mclusky: "the world is still here and so are we"

 

The first album this trio has released in 20 years. They emerged from the 90s playing a noisy take on tongue-in-cheek punk. Vocally, they adhere less to punk and shout random thoughts. The comical tone is heavy on the first track. They employ dissonant guitar lines and churn an angular battering under it all. "way the exploding dickhead" works better than the first two songs when it comes to making things memorable, as the chant is infectious. There is more of a slacker vibe to the more deliberate "The Battle of Los Angelsea"; it brings Helmet to mind. 

"person person" feels like it is more pounding, a more emotional pulse. Though this does not mean that it has as many dynamic twists as some of the other songs. At times, these guys remind me of King Missle. "the Compotent horse thief" being one of those times. The pace picks up for "kafka-esque novelist franz kafka".  "the digger you deep" finds the band indulging in more clever wordplay, as the bass lends weight to the drone of the song. It's like Primus without the funk. This formula works better on some songs than others, as things begin to sound rather uniform by the time we get to "autofocus on the prime directive". 

They solve this problem by dialing things back for "not all steeplejacks". Then after this they are back to some times pounding out bouncy grooves , and at other times colliding powerchords against one another to vent frustrations. They veer more in the indie rock side of things for the last song. I'll round this down to an 8, not a hug fan of the vocals, but I get why people are into these guys as they are good at what they do so giving it an 8, as they made the album they set out to make and their fan base should be pleased by it. Ipecac is releasing this May 9th. 

LIK : "Necro"

 When I hear the term Swedish Death Metal, I used to think of something more in line with At the Gates, but now it seems like the phrase is code for 'we love Entombed', and by the band's own admission, they wanted the opening track to sound like Entombed. They succeeded. I dig Entombed, not really a band I listen to as much now as I did in the 90s, but they have a distinct sound. Hopefully, the rest of this album finds this band showcasing their distinct sound and not becoming an Entombed tribute band. Though the guitar melodies seem to convey they are paying tribute to a wider range of Swedish death metal, as it is more At the Gates, in its aggressive delivery. Truth be told, I might like the first song better. Around the two-minute mark, a pretty killer riff comes in, but they just solo over it. Even then, the rule here is "cool riffs alone does not a good song make". 

"They" is more deliberate and marginally darker. It hits a pretty solid "Wolverine Blues" era groove. It might be the best song so far. This is the band's fourth album, so they know what they are doing production-wise and have a sound dialed in, even if it is not the world's most original sound. One thing that plays to the band's favor is their economic songwriting that finds them keeping things around the three to four minute mark. With a song like the rapid fire "Worms Inside" they got straight for the throat and leave little time to fuck around and let things sprawl out. Their formula at this point seems to be to throw the best riff in at the two-minute mark to switch it up. The growl of the bass leads the way into the grind of "Morgue Rat". It's a darker, more throbbing song, which is a sound I prefer over feeling like things are being rushed by momentum.  Granted, this drags things out into the five-minute mark, but it's time well spent, and not a droning jam. 

They pour on the speed for "Shred into Pieces".  In doing so, it pretty much turns into a rumble that sounds like everything else in this vein. Their drummer is a beast, but you have to be to play death metal. They cast a doomy shadow on things with "In Ruins", though step on the gas once they are into the verse. Nik Holmes from Paradise Lost lends his voice to the song. But he is pretty much buried in the layering of vocals, until they break things down enough for him to give a goth mumble over it. The overall vocal performance on this song seems more intentional than most. The rushed thrashing of "the Stockholm Massacre" finds interesting lyrics lost in the frantic delivery. 

"Fields of Death" is another speed fest, that at this point is getting dynamically tiring, as it feels like you are being hit with the same blunt force straight to your eardrums. There are some who are going to be a fans of this sort of thing. The last song is doomier, and works better to establish a mood than the thrashing ultra violence they kept hitting us with. For this reason I will round this down to an 8, they are skilled at what they do which is a specific flavor of death metal that is not always my thing. This drops on Metal Blade. 

Fractured Fairytales :" Parasomina"

 

This band reminds me so much of Lollipop Lust Kill that I had to click around online to see if there was any connection. There was no connection to Narcotic Wastlands, if you are into bands in the "Where Are They Now?" files. These guys meet at that weird intersection of the 90s where nu-metal and death metal met. The song is reasonably catchy with the vocals mainly barked with a nu-metal pseudo goth vocal sometimes chanting around the bark. This might appeal to Jauggaloos, as the vocals are sometimes almost rapped. I am a fan of the fact that it is not upbeat or trying to bring the party, but making a feel-bad album. 

"Hate is All You Need" finds the songwriting not as hooky or nuanced, making it the first song to lean more in the direction of filler. Maybe it's a flux?  "Shadow in Hell" has more of a groove to offer redemption, as the vocal goes from rapped to more of a Marilyn Manson-like croon. I am not sure if this album is going to be something I need in regular rotation as I own a great deal that already meets these needs, but it's entertaining, and I am glad there are bands out there doing this sort of thing. Though I think pouring on the speed is not something that plays to the benefit of what is being done here, and it's the creepy grooves that work best. 

This can be heard on the very deliberate riff that drives the verse of 'Snow Angel". There are varied vocal approaches and guitar melodies that show the willingness to dig into songwriting that have to be respected. Just being heavy is not good enough for this album; there have to be things to hook you in, which it excels at, even if it is not the most original assemblage of sounds, it works for what is going on here. "the Unmaker" perhaps leans to heavily on the Marilyn Manson influence. It harkens back to the "Portrait of an American Family" era that was more rooted in rock guitar riffs. "Somewhere Else" is the first song where it begins to become apparent that there is a formula taking shape with an industrial march accompanied by a multitracked chorus of monster-like vocals chanting in mean-spirited unison. 

"A Reflection' takes this formula in a heavier direction. "Wither Psalm". "All Fall" uses the drone of guitar to lock into the chant of "live to die another day," which is catchy enough to work. I will give this album a 9, since it does pay tribute to 90s goth rock pretty heavily, but they make an effort to write catchy songs which makes for a fun listen. If you like goth-infused nu-metal, then you are their target audience and will like this album.  

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KARDASHEV - "Alunea"

The last album I reviewed by these guys, and there were some Dream Theater-like elements I did not like about it, so going into this one, I am hoping those elements are toned down. They blast into things here with a more blackened aggression. The sun vocals come at the chorus to tone things down in a bad cop/ good cop manner. The vocal melody is not very Myspace, making it more tolerable. The harder vocals vary from a more black metal snarl to a lower growl. The clean vocal they continue to shift into over more fragile and a little less dramatic than the last album, though they begin to head in that direction for "Seed of Night". 

Still, the dynamics technically offer some range, in terms of melodic qualities, the formula they are working off of finds the songs beginning to run together. The moving parts of 'Speak Silence" flow smoother, and it sets itself apart more as its own song. Then the album begins to get a little bogged down, as if it wants to be Opeth, but unsure of what era, though the songs continue to ebb and flow from the most intense to least intense, when just some grooving or memorable riff might work better. 

"We Could Fold the Stars" starts off like your average blackened death metal band, before dying down to the counter tenor vocals. It's more original than what we have heard from them, but not that hooky. The last song is more of the same, though sticking closer to their heavier side. I will give this an 8.5, well done, but not really my thing, though fans of progressive death metal who also like Sleep Toekn will dig this for sure. This comes out April 25th on Metal Blade. 

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March's Top 10 Albums

 It's time for March'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; I am just linking the reviews. 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 inbox that are not coming out til June, 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 Crust Punk to Prog Rock, so you may find your new favorite among them. Here are the Top 10 albums of  March 

10-Staticlone- "Better Living Through Static Vision" 

Crust Punk 

https://abysmalhymns.blogspot.com/2025/03/staticlone-better-living-through-static.html

9-Jason Isbell -"Foxes in the Snow' 

Folk 

https://abysmalhymns.blogspot.com/2025/03/jason-isbell-foxes-in-snow.html

8-Gaahls Wyrd- " Braiding the Stories" 

Goth Metal 

https://abysmalhymns.blogspot.com/2025/03/gaahls-wyrd-braiding-stories.html

7-Spiritworld -"Helldorado" 

Thrash 

https://abysmalhymns.blogspot.com/2025/03/spiritworld-helldorado.html

6-Ancient Death- "Ego Dissolution" 

Progressive Death Metal 

https://abysmalhymns.blogspot.com/2025/03/ancient-death-ego-dissolution.html

5-Idle Heirs - "Life is Violence" 

Post-hardcore 

https://abysmalhymns.blogspot.com/2025/03/idle-heirs-life-is-violence.html

4-Messa - "the Spin"

 

Prog Rock 

https://abysmalhymns.blogspot.com/2025/03/messa-spin.html

3- Kazea- "I, Ancestral" 

Sludge

https://abysmalhymns.blogspot.com/2025/03/kazea-i-ancestral.html

2-Deafheaven _ "Lonely People With Power" 

Black Gaze 

https://abysmalhymns.blogspot.com/2025/03/deafheaven-lonely-people-with-power.html

 1-Spiritbox-"Tsunami Sea" 

Progressive Metal 

https://abysmalhymns.blogspot.com/2025/03/spiritbox-tsunami-sea.html

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PALINDRONES : "'Chapter 2: The Slender Blade"

This morning I perused the line-ups of this year's " goth festivals," and while I can understand the old school headliners like Frontline Assembly, what I do not get is the younger artists they book who do not have current albums they are touring in support of. It seems like a waste when other artists could use the exposure and are working harder to grind away at their songwriting craft. One of these would be that this  British duo is crafting some emotive electro pop with call and response vocal lines that recall some of the more moody moments in 80s pop. The first song is a banger, so that sets expectations high for the remainder of the album. 

Where the first song flirted more with new wave. The songs that follow are more like atmospheric techno. The female vocals become more of the dominant narrative of the songs.  She shifts through a range of emotions in her presentation, so this works. "The Dark Forest" is more of a synth interlude that blankets you in immersive ambiance. It's counterpoint "the Light Forest". It is more of a grooving synth wave pop hybrid.  It grooves in a manner that brings Underworld to mind with more of a pulse than a black rocking beat. 

"Suli Nan Diathan" is a swathe of synth ambiance that is ghostly and minimal.   It materializes into an actual song around the two-minute mark. There is some dynamic ebb and flow, but it feels more like an interlude to me. "Animus" uses more of a vocal interplay that offers a similar dynamic to what they did on the opening track. The beat is possessed by a little more drive here. "Resonance Factor" closes the album. It goes back into more of an atmospheric techno mode of songwriting with the vocals taking on a brighter tone. I will give this album a 9.5, as I enjoyed it , would not call this darkwave, but it recalls the electronic acts of the 90s who are adjacent enough to keep my interest.Much more song focused than the festival brand of EDM.  

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Twin Shadow - "Georgie"

 

This marks the indie pop singer's 6th album. It's the third we have reviewed here. 'Eclipse" has been my favorite. This album finds another step away from the 80s sounds that made that album great. "Good Times" could almost be any pop artist on the radio, if they go serious, stepped away from hip-hop influenced beats, and used actual instruments. Here lies the problem for an artist who creates a perfect album like "Eclipse". The expectations are set higher since you have shown me you are capable of being more. Perhaps you might have the same level of inspiration or want to be shackled to making the same album twice, which is not what I am asking here. 

In fact, I am pretty content with the minimalist instrumentation to "As Soon As You Can' as the vocal lines work well enough. But I know he can write more breathtaking hooks. He has made more compelling grooves as well. Is it more experimental than his past work? Sure, but that is not playing to his strengths. There is more feeling invested in the vocals of 'Funny Games'. The title track feels like an experimental idea of a song that was never fleshed out. The stripped-down nature of "You Already Know" makes it almost feel more like a demo, though the emotion he invests in the song is what makes it work.

  "Maybe It's Time" is another ballad that seems to be the dominant mood of this album. The song does gain some movement. There is a twang to the guitar on this song that brings the hint of an influence I heard earlier in the album more into the spotlight. "Emily" finds him back in a very similar sonic place, highlighting the fact that this album could use a greater range of dynamics, as he is keeping everything in the same mood/. He is using the ghost of auto-tune as an effect rather than relying on it to stay in key, as we already know he can sing. 

"Permanent Feeling' hovers around the established sonic boundaries he has set for himself on this album. In a different context, it might make a song like this stand out more than being on an album where everything is lingering in this mood. He did not need to do a great deal to switch it up at this point; even dropping a beat would have worked. Meeting at the intersection of gospel and country music is an interesting place for him, but he keeps approaching the songs from the same angle. I'll have to round this one down to an 8.5, as it's dynamically flat, but sung with a great deal of heart. 

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clipping : "Dead Channel Sky"

This hip-hop project breaks away from the more conventional to follow the trail blazed by the likes of Aesop Rock. Not really sure why they have been booked on a darkwave festival, but their grooves are lo-fi and interesting.  "Change the Channel' wants to be "Firestarter" before going into Super Mario Brothers-inspired 8-bit glee. "Run It' comes closer to the status quo of underground hip-hop. The vintage synths will be the key selling point to some, while I am listening to this album to see if the songwriting holds up to the hype. Unlike most hip-hop artists these days, they do not have a team of producers and songwriters to supplement the lack of talent. 

After a few interludes, "Code"  comes back with a more interesting groove. The sci-fi theme works well, as the album has a slight dystopian vibe, though not to the point of being industrial. There is a glitchy, noisy sound coloring the edges of the atmosphere as the pace picks up for " Dodger." The fact that the lyrics are spit with a quickness rather than in a slurred auto-tuned mumble gives these guys an edge over most. Nels Cline adds some guitar to one interlude, but it is not really a song. "Scams" is more like traditional hip-hop, with a minimalist beat. With this comes a more vapid lyrical content. "Keep Pushing" finds a more interesting synth sound powering things, but the lyrical flow is less interesting. 

The album continues to be littered with interludes and soundscapes that toy with a collage of pseudo-futuristic noise. "Mood Organ" is more experimental than, and while there is a stream of consciousness rap to it, things ride the border of being a song, though I think they intend it to be one. "Polaroids" finds the more spoken word feel of the vocals continue to degrade the album's integrity, which is disappointing as the first handful of songs had so much promise. "Madcap" finds some interesting production choices that create a more unique feel. 

"Mirror Shades" makes me think of Madonna's "Justify My Love," which is covered by Cardi B. My comparison to Aesop Rock pays off, as he makes an appearance on "Welcome Home Warrior," which seems to be about video games. His verse pretty much saves the song. The last song finds aimless rapping over ambiance, as if they have no clue as to what worked earlier in the album. A beat does not come in til halfway into the song, and then it does not groove. I'll round this down to an 8, as the album started strong, and it does take more chances than most hip-hop, though that is a pretty low bar. This is out  on Sub-Pop Records 

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Song of the Week - SWARM6IX : "$OCIAL VIOLENCE feat. KUBRICK"

Mixing pop music with metal either works well or falls limp. It seems like the pop elements are played down and the marketing of the artist tries to place more emphasis on the metal part of the equation, even if it is not dominant. Perhaps it's the hype that makes me pass the most judgment, as I went into checking this song with zero knowledge about the artists involved, and it works for me. Granted, aside from the chorus, these guys are a great deal darker than their peers. I get why these guys are called "trap-metal," but I think it is really well-done revitalization of nu-metal. The chorus works for me despite being one of the more formulaic elements, as it's given proper contrast with the verses. I look forward to hearing how this works in the context of a full-length album 

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Born Ruffians : "Beauty's Pride"

 

This Canadian band plays a poppy take on post-punk flavored indie rock. Their album opens with the upbeat single "Meantime' which is dancey and anthemic. It feels like a cross between Arcade Fire and Underworld.  "Too Be Seen" finds the guitars stepping forward in the mix. The vocals have a Brit-pop wanderlust to them. Rather than the bleak baritone, he has a bright tenor. I prefer the groove of the opening track, as this one has a more rambling Ryan Adams feel. Lyrically, it's a little more interesting. 'What a Ride' is a little moodier, though the chorus finds things getting weird and going sideways. They are not as garage rock as the Black Lips, but there is a similar punk meets the Beatles feel. 

Things are a little more laid back, despite the radio-friendly beat to "Let You Down". The chorus is too happy for my personal tastes. The chorus works better than the previous song's. In some ways, they are not unlike DEHD, but that band is catchier in the vocal lines. The guitar placement is inconsistent, but that adds some charm to things. "All My Life" benefits from interestingly auto-tuned production on the vocals that feels more futuristic. This would sound great if you were on drugs. There is an 80s feel to "Athena" , like a slower version of "Turning Japanese". I can also hear how the Talking Heads are a likely influence on this band. 

The more psychedelic touches resurface on the lazy river flow of "Can We Go Now". Maddy Wilde sings on this one, which offers a different narrative voice to switch things up. "Supersonic Man" by the band's admission is their musing on being a baby sent to earth like Ka-El. It's your typical indie rock ballad with a folk guitar strum. "Do" is a better song; it works in bursts of rock guitar, as for this to be indie rock, it does not have much rock to it as a general rule. Without this, it causes things to meander rather than be anchored. "HI" also works similarly, playing in their favor. There is a Beatles influence that becomes more prominent here. "In the Meantime" is a more relaxed Decemberists-like vibe. The last song is less focused; it's not until the final minute that it catches a Shins-like groove. This album works for what they are doing little to upbeat for my tastes, will give it an 8.5, 

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Deafheaven : "Lonely People With Power"

The first song finds the band balancing out the varied elements of their discography, right down to the deliberate chug the song transitions into. Having made their way onto the rock festival circuit, you had to wonder how much playing with big mainstream bands would influence them. Truth be told, when I saw them at Rockville, there was little compromise on their part to win anybody over. 6 albums into their career, I think it is safe to say if they were going to sell out, they would have by now. "Magnolia" is one of the songs I heard before the album's release, and it fits well within the context of the bigger picture here. The more deliberate head-banging riffs are cool. 

"the Garden Route" follows more closely to the "Sunbather" formula, where they take a more sheogazing track, and George snarls over it. There is a great range of guitar tones on this album, and the production is not too different from what we have heard in the past, though the vocals feel like they are sitting further back in the mix at times. "Heathen' finds George's singing voice continuing to improve. It's a more breezy indie rock song that skirts along the dusk, before exploding into the black metal dynamic. "Amethyst" unfolds more like a shimmering post-rock lullaby. At over eight minutes, it's the album's longest song, giving them time to lull you into a trance before the screaming starts two minutes into things. The guitars are well layered to add intensity without having to dig into the bag of metal chugs. They are sonically dense in a very graceful manner here.

They hurtle in a more traditional take on black metal with "Revelator". There is still a distinct sonic edge. The main riff is pretty hooky. The last two minutes take an unexpected turn, which the resistance to formulas might be one of this album's most endearing strengths, alongside the dynamics they delve into.  The most interesting song might be "Body Behavior," which grooves with a post-punk tension, and his vocals are snarled but in a more punk fashion. Their experimentation with sounds really pays off on this one. It does build up into more of a blasting storm than you might expect from them. Of the three "Incidental" interludes the second one with Jae Matthews from Boy Harsher is the most like a song, and the best of the three, which might surprise some of you since Paul Banks of Interpol is on the third one, but it's more of a spoken word over ambience. 

This sets you up for "Winona," that is another song which finds their more experimental nature in the studio paying off again. This entire album sounds great, but some moments are more stunning than others. When this song kicks in it sounds fucking hug, and if you are not already a believer of Daniel Tracy his drumming on this song will make you one. They take you back closer to a more "Sunbather' sound midway into things here. The last song serves as a fitting summary of what they are about on this album, with the sung vocals being used in a less formulaic manner than how most bands employ them these days.I will give this album a 10 might be their most diverse and adventurous album yet.  

 

6

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Tribunal : "In Penitence And Ruin"

 This Canadian band offers a symphonic take on doom with plenty of melodrama. The vocals switch from a dramatic female vocal to a snarled, harsher vocal. The drums could come up in the mix. They make an honest attempt to sound dark enough. Still, after the first song, for this album to win me over, they will have to dig down to even darker places, as it sounds like they are just dressing up for Halloween here; I need to hear some real emotional connection to despair.  

The second song makes me think the singer might just be putting on a performance more than evoking the sense of mourning doom should have. The guitars certainly get this as they are carrying everything here so far. I appreciate the effort of not just going with the growled vocal as that would have gotten old as well. When her vocals sit back in the mix, it improves the overall feel. She has a strong voice, it's not always where she puts it, but the emotion she is or is not invoking to get it there that still finds me on the fence with her.

The songs begin to run together as the formula shifts into more of a call and response between the harsh vocal and the main sung vocal. The riffs to "Armoured in Shadow" have a more depressive mood. The vocals do not contribute much and continue to croon in the same manner they have for the bulk of the album. Even when the growled vocals come in to add more menace, it just sounds like a hundred doom bands I have already heard. 

The last song has more groove thanks to the drums setting things in motion. While I like it better than many of the album's songs, my overall feel for this album is that it does not grab me personally, even though I am normally a fan of their brand of doom. Perhaps this is where the problem lies as these kids are very derivative of other bands that most doom fans should be fluent in, so unless you are really young and just getting into metal and do not know shit about shit, then you might think this is very original. If you are a long-time fan of doom, you more than likely are already into My Dying Bride and Candlemass and do not need an imitation of those bands. Or maybe you just like to masturbate to the idea of girls playing instruments. I am not out to kink shame here, so if that is the case, you might round this up from the 7 I am giving this album. 

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Fractal Universe : "the Great Filters"

Things are changing here at the ole Abyss. There is going to be a formal announcement soon, so this is the informal one we are branching out into podcasts. The blog in this format is not going anywhere, the podcast is just going to supplement the more editorial aspect of blogging, the Podcast will be solely opinion pieces and interviews, while my opinion is just peppered in here as I give a walk-through of these albums.  Before we get into this since we are talking like friends here, I will be honest with you and let you know what has changed here over the years as I have expanded my reach writing for various other blogs which have ranged from Cvlt Nation to Treblezine to Ghost Cult Magazine, is I am often assigned albums I might not check out on my own. 

On my first pass through these albums, I do write up here, where you get more of my honest opinion, which is edited down to play nice with relationships within the industry once I rewrite it for mass consumption. So this is an album that I would not have checked out if it was not assigned to me. I am pretty picky when it comes to progressive metal. There have been some progressive death metal albums I have really dug this year like the new ones from  Sadist and Ancient Death. There have also been bands that incorporate elements of jazz. Progressive metal covers a wide breadth of definitions, Opeth provided an excellent one last year. This French band is in a neighborhood that borders bands like Cynic, but also the softer touch of bands that are not really metal at all like Dream Theater. Thankfully the clean vocals on this album do not sound like Steve Perry. 

What sets them apart is the saxophone solos that find them melding with smooth jazz. Everything sounds too clean for death metal production. The vocals are too harmonized and fine-tuned, They end up sounding more like Weird Al Yankovic. If you are going to listen to everything with a fine-toothed comb to study the sweep arpeggios then this might be the kind of guitar playing you are into.  By the time we get to "the Seed of Singularity," I am pretty bored with what is going on here. If their claim to fam is going to be blending jazz, then they need to be doing it like White Ward. 

It could be argued that "The Equation of Abundance" has a more Meshuggah-like throb. It is less mechanical but also packs less of a punch. 'Specific Obsolescence" plays with atonal passage as the intervals are shuffled around like Pokemon cards. It flows better than some of the previous songs. It is also more melodic with an anthemic guitar solo. "Dissecting the Real" does employ some time signature choices that are effective and for the crow who likes to cross reference everything off a metronome, they will find the counts hold up. None of this conveys aggression being vented through their instruments in a manner that means metal to me.   

By the time we get to "Concealed," they really have not progressed all that much as they are using the same formula as they did at the onset of this album. This album is very relaxing and almost put me to sleep. I will give this album an 8 based solely on the fact it is well made for what it is and people who are into this sort of thing should expect this to fall along those lines when it comes to their tastes for music that they like to refer to as metal, more than the mathematic work of art that people who are into guitar solos will flock to. 

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Drudkh : "Shadow Play"

 2015's "A Furrow Cut Short" was the last album I checked out by these guys. Their drummer was killed fighting Russia last year, so not sure who is behind the kit on this one or if the band is even alive by the time I press publish. It opens with just the guitar ringing out more solemnly. The first track makes you begin to wonder if their studio got blown up as it is just the sound of the guitar and someone walking in the snow. Things explode back into a more familiar black metal gallop for the second song. It's a long song at 11 minutes but I like how it uses atmosphere as it is more of a mood than a formulaic breakdown that works of sounds. 

"The Exile' is more straightforward in its pulsing chug with the scowl of the vocals coming across as more obligatory than what we heard in the previous song. It feels more black metal than some of their previous work. Once we are firmly planted into the stormy sonic frenzy that is "Fallen Blossum' you are hit by a trance of blast beats and black metal snarling that will cause you to zone out unless you are properly rested going into this album. 'the Eve" feels like it is an extension of the previous song as the buzzing of guitars feel like it is being carried over. It's not until midway into this song that things are changed up dynamically, though the vocals are still howled with the same fury., 

The last song continues the throbbing tempest. If you miss the early black metal of the 90s but want to hear it done with a more modern undercurrent then these guys have you. That also means they are not as focused on some of the more unique sonic nuance that has touched their songwriting in the past and are taking less risk in so doing, so there is the compromise. They have an impressive sound, but the songs get a little lost in the storm. I will give this album an 8, as they certainly are not selling out and war is only making them angrier. 

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Ancient Death : "Ego Dissolution"

 This is the debut album from this adventurous death metal featuring guitarist Jerry Witunsky is a more recent addition to  Atheist. It's progressive, but perhaps not as technical and shreddy as Atheist. The songwriting is dynamic as they take you on a journey ripe with guitar melody without compromising the grit. It's not until halfway into the title track that opens the album that they go into a blasting speed, and this gives way to a head-banging groove. There are guitar solos that work with the songs rather than becoming a focal point. They put head-banging riffs to the forefront. There is the chaos of early Morbid Angel on "Breaking the Barriers of Hope". When the verses form the riffs gain some swagger and the mood shifts. 

While people made a bug stink over the last Blood Incantation album, and it was good, these guys are taking away the Pink Floyd parts and jamming out over the cool 80s death metal sections that really slapped. "Breathe Transcend" Is more melodic and technical than the first two songs, though here technical does not mean a bunch of notes crammed into each measure as much as it means how they shift seamlessly from riff to riff. "Journey to the Inner Soul" slithers with groove. Their bassist Jasmine Alexander is very tasteful when it comes to holding things down. She is not trying to compete with the guitar's place in the song.

" Journey to the Inner Soul" is a moody instrumental. Jasmine continues to provide sparse accents of clean singing on "Echo Chambers Within the Dismal Mind" which is an otherwise more feral expression of aggression until things get trippier of the more atmospheric bridge leading into the guitar solo. Her sung refrain returns and this song finds her singing playing a larger role. She uses a re-tone that is a higher alto, to create a more original use of this formula. "Unspoken Oath" is driven by a hookier groove that reminds me of a riff King Diamond might use. 

"Violet Light Decays" ends the album with a darker creeping. It works at more of a throb rather than the kind of break-neck chugs that powered most of the album. When it gains momentum it races with a tremlo picked speed. Not the album's hookiest song, but one of their strengths as a band is that they do not settle with writing two songs that sound the same, so this checks out with that kind of work ethic. At the end of the day, this album serves as an excellent introduction to all the sides of this and is full of hooky headbanging riffs. I will give it a 9.5, if you are a fan of 90s-sounding death metal that thinks out of the box this band is for you. Drops April 18th on Profound Lore.

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Imperial Triumphant : "Goldstar"

These guys won me over live. In the studio they have once again orchestrated chaos, that can not always be heard as the catchiest songwriting, though the opening taking descends into a place dark enough for me. In some ways, this is more blatant metal with songs like "Gomorrah Noveaux" riding a taunt clockwork chug. The vocals are snarls but articulated enough that the lyrics come across. It makes me think of a death metal band covering early Pink Floyd. Meshuggah's drummer joins them for "Lexington Delerium" though it's darker and more atmospheric than you might expect with such a guest aboard. It is not until the midway point that things get hammered into place. To their credit these are more concise songs, and perhaps some of the band's most accessible work to date. 

Stylistically this album is not what I would refer to as black metal anymore. Progressive metal is the most fitting label for what these guys are doing. There are tremolo-picked guitar parts at times, but it never feels like aggressive darkness being pursued. "Hotel Sphinx" finds them fairly straightforward in the commitment to the chug, with some chaotic dissonance interspersed. "NEWYORKCITY" is a quick blast of grind-core chaos and is more like an interlude. The title track is also under a minute and is a 1920's sounding ragtime ditty, that is also more of an interlude. "Rot Moderne" has more in common with the more brooding edges of the band's past work, The vocals are a lower growl as they churn through angular riffs that follow Mr. Bungle-like math. 

They almost turn "Pleasuredome' into a drum circle as they are not only joined by Haake again, but Dave Lombardo as well, so the song is percussion-heavy, to say the least. The first minute and a half is the slow build into the song. It does find its groove which would be hard for it not to with the additional drummers. "Industry of Misery' closes the album. This one snarls out of a more jazzy ambiance. It also hits more like death metal when things kick in. There is a boozy swoon to the angular nature of the lumbering riffage. There seem like more samples being used on this album than the previous one. The guitar solo to this song is trippy and interesting, the first time a metal band has done something that reminded me of Jimi Hendrix in Many a Moon. I like the darker turn the song takes as it feels like they jam it out til the end.  I will give this one a 9.5, for their willingness to experimental while still writing songs, This one is on Century Media Records. 

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Japanese Breakfast : "For Melancholy Brunettes"

The new album from this indie rock act opens with a breezy folk ambiance, that has quaint psychedelic undertones. Not as poppy as I expected going into this. "Orlando in Love' continues this mood as it breezes by almost intangible with little to hook you in as if it's just the wind to your ears. More percussive elements finally appear on "Honey Water' to create the backbone needed here to anchor this into more of a song. This creates something closer to hooks making it a more worthwhile listen rather than faint sonic colors just held up by a wistful mood. 

Off the bat I can tell this album is not going to be dark enough to appeal to my musical interests, leaving me to listen to it for sheer composition and execution. In other words, are they at least doing a good job of making the kind of music that people into this sort of thing want to hear? "Mega Circut' finds things continuing to solidify sonically into a song that moves with direction and a beat to give it purpose. Nothing about the song grabs my ear to make me pay attention, but it seems to flow pretty well. 

Things are marginally less tangible and a little less upbeat for "Little Girl" though I am not sure I would refer to it as melancholic. "Leda" is fragile folk that does not work as well as "Picture Window" which is the album's best song so far, with more of a country feel that reminds me of Kacey Musgraves. "Winter in LA" retains some of the domesticated bong bliss from the previous song. It does not have the more organic country feel so was not as impressed, though it is better than the rather bland song that closes the album. I will give this album an 8, it sounds good, and there were a couple strong songs, but for my musical tastes it was boring and not depressive enough, however I am scoring in regards to how fans of this sort of thing my hear it's quality so with that an 8 seems fair. 

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Alien Weaponry : "Te Rā"

I really liked their last album, so hoping this one holds up. The first track feels like it's going in a more mainstream, Mastodon-like direction. Though we do get touches of their more native New Zealand feel. Less of a nu-metal feel here, the closest it gets to nu-metal would be Sevendust. "Mau Moko" is marginally more tribal, but "1000 Friends "is much more inspired regarding the vocal arrangement. The other instruments fall in line with that. 

They play it safer on "Hanging By a Thread", before mixing their heritage in a way that recalls "Roots" with the percussive elements that propel "Tama-nui-te-ra" which proves to be more interesting.  "Myself to Blame" finds them leaving room in the song to play to the strength of the soulful vocals. "Tani Wha" features Randy Blythe, for a heavier take on things that is still consistent with modern metal's expectations. "Blackened Sky' finds the pace energetic as they race along melodic grooves. Then things get even more thrashing for "Te Riri..." which lends itself to the dynamics of the more melodic chorus. The guitar solo even goes in a melodic direction that serves the theme of the song. 

I like the vocals to "Ponturi" which makes it one of the album's best songs, even if compromises some of the heaviness, it's more dynamic and effective songwriting. These guys are not trying to be the heaviest band on their island, they are just writing songs they feel which is hard to complain about. At two minutes the last song is almost more of an outro, but there is a pretty focused theme to it.  I will give this album a 9, as I feel their previous album was catchier, this one might have a bigger more polished and might even be heavier, so it might be a matter of taste, but they are true to who they are as a band here. This album drops on Napalm Records. 

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Byonoisegenerator : "Subnormal Dives"

This band plays jazz grind, which leans more into grind-core than what John Zorn would do, though the jazz sections do have the chaos of John Zorn to them. The bass line alone that works its way through the din to find melody tells you they are skilled with their instruments. They know the rules and are artfully choosing to break them. This can create dissonance at times. The vocals are at a low growl, that utters its bile bleaching where it fits in the riff hoarding they are unpacking here. Going into "NULL. state..." it feels like the chaos causes some of these songs to collide with one another when the short under two-minute grindcore nature dominates the songwriting. The bright side is it forces them to make the most of their time. 

"Nosuccesstoday! " finds them having to try harder to keep my attention as even with this musical spasm your ears grow accustomed to it when forced to expect the unexpected as you know there are two modes they are going to shift from. "UVB76" does feel more Mr. Bungle-like despite Mr Bungle being influenced by John Zorn. "Lovechargeddivebombs" feels like they are floating in a submarine, which seems to be some of the thematic imagery they are drawn to. The jazz section here is allowed more room to breathe. I think this side of their bipolar dynamics needs to be explored more. 

They do find their groove amid drumming that sounds like trash cans being kicked down the stairs."4-HO-DMT" is the worst offender when it comes to the drummer agitating the situation.  The vocals follow a more death metal pattern despite this, as a guitar solo drips out from behind them. I imagine seeing this live would be very compelling. "deBroglieneverexsisted". "5mginspiredvibes" hints that drugs are certainly one of their influences, the more psychedelic tinges of the atmosphere previously in the album suggested this as well,  Here the shift is more abrasive, though the confrontational nature of grindcore is meant to challenge what your ears can endure. I will give this album a 9, it's not the first time I have heard this pairing, but they leave their own mark on it, and is so experimental even if they were not as skilled it would have worked in theory, they just make it go down easier. 

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Your Spirit Dies : "My Gnawing Pains Will Never Rest

 The first three songs of this South Carolina band find them perhaps too eager to indulge their hyper aggression as they all run together. The second song is more of a straightforward in-your-face metal-core explosion that finds the band largely staying closer to the hard-core roots of the genre, as from dizzying guitar work that fins the riffs taking wild twists and turns The vocals take on more of a blackened snarl for a verse here and there which is the most metal moment, the tight breakdown style chugs are effective. "A Rose For Every Stone' has a little more flash in the riffage that sets the stage marginally different. It was the first clue after the first two songs blasted by that it all collided into my ears. 

One thing I can say about this sort of thing, is they do not put the breakdowns in the same predictable places. "In the Depths of Grief" does not introduce anything new and finds the band raging into the same kinds of temper tantrums they have been stomping around with for the first three songs. I could use more sounds and more dynamics, while I know some listeners of this genre are content with less and just want angry music karate dance to. There is a more Meshuggah-like tension to the chug that leads into "Monochrome" but rather than doing something cool with it that charges off in the direction this entire album seems to be heading. I think they are just doing a better job of attacking in this manner here. 

There is a little darker deliberate tone to the syncopated grind of "Born Forsaken".  "Shrouded in Silence" finds one guitar offering more melody that helps add color to a well-worn blueprint for this kind of thing that these guys play pretty close to the original designs that have been in motion now for at least 25 years in the post-Victory records era of Hard-core. 'Ritual Sacrament" finds the drums more frantic, as the guitar try to find a place to insert catchier riffs.  "A Snow in Summer" has more groove to it that works better for me, that is if they can keep things from racing away with them. The songs are typically kept under the four-minute mark with only two breaking that threshold., so they get to the point and cram as many riffs into them as they can.

The Melodic section to "Unjust God" is needed as the relentless chug was beginning to wear thin. Though when they kick in it pretty much follows the same formula that has dominated this album. This can pretty much be said of every song from this point on they are cranking as they fall into the same sonic pigeonhole. A melodic riff to break them out of it for a measure or four. Norma Jean is a fair reference point, but I don't think they are as dark or sonically textured as Norma Jean. I will give this album an 8, as they execute the songs well even if they are not covering any new ground here, but surely will mass some fans who prefer the more familiar sounds. 

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Song of the Week - Youth Code- "No Consequence'

 

A precursor to the release of their new EP "Your's With Malice" which is dropping May 16th, It feels like like Skinny Puppy and more like a hard-core band playing hardcore thanks to the more mean-spirited vocal delivery of vocalist Sara Taylor. The video is pretty straightforward, and the most appealing aspect of the song is the lyrics as she declares that she will never pretend to be something that she is not. This holds more weight when you consider the listless tone of social media that finds people shifting with the short-sighted cultural trends of the moment, which they invest their identity in for it to only be forgotten in the next two-week news cycle. Youth Code is like most industrial bands raging against their own machines, but have a more endearing conviction that fuels their music aggression. 

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Kazea : "I , Ancestral"

This unique trio from Sweden quickly held my attention once I was two songs into their new album. The vocals are somewhat Pink Floyd-like in their breathy execution. The first track was a more experimental, neo-folk intro piece, but they stomp on the distortion and start rocking with "Pale City Skin".  They go from a more sludge-influenced stomp to a folk-paced strum that is full of repressed melancholy that feels like they are speculating over in a manner that is detached from the darkness of their souls, causing it to cast an even more curious shadow over the sound. This gives it more in common with post-punk than post-rock. In turn, creating a very interesting atmosphere. 

There is a more introspective manner in which the chords are picked out to "Trenches" which gives it more of a 90s grunge feel. The vocals get stronger in the chorus. There is a great deal of thought put into the vocals rather than just being an obligatory element they half heartedly stepped up to the mic for, despite using them further back in the mix sometimes. This shows a great deal of depth in their songwriting. I was not expecting the harsher screamed vocals here. "the Whispering Hand" has more of a punk energy to it. There is a more ambling country-tinged mood in some sections. The grunge feel is also in some of the vocal melodies. Almost getting New Model Army vibes from it. "Strange Burial" is more like the intro piece the album opens with, as a guitar twangs over a sample. This leads into a doomier riff, but that's halfway into a two-minute song, so there is nowhere to go with it to make a song. 

"Wailing Blood" is the lead single from this album that carries a more driven riff, more brooding in a wild western way than the grunge of the 90s but not far from that sonic neighborhood. The big hooky chorus seals the deal to lump it in a post-grunge. "the North Passage" takes a great shift when things go into a more roared vocal at the chorus. This brings the album to the intersection where sludge and grunge met which was a very real place in the 90s. That last song starts off with a more pondering tone. Breaking the seven-minute mark they give themselves plenty of time for the slow build. Rather than explode they take things in a more melodic direction that makes me think of Stone Roses, which is a part of the 90s I did not think we would be visiting here. I'll round this up to a 10 thanks to all the varied elements they blend to make this something different. This is being released by Suicide Records.

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Idle Heirs : "Life is Violence"

 Sean Ingram of Coalesce has not made any music for at least a decade, so fans of Coalesce should be thankful to have this as it touches on many of the same sonic aspects of that band. Perhaps more melodic and less jarring, we hear more of Ingram's singing voice here. Josh Barber who is partnering with Ingram here understands where he is coming from musically so it works. Things get more ominous as "Rare Bird" builds. The more hardcore snarls plays a more prominent role in "Jaded Mountain" I appreciate how dynamic this song is. There is a pulsing groove that holds a tension you can bob your head to. 

The strum of guitar leading into "Lemonade Stands" highlights that this music was birthed from the era of hardcore that what we think of as emo emerged from. Ingram counterbalances the melodic strum with a throaty bellow. The guitar swells into a more post-rock sonic space, which shows the place where this intersected with screamo, which is another sub-genre that emerged from this era of hard-core. "Dim Shepard" works of the slow build of the more emotional scope, bordering on a shoe-gazing brand of indie-rock when Ingram is not howling things to a climax.

"Pillow Talk" finds things taking on more of a weighty sludge stomp. It also feels like the album's darkest moment so far. "Dead Ringer" comes closer to where modern rock is now, with a slight hint of Tool lurking in the vocal melody. "Momma" is a ballad that closes the album. It's not Coalesce but it is the closest we are getting right now, and the maturation of songwriting is the next logical step, I will give this album a 9.5, it's a must for fans of the band.

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Vague Lanes : "Divergence And Declaration"

 

For a duo, these dudes from San Francisco kick up a pretty large sound. An electronic pulse thumps under the single-note guitar melodies, all draped in a cloak of reverb to create a more cavernous club sound. Rather than work off the typical tension of post-punk they create more of a grooving throb when the album opens. This could keep a floor moving seamlessly on a local goth nite for sure.  The husky Baritone vocals stay true to the vibe of the genre without being a mimicry of Ian Curtis or Andrew Eldritch as so often occurs with these bands. This is their sophomore release so the songwriting is smoothed out and they have a clear vision of who they are. 

The vocals echo out from the night on "By Dusk" as the band takes on a more nuanced throb for the verses with this one, and gains momentum as they coast through the song. "Cellophane' highlights their strength which is to approach the sonic shadows of these ethereal guitar tones in a manner that approaches similar melodic points of reference from different angles. It is well done though does not hook me in as tightly as the first two songs. "Unraveling" finds them checking off genre boxes with the stiff German dance beat.  "Eight Winters' bears more of an atmospheric depressive lethargy that is not unlike the Cure's earlier work. This more shoegazing hypnotism continues on "Weight of Days' that follows it. The sardonic bleakness of the vocals makes me think of Interpol. 

"At the Edge" has a synth-driven underbelly that the guitars provide more of an ambient coating atop. There is a sense of movement, that is too opaque to be a groove that is the heartbeat of this song. My favorite thing about this album may be the dark moods it invokes which are displayed in the closing song that drifts in a similar level of downtrodden post-rock gloom spawned by the Cure.  The vocals are nowhere near as emotive as Robert Smith and are a hollow croon that haunts the background, but it works for what they are doing here. I'll give this one a 9, 2025 has not been a year ripe with new post-punk releases so this will be a welcome addition to fill that void. 

 

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Dark Meditation : "Where the Darkness Bleeds'

You would think any band that blends metal and goth is so on brand for us here that we could do nothing but sing it's praises. The Seattle band's last album scored an 8.5, but the vocals did not wow me. This is still better than just respectable, anything an 8 or above is a great album, though anything under a 9 does not normally make it into my regular listening rotation, due to the fact I review over 700 albums a year so there is only so much time in the day to listen to music, albums I rate a ten are taking up the bulk my free-time listening.  These guys have improved since their last album, the vocals feel more emotive. I think my problem last time was things felt relatively uniform last time around so we will see how this album holds, up but so far the opening track is solid energy-wise.

There is a little more of a Mercyful Fate mood to the second song., The vocals drop down into more of a growl at times.  There is a more 80s-tinged gallop to the guitar and the vocals are more dramatic on the chorus to illicit a dynamic shift. "Hidden Daggers" feels more like In Solitude, this was a comparison made on the last album. Really the gasping drama of the vocals is the only thing holding it in the goth direction. Deathrock is an overstatement, as death rock comes from a sleazier more drug-addled sub-genre of goth. The more whispered lines have the most King Diamond-like feel, there are no falsetto screams. I guess you have to know your limitations. 

The title track has more of a swaggering rock feel. This leaves more room for the vocals to croon, when doing so there is a vague of Danzig thrown into the mix. I would have Samhain be closer to Death-rock than what these guys are doing. The vocals have perhaps too much room, as they sound a little less focused in their melodies. The album closes with "Thorned Gods and Honeyed Blades", its more of an outro than an actual song. I will give this a 9, though chances are I will personally listen to In Solitude or Mercyful Fate when in the mood for this sort of thing, they were more successful and focused as songwriters overall, the first time around they had the sound dialed in this time they got the vocals hammered into place to make everything work. If you are looking for dark melodic metal with sung vocals this band is for you. 

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Nightwalker : "The Eternal Flame of Death'

 This German black metal project returns to the abyss from which it first emerged by dropping this ep that proves black metal does not have to be a flurry of blast beats to be black, you just need to be dark and dissonant enough to capture the evil. The pace picks up four and a half minutes into the song, to include some blast beats that bubble up from things, but they have already laid the creepy groundwork to give a contrast. I am not against blast beats, they are just a tool to use as needed not to build your entire sound from.

They fall into this trap a little on the second song which is also the title track as they rage before slowing down to become more depressive and introspective as they let the chords ring out as the vocals croak with desperation. There is an organic feel to the production though the mix gives it the 90s feel, as the guitar sometimes echoes out from the shadows. The drums at times fall behind the guitar and there could always stand to be more bass in the mix for these kinds of albums. 

The last song works off more of an early second wave of black metal vibe, reminding me most of Mayhem musically, though the vocals tend to occupy the kind of bleak place the vocals of Inquisition croak from. The song works more off the throb than not, while I appreciate this kind of atmosphere the dynamics do not feel as urgent as they could. I will give this album an 8, it is not the most inspired but I like the creepy path they take things down. This is being released by Amor Fati, so it seems like we are touching on all the go-to Black Metal record labels this month.

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Warbringer : "Wrath and Ruin"

 If you are going to make thrash Southern California is a good place to do it. This album has been getting a fair amount of hype, but from sites like Metal Sucks, whose opinion on music is questionable, so I am going to give this a listen. The first two songs are nothing new and kind of boring. It makes me think of a less interesting version of Skeletonwitch. It's a pretty generic thrash, if hyper-aggression and speed are all it takes to impress you then this might work,. The vocals spit out the lyrics with sharp precision but offer little personality outside of that.   However, that statement could be true of any of the instruments involved here. It goes to show high energy only goes so far. The distance so far is two songs. 

The bass player finally shows up for "Neuromancer" and brings more of a Testament-like groove with him. This is an improvement, and perhaps the album's best song. "The Jackhammer" is just a speed fest rushing past you. There is more of a black metal feel to " Through A Glass, Darkly" with catchier guitar parts, as it goes into more of a triumphant stomp. 'Strike From the Sky" finds the vocals unleashing a higher pitched scream, to create more of an Annhilator feel. Aside from that little vocal trick, the song is not the most compelling. 

Lyrically 'Cage of Air' is the best song, as it explores AI. The song also has more of an Annhilator vibe, they need to get in touch with Jeff Waters for sure to be his backing band. But the songwriter might be better off left in Waters' hands despite the more recent Annihilator albums feeling like a search for relevance. The last song feels like they are once again putting speed ahead of hooks, and it ends up sounding like filler on a Kreator album. There are some pretty decent moments the album gets better as to goes I'll give it an 8, as they capture a reasonably accurate representation of thrash that translates well enough into 2025. 

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Triathalon ; "Funeral Music"

This band's fourth album finds them ambitiously writing music they would want to be played at their funeral. This is the kind of melancholic endeavor I am going to listen to. The first track, finds more people doing drugs at their funeral than I would expect as it's a highly trippy veil of amabiance coating what would be bedroom-pop in any other equation. Kids these days are into this sort of thing. "Chey' does not depart from what they started on the previous song, the guitar sounds almost looped in how it repeats the phrases as the vocals drift in the background. The drums have a minimal beat that keeps the pulse. 

On "Down" a distorted guitar echoes from the back of the mix until the verse drops down into something more straightforward thought still coated in effects, as they ride the line between shoe gaze and pop. Seems an odd choice for a funeral. "Rip" is more clearly shoe-gaze, which is a sound I would like to hear them lean into more, even when their more pop-minded take on the genre is still too depressive to transition them to dream-pop. They go into a more strummed section before taking the more sonic dynamic shift. They have their wits about them when it comes to songwriting. 

A quaint organ sound opens the down-tempo psychedelic funk that they toy with as the narcotic coo of the vocals bubbles up from under the guitars. This is more of a get stoned and take a nap song than a funeral banger. It reminds me of Elliot Smith at times. "Last Night' is more hopeful and seems to stray from the funeral theme, They should switch the way they produce the vocals as an entire album with the vocals presented in this manner causing all the songs song the same despite the good ideas they are presenting. "See You Smile' circles the same pool of ideas the previous song presented. "Melt' is an upbeat jazzy jame, that is far from a requiem. 

The effects layered over the breath vocal style presented once again on "Way Out" begin to make me think this guy can't actually sing and it's covering this up, though lyrically this song is an improvement. I begin to get a little bored with the uniformity of sound on this album at nine songs in, which is no longer than it has taken for some albums. "Salt" finds them toying with a bass, while the vocals chime in with the same languid tones dominating this album. The more electronic beat works well here. 'Jordan' might as well be Joji. "Wall" hovers back in the direction of the shoe-gaze. There is a more relaxed pop feel to "Your Eyes'' complete with auto-tune-like effects on the vocal. The last track is more of an outro. I'll give this album an 8, as the vocals are a vibe, but this makes the entire album that vibe, though this project is good at setting the relaxed pop for its high-as-hell audience. This album drops May 16th 

 

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Corpus Offal : "s/t"

 

A gore-grind band that features members of Demoncy, Bell Witch, and Caustic Wound, will obviously have more depth than just being a lo-fi take on Cannibal Corpse like many of those bands are. There are the gurgled vocals that at times sound like a demon is being flushed down the toilet. Chaotic guitar solos appear as the riffs grind with a depraved stomp. The drumming is more blasty on the second song, but it still works ok as the song started with more of a groove. The vocals are a layer of gurgle rather than contributing lyrics you can understand. The production creates a very claustrophobic haunted house feel but instead of chainsaws the buzz of guitars is coming at you. 

"Esscene of Disolution" rumbles with a purpose, that you can nod your head to. They do speed into a more blasted verse, Though the song does run together a bit at this juncture of the album. The eponymous title track hammers at you before the shambling riffs lurch out from the grime. The guitar solos remind me of early 80s death metal. For a doom drummer, he can bring the thunder on this song. It does slow into a cool angular dissonance that casts a creepy mood. 

"Ripened Psychosis" is the most Cannibal Corpse-sounding song so far, as the verse riffs buzz with a similar tremolo-picked intensity. Midway into the song it slows to a more deliberate grind. Their song structures unfold with twists and turns as they do not just ride riffs for the bulk of the song. The last song pours from a primordial ooze, it gains momentum but does not get interesting until the 8-and-a-half-minute mark when it takes a more brooding break into ambiance. I will give this album a 9, though I am unsure how much I require something like this for listening as I normally go for Cannibal Corpse or Sanguissuggabog, when it comes to this sort of thing though fans of this corner of death metal will find this band does it better than most. Being released on 20 Buck Spin. 

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