath is the drummer. I am listening to the 2000 re-release since it sounds better, but only reviewing the 9 songs that appeared on the original album. This album is certainly a reminder that they did not just become a symphonic band; it was always a major part of what they do. The first track is more of a dramatic intro, making "Under Korpens vinger". The marked difference is a more deliberate traditional metal pacing, as the choked croak of Silenoz feels more tortured and less commanding than Shagrath's approach to vocals. In some ways it brings early Samael to mind. 

It's funny how black metal purists who are apt to always claim the band's earliest work is the best, insist this is more cvlt, when their newer material is heavier and in some ways more black metal. There are already sung vocals on this album. It could be the charm of the lower production value, even in this remixed, remastered version. There are a few more blast beats on the second song, as the more traditonal sweeping gallop feel that follows the flow of tremolo-picked guitars. Even in their more primitive state, these guys are way better songwriters than most black metal bands, and this is a trait they continued to refine. 

"Stien" finds the keys playing a more folkish melody, while they begin to blast around it. This is a perfect picture of a band ahead of their time. I don't think this album could truly be appreciated by the audience who was not quite ready for them til ten years later. "Glittertind" finds the pace picking up thanks to Shagrath's drumming, which was on point. He might not be Hellhammer, but he is better than I remembered, as it's been years since I went back and listened to this one. The title track is darkly melodic with a very measured pace. The guitar tone is the only thing that is really lacking on this album; the bass is much more present in the mix, so that helps.  

"Hunnerkongens" has more of a punk feel, not the album's strongest song. The album really regains its footing on the last song by setting a creepier mood than I can recall hearing them step into; the guitar playing is more melodic than the more in-your-face epic riffing they would grow into, once again proving my earlier point. I'll give this album a 9.5, it's more important to black metal than you might imagine but proves points you are not expecting it to. 

6.7

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MØL: "Dreamcrush"

 

This Danish band is leaning further into their shoegazing influence for their latest Nuclear Blast release. Much like Deafheaven, there is a contrast between the music and vocals as the verse is more snarled, but with more of a hardcore fervor than black metal hatred. They excel at jerking the grooves back and messing with the rhythm. There is less metal in the second song.  The sung vocals take a more pronounced role, though they are dynamically all over the place, which works since it's not the predictable good cop/ bad cop formula. 

"Young" finds the guitar becoming much more metal. It's almost a European flavor of melodic progressive metal when the guitar melodies sweep in. The first two songs felt more solidified in their identity. There is more of an experimental balance on "Hud." At times, it feels like a shoe-gazing version of Kvelertak. "Garland' kind of splits the difference with a more hooky songwriting template over even the accelerated sections of guitar. The production is very clean and spacious, which makes me think of late 90s progressive metal coming out of Europe. "Favour" splits the difference with the first moments that feel like there might be a black metal influence to them in the vocals' screams. 

The sung vocal hook works well on " A Former Blueprint" which is one of the best dynamically balanced songs so far ." Dissonance" proves that they are not just limited to using sung vocals when it comes to hooky songwriting. "Mimic" is more metallic, almost making me think of a band like Scar Symmetry. Very precise chugging. The solo section being perhaps almsot too clean. The last song might be one of the album's most accessible, with its rock-influenced riffs. The arrangements are more intersting than your typical verse-chorus, radio fodder, but the production and some of their musical choices could stand to be darker to peak my interest more; however, I will give this a 9 as it is well done. Dropping on Nuclear Blast. 

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Kreator : "Krushers of the World"

 Before checking back in on the band for 2017's  "Gods and Monsters,"  the last album I liked by these guys was "Coma of Souls." In its day, this was a change for the band after "Extreme Aggression" had hooked me in. This time around, they are locked into a more rapid, furious form of modern thrash that works better than what they did on their last album. It sztill takes some getting used to when it comes to how Mille Petrozza approaches his vocal delivery that borders more on singing than his once scathing snarl. He also uses more anthem accents on the choruses. It is funny to me lyrically that he declares they are Krushers of the world when he has lamented to the press that disturbing the concept of war is to him. 

Ventor is still pounding the hell out of the drums, having hung tight with Mille over the years. They are joined by the bass player from Dragonforce and the guitarist from Barren Earth. They have refined the art of grooving riffage that carries into "Tranenpalast." The melodic nature of the choruses does its job and is hard to deny even if I want a more aggressive apporach from the band. What they do is more accessible than their earlier work, which keeps them in motion over the years. "Barbarian" has almost a power metal feel.

You can hear how their thrashing attack influenced black with "Blood of Our Blood," where the chorus reminds me more of Accept, who were obviously an influence on this band from the beginning, and do not get enough credit for their impact on thrash. The lyrics to "Combatants' are awkward at best, though the riff makes it palatable. It feels like they are trying too hard to be relevant rather than just being themselves. They do a better job of hitting the mark in this regard on "Psychotic Imperator." There is a Slayer-like intensity they race into the song with. The lyrics are political but in broader strokes. 

"Deathscream" has better lyrics, but kind of races along like methed out Judas Priest. It feels like they set out to write their own version of "Painkiller." They end the album with a bigger gallop for the more power-metal tinged riff that marches the song into a more anthemic nature, but it still works in a very Accept-like manner. I will give this album a 9.5 as it's an improvement over the previous two albums and pretty flawless, though the lyrics are what kept it from being a perfect album, as well as the moments where it feels like they are trying too hard, but some of the riffs, and overall writing and is obviously a sucess when it comes to the band's intentions of ccreating this album. Nuclear Blast releases this January 16th.

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Despised Icon : "Shadow Work"

2025 has been a good year for Canadian musical exports. Perhaps it is a gesture of goodwill to make up for the shitty Rush reunion tour they are trying to sell us. This band is at the more extreme end of the metal core spectrum, with hammering drums that attack alongside the guitar with mechanifcal precision, and twin guitar harmonies that leap from the din.  By the time we reach 'Over My Dead Body,' it's clear that their strength as a band lies in the balance between their metal side and their hardcore side. However, on this song, they come across as an angrier and heavier version of Slipknot, with pig squeal vocals. 

There is more technical guitar work to the more in-your-face blast to "Death of an Artist." It is more intense, but it does not offer as much to hook you in as the first two songs. Even more breakdowns, like riffs, are jagged and punchy. The more deliberate 'Corpse Pose" has more of a death metal groove.  "The Apparition" is a more brutal charge forward into angrier death metal with epic atmosphere painting the background. It also locks into impressive grooves to break things up from the sheer wall of brutality they are prone to hit you with, along with gang vocals.

"Reaper" finds the band splitting the difference between the metalcore crunch and more of a Slipknot-inspired head bob. The vocals range from pig squeals to a low gurgle. There is a great deal of purpose that makes this song more convincing. 'In Memoriam' has more pomp and circumstance, setting the stage for what unfolds, which includes sung vocals..The blunt force of their sonic pummelling is served up straight, no chaser on "Omen of Misfortune", then they give you hooks after this with the hardcore stomp of "Obsessive Compulsive Disaster". They continue down the harder-hitting street of hardcore brawling when they throw you into the circle pit that is" Contre Couer". The flex in your face with the attitude that flows through the mood of 'Fallen Ones". I will give this one a 9 as it is very convincing and should satisfy fans of more extreme forms of metalcore. 

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Testament : "Para Bellum"

 

This marks the band's first album with Seven Spires drummer Chris Dovas, whose youthful exuberance gets the job done, even though you might prefer Gene Hoglan. Bassist Steve Di Giorgio, who goes back to "The Gathering," returns as well. From the first song, I can already tell this is going to be a better album than the new Dark Angel. The emphasis on the first two songs is on a rapid-fire style of thrashing that finds the band not leaning into their more signature groove until "Shadow People". In this mode, they make the most of Chuck Billy's powerful voice, which is also capable of melody, and has been one of the signature staples that set the band apart from the pack.

Four songs in seems a little soon for a power ballad, but that is what you are getting for "Meant to Be," making me wonder why they are trying to write their "Unforgiven" 30 years late. Of course, Alex's solo rips, and maybe that is all you need. To compensate for this, they take things back to the more "Demoniac" school of heaviness that holds up against all definitions of what heavy is today. "Witch Hunt" steps on the gas to bring out the 80s thrash feel, not heard since "Disciples of the Watch". The more melodic vocal moments, while sparse, work well. 

"Nature of the Beast" has Van Halen-like guitar work, and Chuck's vocals are sung to create the most accessible moment since the power ballad. A more rock n roll feel also kicks off "Room 117". His singing voice sounds much better than expected on this album. "Havana Syndrome" is back to their older era of melodic thrash. The title track closes the album and finds Billy employing a more aggressive vocal approach. I will give this album a 9.5; it's well-balanced and does not feel dated, though not bringing anything new to the table, it finds them capable of holding their legacy and representing a balanced cross-section of the varied elements they are about. 

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Death is June -Fallujah : "Xenotaph"

In keeping with my goal of covering every aspect of the genre, here is some progressive death metal that is more on the atmospheric side.  Guitarist Scott Carstairs is the only original member of this band. The last album I reviewed by them was "Undying Light," which I felt played it safe and moved in a more metalcore direction. Things are in a more progressive direction, though it does sacrifice some of the heaviness, and over-produced layers of vocals create an Opeth sound when they would be better served following the path of Cynic. Not that Opeth did not redeem themselves with their last album, but even they have been known to get too proggy for their own good. Things flow from the opening track to "Kaleidoscopic Waves," where it all sounds like it could be the same song. Even on the second listen, this happened. Showing a uniformity of sound that feels like they are more focused on sound and acrobatics than writing songs. 

"Labyrinth of Stone" is marginally heavier. But also more melodic, I feel like the production is playing against the heaviness as the guitars sound over-processed, which might be a great tone to play solos with, but lacks dance muscle. They get heavier and a little more interesting with "the Cyrstalline Veil" by heavier there is not a huge sonic shift tonally but more in the deliberate hammering of what they have to work with, and the melodic elements feel less like your metal core tropes. If you are into guitar solos, then I can't imagine why this is not already your favorite band. 'Step Through the Portal and Breathe' is more progressive, but it feels like an extension of the previous song, and they are just jamming in a more Devon Townsend direction. 

Some sounds are being made for "A Parasitic Dream' none of them adding up into anything that hooks me into what I would call a catchy song, or anything I would feel compelled to listen to more than once. The more atmospheric side of technical death metal stirs to life for "The Obsidian Architect". I like the effects on the creepy Dimmu Borgir-like section of vocals. This might be the album's best song. It conjures a little darker mood, but the album could stand to be darker overall. The title track closes the album, and rapid-fire drums that sound triggered lead the attack.  A thicker, more palm-muted attack would make all of this heavier, but we get what we get here. Lots of solos and jumbled riffs, kinda bores me, prefer what they did on the previous song. I will give this an 8 as they are clearly talented and sometimes fall into cool grooves, but this is not my thing.Out on Nuclear Blast.  

7

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Death is June - Gates to Hell : "Death Comes to All"

 

This band from Kentucky leans more toward the metalcore side of death metal, but has enough of a Cannibal Corpse influence to keep die-hard death metal fans interested. The album came out in March, so just catching up to see what I missed here with these guys. The second song finds them slowing down into more of a groove. The vocals are recorded with an interesting noise gate on them, which keeps them extra distorted. They are big on the breakdowns, so if you have an aversion to those, take note. I like the first two songs, but to win me over for an entire album, they are going to need more atmosphere and dynamics. 

The riffs going into "Weeping in Pain" are more memorable, but it feels more like deathcore. The double bass is coming at you regularly as the rest of the band stomps into things.  There is more of a Pantera-like groove in a few places before they do wild, technical, syncopated sections. There is no question they are talented and can write a song, but how consistent is the key? When they speed up into a blast beat for "Next to Bleed," it does not feel that necessary.  '21 Sacraments' is where it feels like they are going to the well too many times and using the same tricks again. To a lesser extent, this is the case for "Sacrificial Deed." 

The title track has a much-needed more death metal feels, though that is not to say the crash cymbal does not get slapped around. "Crazed Killers" leans into speed perhaps more than needed. They take note from grindcore and keep the songs short, but cram as many riffs in as they can. By the time we get to "Locked Out," everything is beginning to sound the same to me. Their fetish for breakdowns is not helping this, as the formula gets more predictable. They try to thrash a bit on the last songs to mixed results. I like the use of samples on this one to break things up at least marginally. I will give this one an 8.5, as it might not always be my thing, but they made the album they set out to, and it is more death metal than most bands that do this sort of thing, which is worth something to me . This album dropped on Nuclear Blast.  

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Behemoth : " The Shit Ov God"

 

I like Behemoth, but they are inconsistent. Their last album was great, but the two before that got a great deal of critical praise but were not worth the hype. I think they peaked with "Evangelion". Though they are getting back to an older, more epic death metal sound with this album, so perhaps this course corrects with a payoff. I think they are better as a death metal band, and the larger-than-life sound does not work for black metal, as they are often not atmospheric enough. I appreciate the more melodic notions that haunt "Sowing Salt." 

The title track is massive and dark, with a great deal of purpose to its waltzing stomp. Nergal's vocals are typically very deliberate, rather than an afterthought, which is one thing I have always liked about them. I think the vocals work really well here, and their songwriting feels catchier on this album so far. "Lvciferaeon" works pretty well too, it's not as catchy as the previous song, but is not just guitars hammering you. There is more of a black metal feel to "Drown the Svn in Wine." That said, it's more aggressive but not as catchy as the previous songs. There is more of a throb to "Nomen Barbarvm." This leans the song more in the direction of black metal. 

"O Venvs Come" is darker with its creepy mid-paced march. In terms of dynamic songwriting, it builds on the ever-aching pulse, with the drums controlling things rather than a clear-cut verse-chorus framework, but still manages to work. The last song finds the momentum shifting into a double bass charge as things accelerate into a more aggressive speed than the previous song, though it's not as interesting. This is not to say it does not work; I prefer the mood of the previous song, but their fan base should dig this one as well. I will give this one a 9.5, as it works for what they do, it's as big and epic as their earlier work, and delivers what you want from these guys.

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Hangman's Chair : "Saddiction"

 

The album opens with a sonic pounding counterbalanced by the trademark passion of the vocals, things ebb down into a more depressive introspection as the rollercoaster of the album's dynamic sets in motion. Some interesting production choices in this often reverb-heavy recording are best appreciated when played loudly through headphones, allowing the album to take effect with maximum impact. "The Worst is Yet to Come" keeps on foot plant in driving guitars, where they dive deeper into morbid reflection on "In Disguise," which gives you a better taste of Cedric's voice. 

If you had to describe this band to someone whose only context was mainstream music a fitting metaphor might be if A Perfect Circle was a metal band who was obsessed with the things that made them depressed. "Kowloon Lights" is the lead single off the album, which makes more sense in the context of the album, though it is a venture into the more post-punk side of rock n roll with great guitar atmospherics.."2AM Thoughts" features DOOL lending their voice to this brooding song. DOOL takes the second verse, which I did not notice when first saw the video for this song."Canvas" is a bleak ballad that builds in power as it churns forward. 

"Neglect" finds things becoming even more introspective. as this ballad unfolds. A shoe-gazing quality hovers even as they build the song back up with the plodding chug of the guitars. "44YOD" answers the question of what the Cure would sound like if they were a metal band, while still holding fast to the more delay-drenched guitar tones to make shoegaze better than Pallbearers' most recent attempts.The question mark at the end of "Healed?" pretty much sums up this album's theme. All the urban images depicting the hopelessness of big cities, and the mental health of today's world, hit in a very real way thyat is heavier than just crunching chords. They continue to meet and exceed expectations.  I will give this album a 10.Out on Nuclear Blast.  

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Alcest : "Les Chants de l'Aurore"

 This French does not need an introduction here as given their blending of black metal and shoe-gaze we have covered every album no matter where they were in their musical journey. Some have felt more inspired than others. There always seems to be a balance they need to keep in order not to drift too far in becoming the Yes of Black Metal. They have come to an effective balance of rock drive and fairy wonderment on the opening track of this album. The seventh album by the band finds them continuing to shed the black metal label, Neige himself admitted that the very word black in black metal means you have to be dark, which would disqualify this band giving the hope soaring that embodies the sounds captured here even when his vocals become more forceful. 

There is a deliberate drive that is heard on the third song offering the kind of drive that keeps your attention where the ethereal nature of what they do might otherwise find this drifting off as a sound that hovers over your head rather than engaging you. He continues to engage his harsher snarls, that are grounded to the overall mood of the songs. His sung vocals typically sit further back in the mix where the growl comes forward. Another strength of the arrangements is that they do not allow the songs to become lost in the ambiance, but things remain in motion. 

"Flamme Junelle" jangles with more of a 90s alternative feel, which works for me. It has more in common with Smashing Pumpkins than Deafheaven.  "Reminiscence" is an ambient piano piece that is like an intermission in the middle of the album. "L'Enfant de la Lune" plays to the band's strength, as the drummer lays a solid foundation to keep things moving and not shimmering off due to the incorporeal nature of the riffs. The last song checks off the shimmering away box, as it is more of an extended outro ballad, than a song you can sink your teeth into. I will give this album a 9.5, as it does indulge in the two lengthy interludes, making the album really only five actual songs, but they are excellent songs, so if you are a fan of this band then you know not to arrive with expectations of headbanging, and can enjoy this space the band occupies. The most chill album Nuclea Blast has released.  

5.8

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Gatecreeper : "Dark Superstition"

 Right out the gate, they are creeping with harder-hitting riffs, that carry a more hardcore influence punch to them. This is the band's third album and it sounds like not only are they coming into their own, but stepping into the spotlight to earn a larger metal audience. There is more of an Entombed like grit to "Oblivion".  This works but it's not as finely tuned as the opening track. It certainly earns headbanging. "the Black Curtain" does not compromise the death metal nature of the band, but is hookier. The vocals feel like they have more purpose than what I can recall from their previous albums. 

They continue to dig into meatier grooves with "Masterpiece of  Chaos". It's not chaotic, but the verses to find them pouring on more speed than the opening riff. Matt's drumming really steps it up on this album to help push the band over into greatness. With this comes a sense of groove that something leans more in a rock direction on the title track. There are hints of a more hardcore stomp, but it all works together pretty seamlessly. " A Chilling Aura" feels like a little more restraint could be used, there are some cool riffs at the beginning that are not really fleshed out as they step on the gas. Not a bad song, but I think they could have employed elements more effectively. Blasting just was not the answer. 

The more thrash accents to the powerful chug of "Caught in the Treads" however works really well and shows they do know what their most effective path is. It's big in an Amon Amarth manner but without the silly Viking appropriation. The bass line that kicks off "Flesh Habit" works really well, and sets up the song for some excellent grooving. There is a slight "Wolverine Blues' era Entombed sense of boogie to it.  Can also hear traces of late '90s death metal as well. "Mistaken for Dead" hammers away in more of an Entombed-like direction. The last song opens with a more death-doom feel and keeps things in a very purposeful pace that works well. I will give this album a 9.5, it is the band's most impressive display of songwriting yet. 

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Pallbearer : "Mind Burns Alive"

 The fifth album by one of my favorite doom bands. Each album has been a gradual progression away from doom into what has culminated into the opening track of their new album "Mind Burns Alive". Campbell is using a great deal of restraint and taking a more vulnerable approach to his singing. It is not until the song's end that it gains any time of heavier dynamic. It took a couple of listens to this song before it finally clicked with me, as the first listen found me having to adjust to the change. 

Things get marginally more metallic going into the title track. A gray melancholy hangs over the song, but it feels more like doomy rock than doom metal. The verses are sung in a more hushed manner. He does belt it out a little more when things get louder. There is a more hopeful guitar melody that shines out of this before it does get metal in time for the guitar solo. The lyrics are darker than the music on this one. 

Campbell's voice sounds great on "Signals". But great in the sense that you are hearing another side of it. This shows growth as a singer. The song has a pleading introspection, building up for them to kick into a more rock dynamic. I am not sure I would call it metal.  Three songs in and it's clear the songs are excellent, but are they excellent Pallbearer songs? If it were not for the sprawling eight-minute arrangements, these songs could be played on mainstream alternative rock radio. 

An acoustic guitar opens "Endless Place", after a minute of reluctance they bring power chords that show they have not altogether forgotten who they are. it is more in their wheelhouse, though on the more melodic sides, with the drums leading the guitars into a lumbering labyrinth. Campell projects his voice in a manner that puts more guts into it. There is almost a post-Empire" Geoff Tate quality to his voice when it comes to the tonal placement. This song wanders off into a more progressive place that works well with the band's current direction. The saxophone works really well here, and not the instrument you would normally associate with them. They build this song well to reach more of a sonic climax. 

"Daybreak" finds Campell digging deeper into the vulnerability he has showcased earlier in the album. This time it is pushed perhaps as far as they could go, as it is not unlike the early emo bands like Mineral or Elliot. The fuzzed-out guitars do come, as Campbell puts his diaphragm back into it. It continues to carry more hope than despair, perhaps they are smoking less weed and taking medication? When they do go back to a more familiar sound on the last song, it is weird because they have already led you so far away from that. It is nice to hear the angular signature of the doom riffs, and more depressing qualities being emoted. This song is interesting as it unfolds, taking you into a dark place, before ending the album on a heavier note. I will round this up to a 10, it is pretty stunning, and while I would normally be more resistant to this kind of change it is hard to argue against something this effective.Dropping May 17th on Nuclear Blast.   

                                                                                                         

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My Dying Bride : "A Mortal Binding"

The band's 14th full length, stays true to who they are, without being predictable. You never know what side of these guys you are going to get, anything from morose doom to the dark vein of death metal they helped create to melodic goth rock with major depression. This album seems to be uncertain as well. It starts off with compact punchy death metal, and then the second song gifts into their more sorrowful take on doom. Both work well. The wailing tones of the violin weeps over the low-end crunch. Guitar solos are well paced and deliberate with every not counting to draw out the melodies. While Aarons's growl on the first song is not as guttural, his sung vocals are more refined. In both cases, the vocals are really well produced and mixed. 

"The Second of Three Bells" starts off in melancholic doom, and builds into punchy death metal. The doomy passages have a more majestic atmosphere to them ."Unthroned Creed' is one of the album's best songs. The guitars ride a taunt groove, as the vocals have room to emote their hooks. the drumming gracefully navigates the time changes. The 11-minute epic "the Apocalypist" is sprawling in a manner that only a few bands do well, these guys being one of the few as the twists and turns keep your interest. But still, 11 minutes is a lot to digest. 

"A Starving Heart " is one of those songs that even before the vocals come in you would know is My Dying Bride. Aaron is singing from his depressed place that I love and only two minutes into the song I am sold. The distinct phrasing of the riff that opens the closing dirge "Crushed Embers" is another moment that bears the band's fingerprints well. The pleading croon of the vocals is where his voice sits best. They are masters of pouring on the sorrow, which is a quality that sets the doom genre apart from other kinds of metal. Say all you want about sub-genres in metal but there is no way what they are doing could be considered or confused with anything aside from doom. It carries a mournful beauty that this song clearly defines. I will give this one a 9.5, and see how it sits on me, it is hard for me to think of the 11-minute sprawl as perfect, keeping this album from being perfect, though it might grow on me, but 9.5, is better than what most doom bands are doing these days, and preserves their legacy well. This is dropping on April 19th on Nuclear Blast. 

 

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Svalbard : "the Weight of the Mask"

This British band has graced the top ten hardcore albums of the year twice, in 2020 and 2018. Now with their first album for Nuclear Blast, things have continued to change for the band.  Their hard-core side is fading into the past, as the band lashes out with a simmering black metal feel. Sure there is a crusty element to what is going on, and some of the accents are hard-core influenced. The songs race at a faster and more furious tempo. It's explosive, not as dark or cold sounding  Toward the end of the second song things get into more of a deliberate stomp to create more of a breakdown feel.  Some of the atmospheric elements like the vocals of  Serena Cherry. This album is not as shoe gazing, there are more blast beats, and it finds them on the black metal side of things perhaps more than hardcore. Though the barked gang chorus feel to the vocals at times tips the balance the other way as well. 

While Lewis Johns is still producing these guys, there is a marked difference in how they captured the sounds, as well as how things are mixed. The guitars sound brighter and use fewer effects.. Cherry's spoken word vocals going into the more introspective "November" prove to be effective and the dynamic turn this album needed. I find myself having to give this one multiple listens to fully absorb what is going on here. Things are more melodic and you can not fault the band for it as there is no mistaking how they have grown as songwriters. Mental health is a common theme on this album "Lights Out" has the powerful line "I am too depressed to show you / how depressed I really am " . This is a heavier topic than any color-by-numbers obligatory attempt to be esoteric other bands try to fool you with. 

"How to Swim Down" is more of a shoe-gazing affair, though handled really well. They do not follow the typical formula for this sort of thing, owing little to the bands you might assume to be their influences in this regard.  The brisk aggression of "Be My Tomb" does less to set them apart and it could be one of many modern black metal bands. "Pillar in the Sand" hovers under clouds

until the stormy sound of depression being turned into to form violence bubbles up. On the last song they race off toward oblivion. I guess the last song is more blackened hardcore, there is some great nuanced passages of guitar work on this one. I will give this album a 9.5, which edges out the previous albums, the most tangible thing I can attribute this to is the raw honesty of the lyrics forces the music to bring an equally impassioned performance. 

Host : "IX"

 

Nick Holmes and Greg Mackintosh from Paradise Lost have ventured off to more melodic territory with this album. I heard dark wave getting thrown around in reference to this album, and that is not what I hear on the opening track. It is a more melodic and more electronic based effort in contrast to their other band , but not goth, as least on the first song. They y of come closer to that sort of thing on the second song, but but it's not much darker than the first song. The best is more dance oriented. It brings Porcupine Tree to mind more than Mission UK. There is more of a Depeche Mode feel to " Divine Emotion" which brings it closest to whatever you want to call goth these days.

On paper this should win me over with ease. It is a formula that should be destined to work. Two guys from a metal band I like venture out to make something in the zip-code of goth. But it lacks the hooks and darkness to persuade me. The beat and vocal syncopation improve on "A Troubled Mind" . The vocals fall where they should. It is not the darkest song, but it is headed in a right direction. While it's a pleasant listen " My Only Escape" makes me wonder why they did not do these songs with Paradise Lot. There are plenty of Paradise Lost songs that stroke me as being more goth than what goes down on this album. 

"Years of Suspicion" is a more confident step in the darker direction they were trying to wrestle toward. "Inquisition" sounds more like Gary Numan to me. The last song does not come together in the way you might expect. Instead it's brooding hesitates and ponders. I will still give this album a 9, as it is done and if I went into this with a better understanding , my expectations might have been more aligned. For what it is it works well, they are still solid song writers, this is not as dark as expected is the only problem I have, when I listen to it knowing what this is , it works just fine. 

Belphegor : "the Devils"

The opening track to the new album from these Austrian crushers kicks all kinds of ass. Basically, they are doing a better job of being the band Behemoth wants to be. This is their 12th album, so you would think they would be set in their wicked ways but, not things are better than ever. The second song is more aggressive than the opener, so I am not as impressed, but they get my attention with the creepy melody of the third song, which has ample Metallica influence without trying to be thrash. Granted a choir from hell chimes in and there are touches of black metal. There is incredibly tasteful guitar and a wonderful solo that adds to the mood of the song. These guys have straddled the line of black and death metal most famously, but when they accept, they are death metal things go best which is what they have done with this album. There is way more Morbid Angel flowing through their veins than Darkthrone. 

"Damnation " finds them settling into more familiar territory though the "Domination" era Morbid Angel weighs heavy on the pitch bending riffs. There is a great deal of mood and power to this song. Showing that you can have all kinds of exotic melodies and still be heavy as hell. The guitar carries the bulk of the crunching weight. You have to really listen for the bass that is still more present in the mix than a Slayer album. This album has a really big sound thanks to Jens Bogren, who recorded them at Fascination Street Studios. After working with At the Gates and Rotting Christ it is clear this is the guy to go to if you want your metal sounding massive. This might be the best produced metal album I have heard in some time. There is a balance of well layered sounds and everything being huge like a frost giant trampling the ruins of a post-apocalyptic city.  I am not a dude that like over produced metal, but I want clarity and density this has both. 

Songwriting is the other key place where excellence has been attainted. They dive into a commitment to black metal on the song "Kingdom of Cold Flesh". While it sounds really good, and they are more than capable of pilling it off I prefer the more death metal sounds. They do a good job of splitting the difference between the two styles on "Ritus Incendium Diabolus". They have the feral darkness of black metal teamed with the hooky riffs of death metal. The closing song "creature of Fire" might be the most dynamic and stunning with female vocals soaring over everything. The guitar shares melodic passages along with chilling dissonant distorted chords that ring out. I will give this one a 9.5 and see how it grows on me so far, I am impressed.  This comes out on Nuclear Blast.  

  6.7

Conjurer : "Pathos"

This British metal band is as feral and angry as any metal core band on their sophomore full length. They balance this tendency with a wandering post- rock juxtaposition. But when the dynamic shifts come down, they hit with all the sonic weight of a mammoth bulldozing machine. I do not recall them being as heavy before. While it's impressive in the sheer weight that they pound your ears with, "Rot" felt like an extension of the previous song rather than having a clear up identity of its own. This presents us with a uniformity of heavy. This song takes less chances than the opening track and seems more intent on the heaviness of what they do. Even then there is a punishing dissonance that has breathing room to feel every chug. 

"All You Will Remember" hesitates with lingering guitar lines before committing to crashing in with the furious storm. There is even clean singing. Once again though by the time we get to "Basilisk" it sounds like it is an extension of the previous song even when it ebbs down into a softer guitar passage. aside from the post rock segues, this song feels more like a death metal band, than the sludge label they are given. Perhaps this is due to the more metallic intensity in the growls. The more chill indie rock like meander before the full roar of "Those, Years Condemned " is interesting and provided the while formulaic calm before the storm trope, a bit of time to catch your breath before they hit you again. While there is a really cool grinding riff on "Suffer Alone" they speed up into what sounds like every other band doing this shade of heavy. The rule around here is cool riffs alone does not a good song make.

There is a sonically heavier throb to "In Your Wake" that has melody in the dissonance and works better as a song. The vocals are screamed in more emotive manner than the death metal growl that is dominate through most of the album. The last song "Cracks in the Pyre" starts off with more of a post-rock feel before the distortion and growled vocals come in. The verses have more groove once the song builds momentum.  More screamed metal core like vocals also chime in. Overall, this album is pretty powerful and offers a wide range of dynamics so I will give it a 9.  It was released on Nuclear Blast. 

Hangman's Chair : "A Loner"

 The French band's 2018 album "Banlieue Triste" took the top spot as Doom album of the year. This time around things are dialed back in the metal department. They straddle the fence sonically in a zip code closer to post-nu metal Deftones and Katatonia. There is a driving riff when the opening track kicks in once the clouds of atmosphere have lifted.  The lead single "Cold & Distant" is more accessible than anything we have heard from them thus far. It's a pretty driving song, that is catchy without being too poppy in the hook. It very well written and goes to show accessibility is not always a sign of weakness. 

A Cure like bass line leads into "Who Wants to Die Old". This is also where it feels like the album begins to sail out into the gray of its atmosphere. The vocals have more of a hushed urgency to them. Midway into the song harder edged guitar comes in. To call it metal would be to call a band like A Perfect Circle metal. Dark rock becomes a more fitting description with this album. But whatever it is that you want to call this it should be known that they continue to excel at what they do. The vocals were always cool, but they spent more time in the booth getting every note perfect. "Storm Resounds " is a ballad but a darkly beautiful one, that still has balls even without resorting to conveying this is the normal manner most rock bands do. 

On "Supreme" they simmer for half the song. When the guitar does drop it's a similar guitar riff that they use in almost a post punk manner to drive the tension. "Pariah and the Plague" is more atmospheric. It's melodic with some really great guitar tones. The entire album sounds good, it is just more intangible and lingers in its introspection. An instrumental of this sort was not what you would expect from them. The title track is more moving. Darkly introspective as the rest of the album, it makes less of an attempt to rock out and brooding more than simmers. "Second Wind" is more deliberate, which in turn feels heavier. The vocals are perhaps the album's most emotive. " A Thousand Miles Away" lingers on a drone for a while before stomping into perhaps the album's only song I would refer to as doom, and most certainly it's heaviest. They know there is more than one way to be heavy , this is perhaps the most overt, but the album as a whole is more about capturing a mood, which they have, it is going to take a little time to grow on me, but I respect that they did not try to recreate the previous album and made steps forward, I will round this one up to a 10.   Out on Nuclear Blast.   

Fit For an Autopsy : "Oh What the Future Holds"

 The opening track feels about typical for what to expect from modern death metal. Is it also death core and metal core, yes. This can be heard in the break down like riff. Which still works for me as it is not done in a glue sniffing manner.  The second song is more what you expect from death metal, less melodic until we get to the solo section. I hope this is not the formula this album is going to live off. "Far From Heaven" switches it up and has more of a groove. The clean vocals float in but are in the background. The y way the vocals are layered on the chorus reminds me of Gojira. There is more of an epic thrashing groove to "In Shadows" that works well even if falling in the middle of the road in terms of extreme metal standards. 

"Two Towers" is almost more like the Deftones in terms how how the vocals float in. The machine give a machine-like precision to the chugs that hammer the heaviness back into place when things get more death metal again. They do give plenty of beat downs with their guitars if you are into that though they have enough groove to them.  "A Higher Level of Hate" falls into more of a mainstream metal chug and is much more straightforward.  Still in the realm of the more mainstream there is a Slayer like feel to the thrashing that unfolds on "Collateral Damage". This comes with a catchy groove to some of the clever riffs.

"Savages" marks another song where the innovation we heard on the first half of the album stands aside for more common place metal riffing. Similar could be said for "Conditional Healing" that relies on a heavy-handed guitar chug more than drawing you in with anything other than hyper aggression. They are polished at doing this, I just think there is more that can be brought to the table here. The album closes with 'the Man Who Was Not" which has more to it as a song and offers melody along with sung vocals in places. They break things up with ambiance which makes the more aggressive parts work better. This is really well done, and I like it more than I thought I would so I will go ahead and give this album a 9 despite more of the mainstream metal leaning as this album is what it is, and they do what they set out to. This is being released on Nuclear Blast.