Gothtober - Bone Haus : "In Mourning"

 All too often "goth" lacks balls. This band blends a hefty punk punch with it to find the right balance of dynamics. The production compresses this into an even tighter sonic punch. Things get more punk in the second song. The guitar tones have enough atmosphere to them to offset the more straightforward punk elements. "Rot" works well not because of the singer's angry sneer but because of the softer colors you get to hear that provide a glimpse into what might happen if she tried to sing rather than scream. 

When they use restraint for the palm-muted rock of "9 Volt Head" it is more effective than some of the rowdier punk moments."Silent Hill" lingers, waiting to explode. The vocals are more spoken word at first before she gradually sings and the instruments fall in line behind her. The guitar takes on a more reggae influence strum for " Freedom Frome Life", there is a more blue-tinged groove lurking here. You also get a better picture of what she is capable of as a singer. "Ann Boelyn" is a straight punk song. The mix is a little weird for it. 

"Lividity" is driven by a heavier riff. The burly bass tone helps with this. Her vocals float around in a more ambient fashion that is not unlike nu-metal. Think Deftones in this regard. 'Comfort on the Floor" works off a more post-punk-like bass line.  I will round this up to a 9.5, they blend sounds in a real feeling manner and create very emotive dynamic music that is dark in a real way. Not many Halloween decorations to this one. 

 

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Gothtober - Wicca Phase Springs Eternal :"Midnight as the Castle Moorlands"

Here is an interesting projectug that is not as dark as what we think of dark wave being. However, some moments make me think if Cold Cave had more of a lo-fi indie pop feel, they might sound like this project. The opening track was catchy enough to real me in, so let's see how the rest of this album holds up. The second song is not as dark. It's moody in a more detached austic manner. It's more hopeful where the first song had an unsettled quality lurking in the shadows.  He is still singing about medieval themes with pseudo-mystical leanings. This does have its own charm. 

"Pure Fields" does have a more mute emotional feel, that leans in a more depressed direction. If Ian Curtis had gone on to form New Order they might have sounded more like this. The beat change get on this song was unexpected. There are moments of experimental ambiance that are a nice touch. The guitar is strummed to the forefront of " I Know the Raven".  This folk turn is not as stark as say Death in June, but works well enough. "I Choose You" is a piano ballad of sorts that works well enough 

The next slapper as the kids call them is "My Name is the Endless Night". It has more groove to it. It is also darker, but this album is dark in the same way John Vanderslice touched on more sullen feelings. But where Vanderslice was cutting with his honesty it feels like this guy uses the whole mystical moors as a vehicle to process feelings in a detached proxy. The last song "Venti Iced Americano" brings things up to 2024, though it's more introspective like he forgot to take his meds.  I will give this album a 9. 

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Gothtober - Witch of the Vale : "100 Ways to Leave'

The Hawthornes hail from Loch Lemond, which lets you know this is going to be more on the darker side of neo-folk. This album is almost more of an ep as it includes two remixes. The opening track is so ambient that it could almost be found at a new-age bookstore. The delicate vocals haunt the minimalist textures creating the opening ballad, which sounds like it would be a chart-topping hit for the fey. Enya is not an unfounded comparison, though the introspective mood is very true to what half the goth girls I know listen to so it certainly warrants a place here. If this band was playing Dragon Con it would not be a surprise at all.  The title track has a more solid foundation of songwriting supporting it. 

"Medicine' has a subtle groove to it, but I am not sure I would call this dark wave. '"Porcelain and Ivory" might find the delicate vocal approach not playing to the song's favor if she showed she could power behind her voice and belt it out in a more dramatic manner it might make things more dynamic. I mean at this point I am four songs in an not sure how good of a singer she actually is as she keeps giving us the same thing. 

The remixes are so good they should have just used them as the normal versions of the song and moved more in this direction The first was the title track remixed by Kontravoid. It moves more fluidly The remix of "Medicine' is the Halloween edition and feels more like something Danny Elfman might have done for a Time Burton movie. I will give this a 9, as they captured the niche they are reaching for her in an authentic manner that seems to resonate with who they are as artists. There is a great deal of personal story telling going on that is also true to the folk side of what they do.

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Chat Pile : "Cool World"

 

Expectations are high for this one as 2022's "God's Country" made it to number six on the Top 10 Punk Albums of the Year list. This album feels a great deal angrier. Where every band always says this will be a heavier album than our last, these guys just delivered. They still care about songwriting, perhaps even more so, as the almost industrial sludge beatings the album starts with give way to a more nuanced take with "Shame". The vocals are once again varied ranging from detached spoken word to growls and screams of all kinds. There is also more of an attempt at singing. The drummer is certainly out for blood as he is beating the shit out of his kit. 

A mean bass tone bares its teeth leading into "Frownland".  The syncopation is more industrial in the thump. The vocals work off repetitious chants and desperate cries of anguish,. "Funny Man" is the first song that finds things going off into a quirky angular direction though this time it has the throbbing weight of sonic malice behind it. The repetition of vocal lines finds a solid groove in the lurking tension of "Camcorder". They do not do darkness in a post-punk manner, but like a deranged alcoholic who is making threatening calls to your house. 

"Tape" finds an effective balance of all the unhinged elements they are throwing at you. The sonic sweeps of guitar color the background. "the New World" finds the band stomping at you with more raw primal chaos."Masc" clearly reflects how the band's songwriting has matured without sacrificing its edge. "Milk of Human Kindness' has more melodic elements to its introspection as the pound moves to a more undercurrent. It does build up into an angrier throb. If Captain Beefheart or Tom Waits ever made a metal album it might sound like "No Way Out". There is the feeling of being in a circus sideshow in the odd timing and eerie guitar lines. I will go ahead and round this up to a 10 as it's better than their previous album in that it packs a more defined punch thanks to the taunt songwriting. 

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Gothtober - Night Club : "Masochist"

I reviewed their 2018 album "Scary World' this time things are even more polished. Maynard lends his voice to the opening track. This gives things more of a Puscifer feel despite his voice sharing the spotlight in the mix with Emily's.. "Barbwire Kiss". A disco bass line drives "Another Side of You". Not the first time disco has been fused with dark music., though here it is in a slicker more pop-minded manner than what My Life With the Thrill Kill Kult has done.  Emily's vocal lines are also hookier this time around which plays to their favor. 

"Crime Scene' has a decent groove, but does not grab me as strongly as the first three songs. It carries a more 80s feel to it especially when it comes to the big chorus. Though the production is very 2024. "Let's Play Revenge' feels like it should be the theme song of a teen horror movie. Despite the coy lyrics it's not that dark of a song and finds them back in a more disco mode. I can hear "The Lunatics Have Taken Over the Asylum" making into the rotation of a goth nite.  There is almost a Britney Spears-like thump to "Pretty Girls Do Ugly Things".

'Fatal Crush' is another darker pop slapper. It is not as sultry as the previous song but works pretty well. Emily is not working with the best pipes in the business but she makes wise choices of where to put her voice. It's back to disco for "Everybody Knows".  I will give this album a 9, it moves in a more disco direction but the slicker pop angle works well for it. 

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Gothtober - tassel : " A Sacrifice-Unto Idols"

 

This project out of Arizona plays a style of goth that feels like a hipster lo-fi take on Marilyn Manson. I am glad to hear this younger generation of bands is not afraid to let the Manson influence seep into their sound. This is the reason he is never going to be canceled. Yes, there is also some Christian Death in the mix though it feels more like the Valor era.,since it's not as punk as the Rozz Williams days. There is a fair amount of electronics in play here  At times a more organic drum sound might have been better but I appreciate the mixing of death rock and dark wave in this manner. 

It begins to feel like they are going for a sound more than songs by the time it gets to "Navity" which feels like it's waiting for the actual groove to kick in. This is done in a similar manner that Skinny Puppy sometimes lurks around the dance floor, but they do not have the same atmosphere Skinny Puppy has. "Crawling' finds the thump of their programmed elements dialed up. The sleazy sultry nature of the vocals has a great deal of personality, but Astari Nite does this better. The guitar sits weirdly in the mix, though the raw production does have its own charm. 

"Martyr" has a more industrial drone. The album begins to move more in an electronic direction, with the guitar providing atmospheric texture rather than driving things in a rock direction.  I like the direction they lean into lyrically. "Sheol" has a decent groove. The vocals are more of a texture rather than building a solid narrative. After this, the album begins to descend into an experimental morass of sounds rather than songs.I will give this album an 8 as I appreciate a great many things about it, though not something that is going to get a great deal of repeat listens from me, but if you like the sounds of raw murky industrial mixed with death rock then you might enjoy this

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Welcome to Gothtober 2024

It is that time of year again to dedicate the month to music that falls under the banner of “Goth”. Granted we cover a wider range of dark wave, post-punk, deathrock, and darker shades of metal than other sites, and do it more frequently than everyone aside from Post-punk.com, who like their name suggests just covers post-punk. Since we did this last year the predictably short attention span of the masses has simmered down on goth’s appeal in the mainstream. A trip to any Spirit Halloween shows the push the new Beetlejuice is getting, and the original was a goth staple, pushing goth back into the public eye, 

 We are however still going to clear the air regarding what is goth and what is not, since there still seems to be a little confusion about that in the mainstream press. Gatekeeping has become a dirty word in the minds of those who are so entitled they believe anything can be anything they want it to with the petulant attitudes of Veruca Salt when she demands the everlasting gobstopper. As music journalists, we are actually professional Gatekeepers, when it comes to curating music, and I bought my first “goth” cassette in 1987, when I purchased Jesus and the Mary Chain’s “Darklands” album, so with 36 years of history with this kind of music, you can take what I say here to the mother fucking bank. Many of the newer dark wave and post-punk bands have begun to fall into a uniform sound like they are checking off boxes, so we will keep our ears open for that. 

I am going bring a wide variety of different sub-genres to the table and put their dedication to creating sonic darkness to the forefront when I select bands to cover.  A few came up earlier in the year that I was not content with, so that means it is time to make my own. The month culminates to start the top ten lists for this year, so the top 10 post-punk, goth, and industrial lists for this year should drop by Halloween, so with that join us as we explore the tunes that go bump in the night.

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Touché Amoré : " Spiral In A Straight Line"

 This is the band's sixth album. They have continued further down their creative path. This has taken them past the point of being referred to as screamo though the second song of their new album shows they are still explosive when they want to be. However, this is handled in more of a punk fashion and less overt emoting. The more polished production compliments the progression of their creative path. The guitars are where the growth is most obvious as they have a wider array of tones. On a song like 'Hal Ashby" they embrace the late 90s all over again thanks to the jangle of the guitars. This feels the most like what "emo" was once defined as though more punk drive that thankfully owes more to Hotwatermusic than Blink 182.

The songs are very dynamic, making this feel like a fully realized version of who they are as a band. Listening to this album with headphones is recommended to hear some of the nuanced touches in production There are tons of great guitar tones captured. "Force of Habit" paints a clearer picture of what this band is known for as the vocals are more of a spoken-word narrative. The guitar creates a moody ambiance to cushion the blow of the more yelled vocal sections.  "Mezzanine" is more of an angry clanging. This one leans them more in the direction of hardcore. The bright organic guitars keep things from being dark, though there are some sullen sonics that haunt the background. Most of the songs are under three minutes with the last song breaking this rule. 

"This Routine" is more rock n roll than the previous song, though the vocal approach to this album is pretty one dimensional which is consistent with who this band is. The band is working together when it comes to this to balance out the sound as a whole and compensate for this. "Finalist" is more punk in its in-your-face drive, Lou Barlow lends his voice to "Subversion", it's enough of a shift to give the needed dynamic colors. It's one of the album's better songs. The bass player wins the most improved award on this album, and his talents lift "the Glue". Julien Baker from Boygenius is on the last song. There is some chaos going on in the song,  Baker's contribution is too little to late it would have been more helpful if she had dropped more of a hook. I will give this album an 8.5, it's some solid songwriting and sounds great though I have never been a fan of their singer. 

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September's Top 10 Albums

It's time for September's top 10 albums. Staying abreast of the month's highlights might help casual readers see what they missed and check these artists out. I am not writing little blurbs on them and just linking the reviews. I am using this to organize my lists for the end of the year, by listing the genre of music the album falls under. Inclusion here does not mean that these albums have been released this month, but it is a list of new or upcoming albums I have enjoyed the most, I have albums in my in-box that are not coming out til  November so I am normally way ahead of the curve in this regard. They are ranked in order of what I have listened to the most. This month there is a wide variety from Pop to Black Metal so you may find your new favorite among them. Here are the Top 10 albums for  September of 2024.

10-Ellende - "Todbringerin" 

Black Metal 

https://abysmalhymns.blogspot.com/2024/09/ellende-todbringerin.html

9-FANGE- "Perdition"

Industrial 

https://abysmalhymns.blogspot.com/2024/09/fange-perdition.html

8-Mamaleek - "Vida Blue"

Prog- Fusion

https://abysmalhymns.blogspot.com/2024/09/mamaleek-vida-blue.html

7- Crippled Black Phoenix - " 'The Wolf Changes Its Fur But Not Its Nature"

Prog Rock 

https://abysmalhymns.blogspot.com/2024/09/crippled-black-phoenix-wolf-changes-its.html

6-Brume - "Marten" 

Post Rock 

https://abysmalhymns.blogspot.com/2024/09/brume-marten.html

5-trauma ray- "Chameleon" 

Shoe-gaze 

https://abysmalhymns.blogspot.com/2024/09/trauma-ray-chameleon.html

4-Mothica- "Kissing Death"

Alt Pop

https://abysmalhymns.blogspot.com/2024/09/mothica-kissing-death.html

3- DEADFORM -"Entrenched in Hell' 

Crust

https://abysmalhymns.blogspot.com/2024/09/deadform-entrenched-in-hell.html

2-Maul -" In The Jaws Of Bereavement"

Death Metal 

https://abysmalhymns.blogspot.com/2024/09/maul-in-jaws-of-bereavement.html

1-Nails - "Every Bridge Burning"

Hardcore

https://abysmalhymns.blogspot.com/2024/09/nails-every-bridge-burning.html

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Immortal Bird : "Sin Querencia"

 

The band's third album finds them hammering in a more blackened direction, along with Rae bringing in sun vocals rather than her more common rasp. The second song is more death metal, but it/s not really knocking my socks off in terms of originality, We can see what happens as we get deeper into the album, but I heard the chugging it's well recorded, but I am not feeling it. 'Consanguinity" has a little more emotion in the chords ringing out, and the rasp of her vocals is marginally more anguished, perhaps the previous song felt stiff without the nuance and just everything in your face. Though it does feel like dragging this song out for five minutes might be overkill. Less is more. If a metal band begins to bore you something is wrong. 

"Propagandized" makes the most of the urgent thrashing. The blasting sections could have been dialed back as the song feels rushed in those sections. But the main riff is strong as hell. At least the song does not run out of gas so well can call it an improvement. The more black metal throb to "Ocean Endless" works but then they try to keep up with a hyperactive drummer, and the spastic nature feels like they are tripping over their feet while running down a hill. There are more deliberate sections of the riffing that work but the song feels like a method out traffic jam.  There are sections of the song toward the end that might have worked better in another song. 

These kids are good musicians but that does not always equate to great songwriters. So this plays into my rule about sound vs songs. These are well-captured songs, but the arrangements could have been more thought. Just playing fast, does measure up to the darker where the chord is allowed to ring out, that has more feeling than just throwing shit at the wall at 100 mph and seeing what sticks. I can appreciate the angular and dissonant nature of the riffing. My preference is for it to be done more darkly and perhaps this dry midrange mix plays into that, but they heard the play back and said it worked so this is how they wanted it to sound. 

The syncopated parts of "Contrarian Companion" work for me. In fact as far as the songs on this album go it's one of the better ones. The last song finds a groove that works though it gets cluttered at times by the tech blasting around it.  Nothing groundbreaking here, the wheel is far from being reinvented. If you want technically sound blackened death metal coming from cool kids who would normally be playing grindcore, then you might have been clued into them by their first two albums, and likely a fan if you clicked this review. I will give this a 7.5, better than average thinking man's metal. They don't dumb it down but are not as smart as they think they are, but this might be your jam! It drops October 18th on 20 Buck Spin,

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DEADFORM : "Entrenched in Hell"

 

This is the first full-length from this Oakland based crust trio which features Dino Sommese from Dystopia on drums as well as sharing vocal duties with Brian Clouse from Stormcrow, who is also playing bass in this project. The furious sounds unleashed on this album highlight the things I love about the Crust genre. It's heavy, yet grooving in its pummeling. There is also a dark apocalyptic mood churning from the songs. The tones coming from their blown-out amps are burly enough to belong to a sludge band, but they are played with more of a punk attitude. There is a slight touch of thrash in the hook to the riffs. Think more Voivod than Slayer in this regard. 

For "As Above So Below"  they pick up the pace a little. The guitars ring out to create a great deal of sonic chaos as the song's throb lurches toward you.  The rasp of the vocals is articulated enough to make out they are howling about worshipping rotted flesh. I mentioned the punk attitude, however, do not let yourself be fooled into thinking this is simple three-chord bashing, arrangements have dynamic depth and owe more to Celtic Frost than Black Flag. The more doom-minded "The Exit" paints a bleak picture with the sounds they are bringing to life. It converges into a powerful chug, that is hard not to headbang to. 

Things get even more downtrodden for "Peacekeeper" with the vocals vomiting out a more wretched rasp. The guitarist allows the chords to ring out to create some dynamic space for mood, as the song is allowed to breathe more than the first three. A nasty bass tone drags you deeper into the filthy world of "Misery' which holds more tension, with a punk punch to the chorus. This album shows you do not need a big-name producer or million-dollar studio to capture a great-sounding album that hits you with the weight of their live sounds while retaining the larger-than-life studio atmosphere. The guitar tones are sick as hell, but not overproduced by any stretch. They step on the gas a little for the last song, but the deliberate pace retains the power they have been pumping at you for the entire album. This is really well written and executed, the mood is dismal and real. I will give this flawless piece of crust metal a 10.It drops on October 25th. 

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Conny Ochs : "TROUBADOUR"

 The German singer-songwriter's last album made it on last year's Top 10 Folk/ Country Albums list. This album feels more emotive and accessible than that one. It's very stripped down and basic with faint blue influence creeping into the opening song. From there the jazz inflections in "Cool Black Stars" feel more like Jeff Buckley. You do hear more from Ochs upper register on this album than I can recall hearing from him in the past. Sometimes his croon takes on a more plaintive tone, at others more expressive. His voice can carry the song, as the guitar on this one is mixed in the background. "Trouble Me" works well enough it rides a middle ground, though a little more upbear. 

Four songs in I accept this album is not going to be as melancholy as I would have hoped. Sure Ochs might be more depressed than Billy Joel, but the bar for things like dark and depressing is pretty high year, this songs like Paul McCartney fooling around and demoing songs at home. Which is you are getting compared to a Beatle you are doing something right. There is a little more moodiness to "CrazyHorse", but unlike Jeff Buckley, there is little evidence in a song like this that he would ever feel inspired to drown himself in a river. Much less the bolder self-violence of say, Elliot Smith. Both artists whose deaths made them feel more legit. Not that suicide is a requirement plenty of artists convince me without taking such drastic measures. 

"the Boxer" is not a Simon and Garfunkel cover. It is a breezy folk song that glides along with the same ease as the others. The more droning piano riff that drives"Wasp Trap" is a little more interesting as his vocal melodies have to work around it more creatively. :"Inside the Man" is one of the album's more compelling songs that finds the vocals enough to lure you in for repeat listens. "Crow Honey' is more soulful, but close enough to what Jeff Buckley used to do minute the angelic falsetto. "Run With the Devil" is another more blues-based song, that could have been done in a darker direction. The riff reminds me of "Stray Cat Strut".  The last song does not do anything we have not heard earlier in the album. I will give this one an 8,5, not something I am going to give a great deal of repeat listens though enjoy what I heard from it and he continues to grow as an artist. If you are a fan you will enjoy this as long as you are in a better mood as well. 

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Living Gate : "Suffer as One"

 

Here is another supergroup making old-school death metal, which I suppose is a bit of a trend now. This one features members of YOB, Amen Ra, and Wiegedood. Some elements are not unlike 'Formulas Fatal to the Flesh " era Morbid Angel, as the riffs twist and turn with a great deal of technical prowess. So they are not taking the easy way out by just dialing in a certain retro sound. The guitars have that Trey chaos to them for sure. There is a blast undercurrent to "Internal Decomposition". It is almost jazzy in how the drums go off on their own path. 

The riffs offer a dissonant and angular counterpoint to this.  The drums do a better job of holding together "Destroy and Consume" in a more grooving manner. The groove makes it one of the album's best songs The dray breathy rasp of the vocals is articulate enough to offer more of a narrative than just growling with no purpose. "Unified Soul" charges at you full blast until they provide some contrast with a more deliberate almost rock n roll riff, it's almost Deicide-like in its tight steamrolling drive. "Suffer as One" locks in more on the riff. This makes for a hookier affair. It stabs rather than stomps. They break into a creepier melodic guitar section showing they care about dynamics. 

The sinister slither of "Ones and Zeroes" almost reminds me of old Meshuggah in the manner the riffs shift in a winding fashion. The chugs that get locked into during the more obtuse math of the arrangements prove powerful and the overall result is an undulating throb. "Hunting Maggots" is more feral in its frantic chugging, though even then they play around with it to make it catchier than most death metal bands who do this sort of thing. "Atoms and Particles" takes a few moments here and there to allow a breather offering a passage that gives more ambiance, and feels less like the same is painted with the same color. The tense moments in the middle of the song use this in a very effective manner. 

Even the smarts they have invested into the equation that is their songwriting formula begins to settle in with "Overcome, Overthrow" leading to it sounding similar to other songs on the album. It is not until things take on more hard-core bluster on the last song that they capture my attention again. These guys are highly skilled musicians , who have made a captivating listen from a genre they do no dive into in their other bands but proved successful here, I will give this album a 9. It ddrops October 25th on Relapse Records.  

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Dreamless Veil : "Every Limb of the Flood"

 

This super group of sorts is getting some hype as it consists of Inter Arma vocalist Mike Paparo, the guitarist from Artificial Brain, and Dave from Psycrotic on drums. It's more blackened than Inter Arma. The reverb on the vocals and the blasting drums help with this, though the guitar which is oddly mixed back is more angular, while still melodic. There is a flow to the chaos that works well enough. Is it the most original thing I have heard? No. In fact, the second is pretty run-of-the-mill American black metal. American Black Metal feels like it only holds darkness as the obligatory aesthetic to sound cool, holding no actual allegiance to actual darkness as a spiritual force. 

The third song is more aggressive and blasting, but I am already beginning to feel bored with this. I would be more impressed if they were doing something more interesting with melody, but trying to lash out with feral spit in sonic form has been done more authentically already.  This song does find them dip into a more melodic section, but it should not be an afterthought. "Stirring of Flies "unfolds in a dissonant fashion as the guitar forms their hypnotic pulse for the vocals to scowl around. It feels like they are putting more thought into this one. "Cyanide Mine" blasted by without even me much reason to pay attention then when I went back to see what I had missed it turned out not much. 

The title track falls under a similar premise, perhaps marginally more melodic, but equally ineffective at hooking me in. For a song about suicide, I am not getting the kind of depressing vibes I need from that topic. The darker more deliberate pulse to "Glossolalia" works better for my ears. The last song Just Tremolo picks it's way through black metal tropes but it feels empty like there is no sorrow, hatred or lust for evil, its a sound for the sake of a sound, which is not what black metal is about. I will give it a 7.5, kinda bored me as it was less filling, but the executed the sounds they were going for well enough.

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Peeling Flesh : "the G Code"

 Whut da fuck is up Oklahoma? Not the first grooving slam grind I have heard, but is is amusing when these sorts of bands flirt with hip-hop and nu-metal. At least they care about songwriting even if the gurgled growls of the vocals are one-dimensional. To fully grasp what was happening regarding the hip hop elements being used I watched a clip of their performance as Soun & Fury in California. Was this a rapper who could growl or did someone else come on stage for these parts. The answer was the rapped vocals are all backing tracks, and the vocalist was more of a hype man whose gutturals live sounded like shit. However, in the studio, they used all the technology to their advantage and a song like "Perc 3000" is a great deal of mindless fun.

By the time we get to "Full of Lead" I am going to need a little more dynamics from these guys so let's see if they deliver.  It's more of an interlude and "Skin Blunt" which uses more samples feels more like the song. The guitarists in this band are the saving grace as everyone else aside from their vocalist clocks in and gets the job done. The growl vocals are just a human layer and wait til you hear how bad they are live, I wish I had not heard that before reviewing their album, but in some ways I am glad I did hear past the studio smoke and mirrors. "the Fuckening" feels like they are beginning to run out of creative gas. 

The title track finds the use of samples as the only thing different from all the other bands doing this sort of thing, the blasting does not help things either. There is a more purposeful hard-core vocal in place that works better. Matti Way from Disgorge lends his voice to "Creepin Out Da Cut". He brings a less gurgled roar.  The last song is supposed to be an outro but has one of the album's best riffs , go figure, after hearing how much love these guys need from the studio and samples, I am going to give this album an 8, which is still better than I thought it was going to be. It's the "Ju Ju on Da Beat" of Slam. 

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Sugar Horse : " Grand Scheme of Things"

Thank gods the Brits are keeping sludge going. They are doing some interesting things with it.  The deliberate pace the shoe-gazing fuzz rides on is pretty impressive. I appreciate what they are doing sonically and the willingness to put some balls behind the vocals where most shoe-gazing bands just whisper in a hushed coo. However, the throb of the first two songs runs together, which is often the mark of a band that is keen on capturing a sound rather than writing songs. "Corpsing" finds the vocals emoting in a more post-hardcore manner. The vocal lines are tighter. An almost Pink Floyd-like ambiance hovers in the background. 

The production of this album is interesting, how things like vocals are placed in the mix is always changing depending on the effect they are going for. This means there was a great deal of thought put into this which I can appreciate. They are also very experimental in how these captured sounds are woven into songs. "Mulletproof" is more ambient with the vocals sitting in the back of the mix, as drums linger and the vocals shift to more of a hard-core scream. They punch into the song with more aggression than expected and this side of the band comes out of nowhere. It's a bold move that I never saw coming and it takes a lot to surprise me. 

Before they threw themselves into the more sludged-out explosion, "Spit Beach" was beginning to remind me of Atlanta's Dead Register. I like the way they go from loud to soft on this song, as the dynamics work well and invoke 90s metal in a big way. The command vocal line of "New Dead Elvis" carried is powerful, and works well against the more hard-core pulse the song grooves into. "Jefferson Areoplane Over the Sea" feels like a mix of the Cure and Depeche Mode. It's moody and soaring. Their song titles are pretty hilarious, as "Office Job Simulator" carries this streak,  The vocals are more bold and soaring, as the instruments trudge with hope before kicking into the more sludge-like chorus. 

"Space Tourist" is a 24-minute song, and I am not sure why anyone needs a song that long, after all the entire "Reign in Blood " album is 28 minutes. I start off like a ballad before crashing into sludge core two and a half minutes in, leaving you to ask how is this going on for another twenty-one minutes. The answer at first is to slow the sludge down before it spaces out into ambiance. This ambiance drones on for 19 minutes. Why waste anyone's time? Overall they have some solid songs, that take changes, been digging up a lot of sludge bands over the past week and these guys are doing something unique. I will give this album a 9 as they care about the songs, and try new things melodically. 

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Coffin Rot : "Dreams of the Disturbed"

 Portland has been pumping out some metal. Coffin Rot is another strong case for the city, as it's dark and dense, but with enough musical prowess to prove they are not just trying to bludgeon you into submission.  Grooving riffs instead of hyper-fast aggression in your face certainly helps, though they do gradually begin introducing faster passages on the second song. If you are a guitar-playing metalhead kid, you should dig this album. When they lock into a solid chug it's impressive so just your run-of-the-mill death metal fans looking for something to headbang to can get into this. 

One of the most impressive moments is when they switch the vocals up on "Lurking in the Cemetary"  to a more articulated cadence, from the low gurgle that dominated the first two songs. The drummer gets the job done and uses restraint, which is important as I heard many death metal bands holding it together riff -wise but the drummer tries to rush things with overzealous playing. They lay on the speed going into  "Unmarked Shallow, Grave". "Living Cremation" sped past me on the first listen, so I had to go back and give it another listen to see what I missed.  It's a very straightforward Cannibal Corpse brand of death metal that does not capitalize on some songwriting skills they have shown themselves possessing. "Hands of Death" is similar though broken up by a more deliberate muted riff, and the rumble of the bass is more present. It's not as solid as what they started off with but it doesn't suck either. 

"Predator Become Prey" works off a relentless aggression that churns the song along. It's more deliberate in its chug while not forsaking the aggression making it a more effective song rather than just grinding out a cool sound. The pour on the speed for the last song, which is more of a blur despite opening with greater intent, the vocals do create more of a chorus feel, but it feels a little more like every other death metal band. Breaking the six-minute mark there is room for a more nuanced arrangement that they get around to midway in as things break down into a melodic guitar part before going into a mosh-inducing riff. You can hear a bit of Slayer influence in how this is done.I will give this album an 8.5 and see how it grows on me, the more the rely on speed towards the end the more it sounds like most death metal but there is a lot of promise here nad over all their second album is a success. 

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Crippled Black Phoenix : 'The Wolf Changes Its Fur But Not Its Nature"

I gained a new appreciation for this band since the darker turn their past few albums have taken. This is supposed to be a double album, but I am reviewing them separately since they have different titles.  This one starts off with a sample from what sounds to be a "Sounds of Halloween" album. From there they sprawl out from a creeping post-rock, into a more grandiose throb. Not as dark as what I expected after the last album but it works. This sprawls out for 11 minutes. I only paid attention to the time around the 8-minute mark, so perhaps it's three minutes of excess. Production of the album sounds great and the guitar tones ring out with the perfect amount of reverb. There is a more rock n roll feel to "You Put the Devil In Me" which has a more soaring southern rock feel. 

"444" is the first song dark enough to lean toward being called goth, it feels like something Wovebhand might do. Justin Storms from the band Wailin Storms lends his voice which aims it in this direction. Then the shadows creep into the atmosphere of "Goodnight Europe". Belinda Kordic's voice is stellar on this one. So up to this point, we are at a 50/50 split as to songs dark enough to consider this album goth. The ambient interlude that follows this does not change this fact . However the more pastoral folk of "Song for the Unloved" carries a more Swans-like vibe, thanks to Ryan from Fotocrime coming in to drop vocals. This does build into a more Pink Floyd-like sound. There is a palm-muted riff that feels like it's going into "Another Brick in the Wall". The song is a 14-minute epic so who knows where it's going to end up. The saxophone solo over the more "Have a Cigar" groove is a pretty nice, touch and aside from the one riff, they do not become a Pink Floy Tribute band. 

"Whissendine" continues to float down a more Pink Floyd-like place with a darker grandiose theatric feel to the song's progression. They have always been a progressive band this time it's just coming from a place that is more like "the Wall'". They close the album by taking it in a more post-rock direction for the "Blizzard of Horned Cats".  I have not given the second album a listen yet, but this album has some goth adjacent songs, three of them to be exact it feels more proggy in scope and is not as dark,  not giving me a reason to hold back this review for Gothtober. however, it is still excellent and better than most prog bands you are going to hear this year so I will give it a 9.5. It drops November 4th, on Season of Mist.  

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The Barbarians of California : "And Now I'm Just Gnashing My Teeth"

 

This hard-core band is obviously from the West Coast. Most West Coast hard-core makes me think of skating boarding.  The Barbarians of California's new album "And Now I'm Just Gnashing My Teeth"(oneRPM)  carries more of a metallic stomp aligned with modern hardcore. Even the first song reveals that they have an experimental edge. Once you are into the meat of the album, they are bridging hardcore with a nu-metal sound not unlike what System of a Down does.  They attack with a more spastic jerk. It's hard to not appreciate the sense of adventure that runs through these songs. The new generation of nu-metal kids who go to festivals like Sick New World are definitely going to dig it. Hardcore purists might have some questions. 

"Bazooka" hits with a more metal lumber. They pick up the pace for a more manic groove. I like how it gets darker when the guitar harmonies kick in. "Dopamine Prophecy " pretty much just pounds at you with senseless violence, though with more groove than say grindcore. They are joined by Tim from Rise Against, for "Three Letters". The varied vocal colors work well on this one. "Where Are the Punks" has them chanting about bombs again, the main riff has more of a Slipknot-like grit, but it works well. 'By the Time I Get to Mexico"  feels like a less moody version of 'Adrenaline" era Deftones., but with Slayer guitar solos thrown in. 

"Mr Microphone" is heavy, but it's all over the place in the beat down it tries to serve up. They would get points for having Daryl from Snapcase, but the rest of the song sounds like System of Down. It is not the album's best song, though I think their take on the nu-metal revival has some merit and they generally care about songwriting even when they Slip into knotting. I will give this album a 9 as it's a lot of fun even if I don't listen to it again. 

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Vended : "s/t"

 If your dad was in Slipknot it would seem that the last thing you would want to sound like is Slipknot. Simon and Griffin have decided otherwise and the rest of the band is just thankful for nepotism. I am listening to the moments where they do not sound like Slipknot, as I would not be into any other band that sounded like Slipknot, something that kept me away from a band like Mushroomhead for years was based on the fact they wanted to be Slipknot in image alone, so am I going to let this slide? Fuck NO. The vocals at the end of 'The Far Side' allow a little of who they are apart from their parents to shine through. But you can go into any city and at least a dozen bands are doing this sort of thing,. 

The production is not doing any favors to keep from painting these kids into this corner. 'Am I the Only One' has me cursing the fact I have ten more songs like this to make it through. Their songwriting is better on "Nihilism", but they still sound too much like Slipknot, which might be a phrase you are going to get tired of reading. "Pitiful" keeps up the "Iowa" style pounding. They are good at achieving this sound,. but around here, just getting a sound can be dialed in with no creative energy invested. That is where the producer came into play. Lyrically this could be a Slipknot album as they are rating about things being shit, with clean vocals crooning with less hooky tendencies than his father. "Disparager" thrashes a little bit in the same way Slipknot's first album did. But most of you should already own that one. 

"Where Honesty Lies" works off the barked vocals, which are the more dominant focus, though he does not have as much emotion in them as his dad. The first guitar solo I notice is also on this song. Is "Ones" going to be the obligatory nu-metal ballad? But no it's just an interlude. Then it's back to the big dumb pounding of 'Downfall" It's dense but not hooky. The last song is more of an outro than an actual song. I will give this a 7 and it made it that high because they make the sounds well and have a few ideas of their own. 

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Mothica : "Kissing Death"

The third album by this dark pop singer finds a mix of post-millennial dark-wave sounds with thoughtful hooks in a concept album theme of romancing the death as personified as the Grim Reaper. As someone who has a worshipful adoration of death myself, I can appreciate this, as well as an artist who steers clear of the normal pop tropes. Sonically this falls somewhere in the zip code of Poppy, though vocally not as aggressive, with a more introspective approach closer to Imogen Heap, Taylor Swift. or Chvrches. "Exit Plan" contemplates the chaos of crawling out of addiction and the thinking that comes with those behaviors. 

"Another High" continues to ponder how you live when life has become something that is killing you. This album is well produced, with all the sounds very crisp and balanced in the mix. The more organic elements like guitars are not known until this song. "Doomed" finds her reflecting back on her early days making music in her room as a teenager. It's more of a ballad. Where melodramatic pop ballads normally would bore me this has enough raw honesty to make it work. "Curiosity Killed the Moth" exceeds expectations with more adventurous sounds than what your normal Tiktok pop dabbles in. 'Red" has more of a 90s alternative radio sound. The dynamic had the recoil/ expand formula from the 90s in place, but it still works as well here as it did back in the day. 

Much like Blue Oyster Cult, her take on "the Reaper" shows little fear and focuses on an infatuation. There is a very Los Angeles sound to "Toxins" which has a playful electro feel. Reverb heady guitar rings in the background of "Afterlife" It's a smooth neon ride, with the rock guitar creeping up in the undercurrent. "Mirage" toys with the Western feel, as her sultry voice glides over the grooves when they kick in. Once again she proves to be a step ahead of pop artists trying to climb up to the Taylor Swift pedestal, but not playing the same game and creating a more original sound. 

The title track is another bedroom ballad with strummed guitars pining for the Reaper. There is an acceptance of death in this song. The last song closes the album with more of a synth wave vibe to the thoughtful brand of pop she continues to weave. I will give this one a 9.5, and see how it grows on me, it finds her carving out her own place in the pop landscape, which appeals to those who find the more vapid radio-dominant forms of it insulting, the concept alone will win over darker hearts. If you want honest pop music that is in touch with its shadow side this is for you. 

MOTHICA · Exit Plan

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Master Boot Record : "HARDWAREZ"

 11 full-lengths into this project, things are getting bigger and more polished. How could they not? The mastermind behind this project is producer Victor Love, who after playing with a live band on tour decided to use actual live guitars in the studio, rather than just over-driven synths. Sonically this album works off the themes that fans are familiar with, some of the songwriting feels more mature the second song "MOBO" being a noted example of more nuanced dynamics helping things groove more as it breaks down to drums and a bass line. There are almost neo-classical phrasings employed in some of the synth patterns. They still dig in and get crunchier breakdowns at times. 

Some of the more melodic synth melodies have a happy Dream Theater-like vibe, though thankfully without the Journey-like vocals, though this makes a song like "CPU" not feel as heavy as "GPU" despite that song having appropriate levels of ambiance to it. Some segments feel more synth-wave than others, though this could have been said about previous releases as well. Of the project's previous releases that we have reviewed here, I preferred their 2018 album "Direct Memory Access" as it received an 8.5 versus the 2022 album "Personal Computer" which scored an 8, still better than most commercial radio, but the novelty had worn off a little on my second run with these guys. I can feel a similar feeling coming on with "RAM' which is back to a more upbeat mood that does not resonate as strongly with me. 

The more synth-waving sounds lead into "FDD" before they recoil into a taunt palm-muted chugged groove. This provides a pretty solid base for them to arrange the other synth embellishments around. They crunch out of this into a Meshuggah-like heaviness, though not tuned as low. "HDD" works off another more traditional metal groove that proves to be effective even when draped and the blips of the synth sound. They are wise to return to the more Pantera-like crunch. I am sure some misguided souls will compare this to industrial, and it does not have that kind of stomp, nothing is done in the robotic syncopation. 

"PSU' is an example of the contrasting dynamics this album keeps in playing with rolling arpeggios to solid smacks of crunch hitting you. The drum programming feels more aggressive this time around. On the last song, the melody feels more like Vangelis playing "Final Countdown" with the heavy parts more of the expected chugs. I will give this one a 9 as it feels like an improvement when it comes to more dynamic songwriting, If you like aggressive synth wave this is for you, and fans are getting a more polished version of what they are already here for. It drops on October 11th on Metal Blade. 

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Ritual Fog : " But Merely Flesh"

 This band from Tennessee attacks with a very deliberate groove that is not unlike Obituary at times. When they pour on the speed for the second song, the more rabid moments remind me a little of Rigor Mortis. The vocals are varied, sometimes more snarled, and others growled more with varied tones. The lyrics are articulated enough to know what the songs are about. These guys have not only captured the sound of the era they are paying homage to but also care about writing songs. The drummer is capable of keeping a steady flow of double bass going.  On "Nocturnal Suffering" they charge in but rein things back for the verse, which is more death metal in the vocal spew.

The riffs blend all the eras of the genre they are taking from with a lower grit to the guitars that bring a heavier more modern feel. There is a bigger more crushing Morbid Angel-like sound to " Demented Procession" but a raw feral nature like early Death or "Bonded By Blood" Exodus when it comes to the vocals. The vocals are more forward in the mix like Combat Records era thrash. They show more of what they are capable of when using enough restraint to keep things at a purposeful pounding. I think the darker guitar melodies are some of the album's strongest moments as they wink in the direction of doom without it being an attempt to hop on the death-doom bandwagon. "Fog Sermon"  is not the album's most focused song, but works for what it does well enough. 

The band's thrash influence has been touted a great deal and the first riff I hear that really alludes to that is on "Carnal Pain". I  like when the song breaks down to the bass and drums hammering it out in a crusty fashion. They grind into a filthier raw-edged take on death metal for "Sentient Chamber" that finds its groove 30  seconds in. Midway into the song, they veer off into a creepy atmosphere that works well. The title track that closes the album leans into the flood of steady double bass to give the song a monolithic drive. I will give this album a 9, as they set themselves apart from the current death metal pack, without simply becoming another tribute to the glory days of the Tampa scene. This drops November 29th on Transcending Obscurity Records. 

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Crobot : "Obsidian"

The opening track of their new album finds a more aggressive take on rock that has more in common with newer Mastodon, than the more anthemic arena rock of the previous album. I get this progression for the band as they have been booked on festival bills where other bands were certainly rocking harder than they were. On the second song, he goes up into his higher register as the band brooding on grunge-ridden grooves. I do like it better than the previous song, though it sounds like the way most hair metal went in the 90s which is still a vibe I can get down with. "Nothing" retains the album's momentum, as they put their foot to the gas to keep things high energy while still carrying melodic melody to soar on the choruses, a pretty safe formula to work from. 

The moodier atmosphere gliding through "From the Ground" reminds me of I Mother Earth, though the big soulful chorus, brings it back closer to the mainstream, enough of the trippy 90s-flavored weirdness is there to work. Not enough bands are doing this sort of thing so it seems a worthwhile direction for them to explore further. "Disappear" is where the album begins to take more of the middle road regarding the hard rockin pursued here. This includes the song "Metal", as they have already touched on more metal moments previously in the album, and in the interest of just writing good songs, I am not too invested in them having to be a metal band. I would rather hear them explore some of the lesser-traveled ground they touched on earlier. 

The intro to "The Flood" has a spoken part that reminds me of Spinal Tap's "Stonehenge", the song itself is a suitable blend of deliberate grunge-tinge stonerisms. The melody is catchy enough which is the crux of things for these guys. "Ancient Druid Crown" feels like they are going back to the well with the same groove they used on the previous song which is not as effective as the first time around but doesn't;t suck either. While some elements of "Head of the Beast" move in a more metallic, they have the sense to back off on the verses so the vocals have room to breathe. The chorus does not slap as hard as some songs. "White Rabbit" is not a Jefferson Airplane cover, but a grooving original song that might be one of the album's best. It has one of the album's coolest guitar solos that does not conform to shredding expectations. "Happiness" is a ballad that closes the album. It sounds like a sappy Chris Cornell solo cut. I will give this one a 9, I do not think it hits like the previous album which was more interesting but they are good at what they do. 

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TR/ST : "Performance"

 

Now 14 years into the inception of this project, TR/ST is releasing its 5th full length on Dias Records. The second song grooves more than the first, which given the opaque nature of Alfron's vocal approach, it's crucial to hook you into the song. He has managed to become a staple in the rotation of most "goth" DJs who are open to playing music outside the tired Front 242 fixtures. Though I am not sure I would; consider this particular album goth. It moves under the hazy neon of 80s-infused synths. At times there is more in common with the Pet Shop Boys or Bronski Beat than the Sisters of Mercy.  To his credit songwriting is more finely tuned than some of the previous efforts which can be heard in the melodic nuance of "All at Once"

He falls back into some of his more murky musings on "The Shore", which might still work as the background throb for a dance floor, but it's more about capturing a sound than being a song you return to. Though not a deal breaker in this regard. There is a lighter ambiance to contrast with some of the similar moods delved into in "Boys of LA".  His vocals retain the same unique murmur that helps define his brand. Without this, it would place him more solidly alongside the Pet Shop Boys. This brings up an interesting point regarding how all things 80s New Wave get lumped in with goth, how many artists creep into goth music sets because they came out in the same era. So these sounds are thus embraced by younger artists, and woven into the fabric of what Tiktok goth thinks is acceptable. Screams of gatekeeping which amount to nothing more than spoiled brats wanting things to be however they want ensue and here we are with the goth scene in the state it is, but we will get to that next month. These just happen to be the thoughts this album inspires. 

"Clowned" is just lost in its own ambiance and does not really go anywhere, but "Dark Day" works well and benefits from an effective vocal hook. It's hard not to bob your head to it. The title track meanders around the same sonic themes this project has begun to recycle, which the direction the album was heading in is for all the songs to sound the same thanks to the limited dynamic range, forcing Alfrons to make the most of his beats and emerge from his reverbed mumbles to form more cohesive thoughts. He opts to dive deeper into the dense atmosphere and hide within sounds as the album closes on "Warp". So if you like what he does this album does not stray from that or bring any unexpected surprises into the production has polished those, so I will give this an 8.5.

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the Jesus Lizard : "RACK"

Noise rock became the label that most would define these guys with, though when "Pure" came out in 1989, I remember thinking they played their instruments too well to be a punk band, thought this was a time when music was shifting and the "alternative" label meant something more than a marketing slogan. There is much more of a rock n roll feeling possessing this album. Yow's voice sits back in the mix on the first song, but when he takes the spotlight on "Armstice Day" it's evident he still has his voice. There is a cool tension lurking under the surface of the rock facade. 

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More punk attitude seeps into "Grind". The guitar tones feel brighter and more organic, they are not playing with the same pent-up aggression they gave their 90s a subtle metallic edge.  "What If ?" is driven by a creeping introspection that serves as a fitting counterpoint to the rowdier "Lord Godiva". This finds Yow coming closest to his famous howl, as for the first four songs he has kept the mood pretty civil. "Alexis Feels Sick" is closer to what I want from these guys as it has an unhinged mood with an inner darkness smirking at you. 

Things got back more to a frantic syncopation, before tightening the reins into a groove for "Falling Down", which might not be as explosive as their earlier work, but is still effective. "Dunning Kruger" is much more rock n roll, it would have almost fit on rock radio in the mid-90s. The band themselves said this was some of their hookier songwriting, so this must have been one of the songs they were referring to. Not what you go into this album expecting if you are measuring them against the past but it works. "Moto(R)" bleeds from a similar vein as the previous song, a little happier than what I associate with these guys, and not as catchy as "Dunning Kruger" 

By the time we get to "Is That Your Hand?" they are beginning to bore me, but then I really like "Swan the Dog" as it has darker more melodic leanings and is a great example of how they can bring the sound we expect as fans and marry it to these more mature rock leanings the album goes into. These guys have been critical darlings for the bulk of their career, so you are going to read a lot of inflated praise of this album, I like the album but wish it was darker, and the more rock n roll direction takes some getting used to at times, so I will give it a 9, which is still better than the bulk of rock music coming out these days. 

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Flotsam & Jetsam : "I Am the Weapon"

 

In their long career, the band has been consistent in cranking out quality thrash with epic power metal-like vocals, though Eric AK has managed to rein his yodels back with age. Not sure I approve of the version of "No Place For Dusgrace' where they re-recorded them out of existence, but that was then this is now. The opening track comes on pretty strong and finds the "Raise Your Fist and Yell" drummer Ken Mary bringing it fast and furiously. He might not be an original member but played on one of my favorite Alice Cooper albums so it's fine for me. "Primal' feels more like they are just working off the formula of what they do, and not bringing new ideas to the table, which might be what some fans want. 

Metal fans are funny in this way as they force a band to stick to what they have been doing and not veer too far from that or they have sold out.  If we ignore the Blaze Bailey albums Maiden has kept the best balance in this regard. The title track works pretty well. Though it thrashes in a pretty straightforward manner. Despite having forsaken his falsetto, Eric's voice sounds great. I get why he doesn't do it as it sounds very 80s. "the Head of the Snake" grooves in a manner that holds more in common with their more classic songs. A little groove goes a long way as "Beneath the Shadows" shuffles its way into being more of a rock song. 

"Gates of Hell" works off taunt riffing that recalls this era of classic metal, as it allows the vocals to carry a great deal of purpose. I am not sure they needed to step on the gas in the manner that does for "Cold Steel Lights". Though when the song breaks down into the more melodic section this one works well, but needs to last longer. "Kings of the Underworld" feels like its syncopation is rushed and the vocals take the brunt of this damage. Though the chorus works well enough."Running Through the Fire" benefits from very powerful drumming. It is a very aggressive song, but works well. "Black Wings" works really well and finds the band coming to a very well-balanced place. I will give this album a 9 as these guys  continued to fine-tune what they do without being trapped in the sound of an era. 

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Ellende : "Todbringerin"

It seems I have some catching up to do. The last time I heard these guys was back when they released their 2019 album, so few trips to the studio are under their bullet belts that I missed. This explains the growth in the more melodic direction of their sound, and the pristine nature of the production that is organic enough to capture the spirit of the genre without being so polished they lose the black metal feel like say Behemoth. These Austrians are doing their own thing in the best way possible without turning off fans of the genre, as the scope of sound has changed but even with the jazzy guitar interludes nobody is going to doubt these guys are a black metal band even when they skimp on the blast beats. 

Agalloch might be a fair sonic comparison. The snarl of the raspy vocals anchors them in metal as the music soars off into the autumn sky. The drumming is very nuanced. The guitars are very nicely layered with wonderful tones dialed in. The instruments have space rather than just a buzzing drone of tremolo-picked guitars. "Verehrung" is very intentional, and works off all the elements they set in place in the previous song, without wearing them out already. "Scherben Teil" is written as parts one and two. The first of these sets the stage with a steady strum of guitar and a gracefully tasteful guitar solo. This does coast off into the kind of ambient black metal that is the backbone of this album. It is decorated with some stellar guitar flourishes. The second part kind of drones of the atmosphere formed in the previous song. 

"Versprochen" is the first song that crosses all the way over from black metal into post-rock. It's a pretty majestic song, so hard to argue with the results and the great guitar playing that drives the point home. "Verachtung' is the counterpoint to this as it roars back with more metallic intent. Keeping its fury at a steady march. The last song splits the difference as starting off with more ambiance pervading the guitar melodies then the storm builds into the scathing vocals that hold more malice in the climax. This album is better than what I heard from this band previously, which says something since the last album I reviewed got a 9, so I will give this one a 9.5, it shows you what black metal could be capable of.

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