Masters Hammer : "Maldorör Disco"

 

Well, things just got weird for this Czech band, which was once black metal. They still bring some metal riff, but they are set against almost new wave weirdness. It sounds like they still have a drummer, so it's not like the drummer left, so they pulled out the drum machines. Synths are just the driving force on this album, and vocal oddities prevail. The second song is called "Genesis P.O.rridge" so that explains a lot. Psychic TV worship and LSD are involved. I understand I had a summer like that in 1995/ The song itself does not sound like Psychic TV or Throbbing Gristle, for that matter..When the metal guitar kicks in, things rock out pretty fucking hard for the freak show this album is turning out to be. 

There are some elements that I would have expected to have made this album darker than it is, though some of this could be the bright way it's produced. I think bringing the bass up in the mix and darker synth tones would have made this a different ballgame. But as it is, this album has its own odd charm. Things begin to get wild and ride off the rails with "Take it or Leave It", though the more atmospheric moments reel it back in. The drums could stand to come up in the mix. Think some of this is done intentionally, as they were not trying to make a metal album. 

The title track starts off as more of a synth wave song until the guitar gallops into it. It carries more of a metal drive. "Bochnaty" has more of an '80s feel, which sometimes gets overshadowed by the crunch of the guitar. The throaty vocals begin to feel like drunken ranting. The arpeggiated synth pulse opening 'The Beast Within" leads to things getting a little darker. "Bicycle Day" is another song about tripping. It has more of a White Zombie-like chug amid the chaos. There is a darke, more melodic turn with the ominous "Doppelganger". The vocals remain a weak spot for the band, but they get the job done. "El Teide" finds someone else taking the mic who can better sing in key, before the gravelly, drunk vocals return. I am guessing the drunk singer fared better as a harsh vocalist. The last song feels like they are going tino more folk metal territory. I will give this album a 9, while the vocals could have been more polished, I appreciate their willingness to experiment. Drkness Shall Rise was the only label crazy enough to give this the green light. 

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Dying Wish : " Flesh Stays Together"

This is the third album from Portland's metalcore mavericks Dying Wish. It starts off more melodic than expected. I am not sure why I have not given these kids a listen before this, but there are so many bands, and only so many hours in the day, but the buzz that this was a darker album caught my ear, and I like what they are doing on the opening track. They are more on the hard-core side of the metal-core equation, even with the way Emma Boster employs sung vocals. It is done in a less formulaic manner than what Killswitch Engage is known for. There is also more emphasis on dishing out beatdowns during the breakdowns. 

"I Know You're Not Around" finds her bleakly melodic singing leading off the mood. This finds a more thrashing tone, grooving things out, and her vocals catch more soar on the chorus, bringing them a little closer to the mainstream. At this point, calling the riffs' breakdown is not accurate, as that is just the pace they chug at even on verses. The only formula developing seems to be Emma starting off the song with singing. These melodic tendencies are allowed to further germinate on " Nothing Like You," which is a wise choice as it creates a darker feel. It also creates a bigger impact when the smackdown falls.

"Surrender Everything " carries a more rock n roll drive similar to Pantera or Lamb of God, though less southern fried. Thanks to the strong hook of " Moments I regret," it might be the album's most accessible moment, while not compromising their hardcore ass kicking. There is a hyper-aggressive riff with a more death metal feel driving "Empty The Chamber". "Heaven Departs" comes a little closer to Spirit Box's zip code, though with none of the nu-metal aspirations. The more melodic track works really well.  All in all, the darker more harder-core blend this band brings sets them apart from the competition while setting them up to play bigger stages for wider audiences without selling out so I will give this one a 9.5 and see how it grows on me.

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Heretoir : "Solastalgia"

The last album I checked by these guys was  2017's "The Circle," so I only missed one full-length. They have added two guitarists since I last checked them out, so the more modern metal feel of the opening track was a little surprise. I prefer what they do on the second song. The vocals are still strong, and weave a wonderful atmosphere on "Season of Grief". The feeling of melancholy continues to drape what the German band does, even as they dial back some of the black metal sonics. There are harsher vocals in places, but they do not feel like black metal vocals. They are aggressive, not tormented.  In fact they take on more of a death metal roar when the song builds. 

They have fine-tuned their songwriting to make their sound bigger and make what they do more accessible to the wider metal audience than just being a shoegazing black metal band. This is not to say they do not indulge in sonic spectacles that swept you away, as they do, and it is what gives them the edge over their more nu-metal minded peers/. A more delicate electronic touch glazes over "Dreamgatherer". It reminds me sonically of something the Cure might do.  The belted vocals are the main difference. This ovf course builds into a harsh bellow. There is a great deal of dynamic ebb and flow in this song. So much so that fans of modern progressive metal can find a great deal to appreciate on this album. 

"The Heart of December" floats on such an ethereal wave of atmosphere that it took a second listen to fully grasp the breeze in which it rides. It is most like Alcest, whom I once thought of these guys in the same light as. "Burial" carries a contrast between the more introspective clean vocals and the build into the harsher vocals that make the music of the dynamic shift. This finds them sharing more common ground with the metalcore bands that are packing arenas these days. The title track works off a sweeping soft-to-loud dynamic, which finds the vocals taking on a more emotional introspection. This a more conventional arrangement for them.  

"The Same Hell" is more of a delicate shoegazing interlude. Then the almost folky-pop of the last song is an odd choice to close the album, but it does show the range of their songwriting. I will give this album a 9.5 it is very different than what I expected but shows their continued growth as a band while retaining their atmospheric core. 

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Young Thug : "UY SCUTI"

Young Thug is out of jail and unapologetic. Despite being one of the conditions of his release being not making gang-related music, it opens with a court recording of the District Attorney making an argument against Williams' bail. In the first song, it seems that incarceration has not changed his perspective much, as he laments how he hates being sober.I have not been impressed with anything he has released since "Beautiful Thugger Girls," and he raised the bar high for himself despite it just being a commercially released mixtape. The first two songs on this album kind of run together, but there is a darker, more serious atmosphere, 

"On the News" finds Cardi B dropping by to do what she does, and it works well enough. I feel there is more honesty on "Catch Me I'm Falling". The more laid-back track works well. It allows him to employ his more melodic sensibilities that set him apart from the other trap mumblers. "Fucking Told U" and "Whoopty Doo" groove on the kind of non-sense that sometimes is the backbone of Future albums. It transitions into a pretty absurd final section..It's almsot so bizarre that it makes it awesome. You gotta be pretty stoned for it to click, I guess. 

"Blaming Jesus" is another turn toward the more melodic side that works best for him. He flirts with rapping about things that might violate his probation. You would think his lawyer would have to listen to everything first.  "Sad Slime" also blurs the line between hip-hop and pop/ r7b balladry with a pretty decent beat, keeping it moving. "RIP Big & Mack" finds TI joining him. The song bullshits around the beat and wanders around, never getting to the point.

"Invest Into You," another hip-hop ballad, but it works better than the previous song. But at this point in the album, the songs begin to run together until the bpm increases for "Pardon My Back". The backing track for "Mami" is interesting, and the song features Sexy Red, though her verse makes it clear that Cardi B is the superior rapper. "Whaddup, Jesus?"  flows well enough to work. A strong beat helps "Walk Down" 21 Savage really does not do much to help him out on this track, but Williams is carrying all of these songs.  There is a darker vibe to the Travis Scott collab, "Pipe Down".   This darker trap feel continues on "Revenge". Though this song feels woozier and has less focused lyrics. Future delivers with the 808 Mafia for "Money on Money". Though Future's verse feels like it is a different song. 

"Dreams Rarely Do Come True" is a highly atmospheric hip-hop ballad. It is hard to fathom that any level of sobriety was held to capture this kind of mood. Midway into the song, it kicks into something that more clowely resembles modern hip-hop. "Miss My Dogs" is another hip-hop ballad. He sings more than raps on it. Granted, there is plenty of auto-tune to help his efforts. I will give this album a 9 as it might not be as good as "Beautiful Thugger Girls." but it's better than everything he has done since that album.  

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Living Dead Girl : "Con$piracy"

The title track that opens the album finds Molly and company continuing to perfect their ability to blend metalcore-edged riffs against bright pop-punk choruses to make almost every song on the album. By the second song, they have already locked into a formula with her screamed vocals dominating the verses as her more sugary pop voice comes to take the sting away on the chorus, though one thing I like with "Poison Me" is the kind of breakdown section that their down-tuned guitars contrast with synth ambiance. She is not repeating the hooks, so there is a distinct difference in the choruses of the first two songs despite them following a similar arrangement.,  

Since their last album "Exorcism: it is clear that touring is paying off as they have had experience having to stand up to the bands they have played with in terms of how heavy they are. Granted, with bands like Spiritbox and Jinjer gaining a great deal of popularity since their last release, the target audience is much more focused. They use Falling in Reverse as a stop to syncopate the improved riffing.> "Ugly" is one of the lead singles for the album; it carries a more manic guitar riff, with her vocals once again providing the honey to juxtapose it. There is a darker, sexier pulse to "Succubus" that gives it a groove to make it the best song so far. It also eviates from the formula the other songs worked off. 

"The Disease' works off more of a nu-metal cadance that her vocals propel. This has always been inherent to this kind of metalcore. Though the default is to the anthemic chorus vocal on this one. The breakdown riff to this one is pretty cool. "Eighteen" finds the dynamics shift to a darker '90s feel. Though the light comes back on brighter when it gets to the chorus. "Wild and Free" is in direct contrast to the previous song as it could almost be the soundtrack to an anime show. Poppy but well written. I also like the more deliberate stomp of "Unstoppable" that captures all the best sides of the band. The album closes with "Survival Mode". And Molly is given room to open up and sing, making it evident the work she has put in to improve her voice since the last album.  I will give this album a 9, as they have come together and tightened everything, as the hard work put into this album is evident and pays off for the band and fans alike. 

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Tombs : "Feral Darkness"

 Mike Hill's sonic travels into darkness find this band continuing to embrace further into darkness. There are fewer black metal moments, making the music carry more of a death metal aggression.  Each album is a little different take on the bleak sounds they use, an aggressive barrage of powerful chug to convey. His vocal approach is less of a growl and amd more deliberate articulation of disdain. I would say at times this album feels like it has more in common with "Domination" era Morbid Angel than it does Mayhem or Darkthrone. The double bass-powered drums add to the ominous momentum being built. "Granite Sky" has very deliberate riffing. The buzz around this album was that they were fully coming to a more death rock, goth approach, which I am not hearing, but it's only three songs into things.

They are not singing this corrosion to me yet on "The Sun Sets," but you can hear how they might go in that direction as the more death rock moan replaces the bellow that normally marks their sound. Not the first time this sort of thing has crept into what they do, it is just not bookended by a blackened crunch. I like how the different elements are balanced. The harrowing guitar riffs to this one keep things throbbing with an aching tension. The more black metal elements to stirred to life for "Last Days," which rings out with a great deal of chaos before locking into a galloping stomp. They venture to a desolate place by the end of the song. They can always prove that darkness is just as heavy as any metal riff. 

"The Wintering" hits with a sludge-ridden riff, as heavily effected vocals provide a sardonic narrative, that keeps the oppressive feel flowing. It dips into a more depressive, doomy feel. "Black Shapes" is another return to black metal, though this time with a more punk edge. Then they ride a spectral line toward a nightmarish blend of black metal and goth on "Darklands". "Wasps" has a churning death flood of double bass with creepy vocals calling out into this raging storm of guitar. They are aggressive without always reverting to harsher tones. The churn of the  main riff is more death metal. This album is one of their heaviest, and while it is different, it is consistent with what they do, a logical step from where they have gone in the past to releases. It will take a few listens for it to sink in with me, but I like where they are going and the differing vocal colors is a move in the right direction. I will give this a 9.5. This drops on October 17th on Redefining Darkness 

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"

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Coroner : "Dissonance Theory"

The band's first album in 32 years. Things are different in many ways, though they do not sound like they are in their 60s. Weirdly, Marquis Marky is not behind the kit, leaving Ron Royce and Tommy Baron as the only original members who feel more pronounced as a trio. Their new drummer, Diego, certainly pulls it all off. It's not until "Crisium Bound that it really feels like they are dipping into the kind of thrash that drove albums like their classic "Punishment for Decadence". But it all works as it finds a balance of all the sides that set them apart from other bands, like their prog leanings  and odd touches of thinking man's atmosphere. At the time, it felt like they were a more sci-fi Voivod-like trip

This is not them trying to recapture their 80s sound. Nor should they. A big difference lies in how forward Royce's vocals are in the mix, as he used to sit back in the guitars more, certainly having grown more confident in what he does.  You can hear how they influence bands ike Meshuggah on the song "Symmetry," which races at a more thrash speed, but there are some subtle time changes. I like the darker shift the song winds around to. On songs like "The Law" and "Transparent Eye," they prove they are not running dry on catchy riffs. It is stunning how ahead of their time they were, as they are just perfecting what they were doing, and it fits perfectly with the mood of 2025. 

"Trinity" finds a more progressive mood coming into the forefront against the winding chug of guitar, as the drums hold down the groove. The guitar solos are more tasteful than what you expect from a thrash album in 2025. I have not paid a great deal of attention to the lyrics, but this one seems to be about the end of the world, which is the energy I need from more metal bands. "Renewal" leans more into the frenzied speed metal side of things. It does rein it into more of a groove, but if you need your thrash on the faster side, you uare the audience for this song. Otherwise, it might make you dizzy. There is even a keyboard solo in the last song, whcih sounds more like they are jamming off the vibe of the previous song. I will give this album a 9.5 and see how it grows on me; they are perfect where they came from to sound more vital today. 

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The Bellair Lip Bombs : "Again"

This band from Austrailia has flown under the radar for 8 years, and it is now time for them to step into the spotlight.This serves as a follow-up to their album "Lush Life."  Their new album opens with a high-energy jangle that finds early college rock colliding with the slacker sounds of the '90s. Singer Maisie Everett adds a detached layer of cool girl indifference to the sonic ramble of their sometimes Velvet Underground-like sonic attack. The overall sound is a more historically accurate depiction of where post-punk originated before evolving into what we know as indie rock. This is highlighted on a song like "AnotherWorld," where the droning drive is punctuated by her vocal hooks. 

The real strength of their songwriting does not lie in when they are cranked to ten and riding the tension of the riff, but when they back off, give in to a quirky groove, and give Everett more room to sing. She shows the kind of pop sensibilities that make their true songwriting chops known. "Back of My Hand" finds more emotion creeping into her voice as she belts it out a little more. This is broken up by a more rock n roll riff. There is less twangy folkiness to her voice that, at times, reminds me of Kathryn Critchfield, who might be one of her more subtle influences. The more punk-rooted simmer of their music obscures this. 

"Hey You" takes post-punk tension and writes a pop song over the throb, but runs through a more organic guitar filter. The production choices with this song allow her vocal take more room to explore ambiance. Her vocal approach obcures the fact that they are employing riffs more like the Rolling Stones on " If You've Got the Time". They do not drag the song out but there is a more jammed feel to how it moves.. The jangle down the middle of the road with their less compelling "Smiling". Then things drop down into more of an introspective ballad of sorts with "Burning Up". The last song revisits sounds and themes we have already explored on this album. But overall, the personality of their songwriting wins out despite weaving the songs from familiar sounds; it works so well, I will give this album a 9.5 and see how it grows on me. Not that dark of an album, but it is still dropping on Halloween/

7

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Sanguisugabogg : "Hideous Divntiy"

 This is an album I have been looking forward to, so expectations were high. Halfway into the first song, I can hear where the needed tweaks I wanted from these guys in terms of production have been made, and it is rocking fucking hard. There is more attention to detail in songwriting as riffs have purpose and are not just shifting into the next heaviest chug possible. Songwriting is storytelling, telling, and the message is coming through with a more mature and perfected vision. Devin still does what he does, though his phrasing is refined and more articulate without sacrificing brutality. 

On "Felony Abuse of a Corpse," they provide some unexpected grooves. The thing that is really winning me over so far is that it is not just crushingly heavy but a fun listen.  "The Ritual of Autophagia" is a little more straightforward, driven by impressive drumming and a steady chug that finds them the successors to Cannibal Corpse's throne. This song features a guest vocal by Todd Jones from Nails , who summons a higher snarl he has not used since "Abandon All Life": The title track alternates between dense grooves and blast beats, which come in spurts as Devin unleashes the more gore-grind-like gurgles and pig squeal that their fan base grew up on. You can debate if those labels still apply to the band, but it has always fallen under the death metal anyway. 

"Abhorrent Contraception" is the first single that came from this album, and it felt like they were taking things into a more classic death metal direction then. There are a few riffs that carry what might be described as having a breakdown feel. "Repulsive Demise' might be the album's most interesting moments as it works off a darker tension, rather than the kind of steamrolling riffs you associate with the genre. Despite its simplistic nature, the industrial drone it carries might be one of the most unique metal songs of the year. "Erotic Beheading" is a brutal blasting that looks back at where they came from and finds it tightened into where they are now. 

"Sanctified Defilement" was the first song I had to stop and listen to a few times beofe it clicked with me. Even though there is more blasting than what is offered on most songs, it is still balanced out with more deliberate riffage. 'Semi Automatic Facial Reconstruction" works off a syncopated dissonance that is different for them. Travis Ryan from Cattle Decapitation brings some higher-pitched screams to the occasion.  The almost eight-minute "Paid in Flesh' throbs with a tremendous groove, and finds Cody Davidson working overtime behind the kit. I normally do not give death metal drummers tons of praise, as it is in the job requirement that you have to be a monster to play death metal. Dylan Walker from Full of Hell lends his tormented anguish to the song. "To Build a Mountain" is more deliberate and sonically crushing. I will give this a 10; it exceeds expectations and shows they are one of the best new death metal bands worthy of carrying the genre forward. 

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Dead Heat: "Process of Elimanation"

Dead Heat is a crossover thrash band that leans heavily into the Slayer side of thrash and utilizes hardcore gang vocals to convey their message effectively. The band's first album for Metal Blade is very deliberate and makes it a point to lock in on big chugs in a manner that makes it clear they are just as influenced by Power Trip as they are.classic thrash. The solos lean into the more Kerry King school of fretboard chaos.  Despite the taunt riffing to "Hidebound," they are beginning to sound like every other thrash band by this point in time.

The big problem is the one-dimensional nature of the vocals., The riffs also begin to blatantly rip off other songs, the case in point being Slayer's "Blood Red' on "the Order", which even the gang vocals can not hide at this point.. What plays to their favor is the fact that they do not get caught up in their lust for speed and try to rush the songs. This is not to say they do not indulge in speed, though it is handled in a more hardcore manner on "Solace Denied." Which is not reinventing the wheel by any means, though not a Slayer rip-off either. 

They kind of split the difference on "By My Will" and come up with something marginally more original, though it is on the faster side. The title track finds them going back to their Slayer influence, almost too much so; thankfully, the vocals are much different from Tom Araya, even though the vocalist is a one-trick pony overall. The coolest riff sounds like Slaer, and I already own all of Slayer's albums. The last song finds the vocals taking on an angrier scowl that reminds me of Ringworm. I will give this album an 8. They are fun and have lots of energy; they just need to find their own identity as a band, which can be hard in a genre that leans so heavily on one era .Out OCtober 10th on Metal Blade. 

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Wretched : "Decay"

 North Carolina's Wretched plays an epic style of death metal that is epic in its own right, while being more accessible than some of the more brutal corners of the genre. More melodic and less thrashy than Lamb of God, they are from the post-2000s school of metal, without being classified as metalcore or djent. The only black metal influence is in the higher raps that the vocals touch upon. I like the effects used on his voice. There is a more hateful mood thanks to the scowling, vocal shrieking over  the second song, but it does not feel as catchy as the first song. 

"The Royal Body' has more p[purposeful vocal line and deliberate riffing to work with them. The anthemic nature of what they do here is the first thing that brings metalcore to mind, in the syncopated stomp, but it's balanced out by almost power metal-like guitar melodies./ They are not far from bands like Darkest Hour in this regard. "Crimson Sky" moves at an even more deliberate stomp. Melodic nuance in the guitar playing keeps this one from just being another angry roar. "Radiance" starts off with in-your-face blasting, before finding its groove. The cadance of the vocals seems to imply a more purposeful sound, even if you lose a sense of what the chorus should be, 

The song "Clairvoyance' things takes a wild turn away from metal into a more haunting Americana that feels like a smoky bar room where both Tom Waits or Nick Cave might be found lamenting their sorrows. It might be the kind of dynamic shift this album needed, by not one you could predict occurring at this magnitude.  The most metal thing about this song is the highly melodic solos being ripped in it. This is followed by an ambient synth interlude entitled ' The Mortal Line."  

Then the 16-minute "Behind the Glass" unfolds. There is a long proggy ambiance that opens this one that might have been trimmed in order to get to the point. It is allowed to wander on for almost three minutes before the more metallic guitars and drumming kick in. They jam this off into a more wandering Western sound. It makes you picture ghosts of cowboys haunting a lonesome highway. So much so that I had to check and see if I was listening to the right album. Then, at the ten-minute mark they kick into something that could be a Metallica song. I am not sure a 16-minute instrumental is what the album needed, but it is what it gets. 

"Lights' finds harsh snarling setting against more melodic guitar harmonies. In this way, I can understand the comparisons of the Black Dahlia Murder, but I like these guys better as they take more chances. I prefer the groove of "The Golden Tide" as even the harshly screamed vocals have purpose and work to make the song click. 'Blackout' feels likea metal core waltz, with its temper tantrum balanced out with flowing guitar melodies/. "The Golden Skyway" closes things with a triumphant gallop that feels like an old-school metal take on metalcore. While this frequency of harmonies can come across as too happy for me, I at least appreciate their dedication to songwriting. I will give this one a 9; they created something unexpected but familiar enough to have a built-in audience.

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Novembers Doom : 'Major Arcana"

 

After a six-year wait, the 12th album from Nivembers Doom is here. The first song highlights who they are well, before stepping on the gas to deliver a more heavily chugged death doom assault for "Ravenous: which is lyrically and sonically more aggressive. They ebb back down into a more melodic metal power ballad of sorts, bringing them closer to Katatonia's style with "Mercy". Now on album number 12, it is apparent that Paul Kur has fully perfected the dynamic of his vocal style, nailing clean vocals with the same fluid ease he belted out the more powerful growls. 

I enjoy it when they balance the heavier guitar attack with the clean vocals on "The Dance".  While not a founding member, guitarist Roberts Lawrence now writes in a way that makes the most of Khur's voice, as a testament to their enduring partnership. "The Fool" took as a second listen, as it adopts a few more of the tropes we expect from this sort of thing, with the growls as the dominant narrative. I think the fact that the chorus was not as hooky as what went down in the previous songs was a bit of a sticking point for me, butn ot a deal breaker. 

The third act of the album took a few listens, "Bleed Static" being the darkest song of the album. The sung vocal on what, for all intents and purposes, is the chorus, works well enough to win me over. I like the lower vocal colors he uses on this one as well. This song features a wide range of dynamics that build into the more epic side of conventional metal."Chatter' is another song that finds the guitar melody leaning in the more conventional metal direction. I guess Judas Priest would be the band I hear the most influence from; the chug is pretty massive here. Though the vocal performance owes more to Metallica. It's almsot like a heavier version of what the "Black Album" could have been.

'Dusking Day" has some interesting vocal harmonies in place, but overall does not click as solidly with me as some of the other songs. The last song has a more majestic stomp to it that feels like more recent Enslaved to me. Heavier tension on the verses, to a bigger melodic chorus, is a fairly common chorus, but it works here. I will give this album a 9.5, so not perfect, but among their best work, and better than what most bands are doing these days. Fans of the band will find this to be a triumphant return. 

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BLINDFOLDED AND LED TO THE WOODS : "The Hardest Thing About Being God Is That No One Believes Me "

 

This band from New Zealand took the 8th spot in our 2021  Top 10 Death Metal albums list. Now Blindfolded and Led to the Woods is taking their experimental sense of sonics further by releasing their first concept album that explores obsession. The technical ability of the band is put on display as they use many of death metal's brutal trappings to attack your ears, but have an eerie sense of atmosphere that balances this out. The vocals are roared in a commanding manner that finds the lyrics more articulated, even when dropping into more of a growl. There are a few different vocal colors on this song, all of them aggressive. 

On the second song, there is more of an assault, punctuated by moments of melodic atmosphere, with deliberate moments of syncopated hammering to keep it from being a full-blown attack. The momentum the song builds bled over into "Red", which  I only noticed was a different song as it took on a more thrash riffing style, and the vocal accents became more focused. This gave the song more groove, making it catchier than the previous song. One shift in songwriting is the more compact style that keeps everything around the four-minute mark, with the only exceptions being the longer opening and closing songs. 

"Compulsion' is the lead Single from this album, and it is very rabid in its aggression. The only shift towards being accessible is the less growled vocal style, though this creates a more hardcore-influenced feel. The aggression is only reinforced on the title track, which uses a similar approach to the previous song, but with slightly more atmosphere. The drumming is stellar on this song, though you can never get too excited about the drumming on a death metal album, as being a monster is a job requirement for the genre, more so than other genres. 

At a minute and a half, " Snow Angel" is grind-core in length. They get a ton of riffs crammed into it. "Black Orchids" is one of the album's most perfect compositions in how it manages to be heavy, without conforming to the death metal formula, while still delivering the kind of aggression you want from the genre. Another drumming spectacular that takes it to the next level. More of the hardcore shouted vocals appear here as well. "Tomtem" is the first song to show any influence from a classic death metal band; this time it's Morbid Angel in the powerful throb of the commanding riffs. Where it differs is how the drums are providing a faster barrage underneath it all. I like the darker, more dissonant place this one arrives at. 

There is also a creepy throb that breaks up the attack they bring with "600 Grams." The ebb and flow of how the verse breaks things up shows the mature approach to songwriting on this album. The last song opens more melodically and purposefully.. Over the course of this song, they cover a great deal of ground that explores all sides of their sonic self that they have displayed thus far. The unexpected inclusion of female vocals feels like it almost takes a hard left turn to become not just another song but another band. However, the growth and nuance maturity has granted them as songwriters, tempering the brutality and dissonance to make this a remarkable step forward, showing what death metal can be.I will give this a 9.5 and see how it grows on me. This album drops on October 10th  via Prostehtic Records. 

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pst460

Abraham : idsungwüssä"

 Abraham was a sludge band from Switzerland. Their new album finds less overt metal and more of a blustery noise rock chaos possessing things. There i a metallic aggression lurking in the outburst of "The Fate of Man, Lies in the stars" that builds up into. The vocals are coarse below that claw its way out of the dense mix of guitars clanging. I have always adhered to the fact that sludge is what happens when crust punks try to play doom, and this seems to be evident on "I am the Vessel and the Vessel is Me." They are going into a darker, more experimental direction, which works for what it is, but is a left turn for the band. 

By the time I get to the third song, I am noticing a writhing unease haunting the sonics of this album that feels more like Blut Aus Nord; the patter of the drummer's cymbal work also hints at more black metal influence seeping into what they do. The vocals shift to a more sung approach midway through the song. "Naked in a Naked Sky" finds post-rock colliding with them, reverting to a more Nuerosis-like sound.  "Suurwhut" finds them to continue simmering in this more spacious contemplation, which works better than the denser chaos that marked the first few songs. The gruff grumble of the vocals is a little too similar to what they did in the previous song. They also maintain a similar mood on the song after this one as everything begins to run together. 

"0600.4ou" finds the vocals taking a more prominent role to set the mood. It builds marginally in a sonic sense, mainly putting emphasis on the hypnotic mood. They bring things to a conclusion with the 11-minute "Home"; it also works off a more hypnotic drone as it casts an ominous shadow with its brand of sullen post-rock.  When the vocals come in, it's clear they are haunted by the Neurosis influence. I will give this album an 8; they take things in an interesting and darker direction, which I enjoy. Dropping on Pelagic Records. 

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pst459 

Author & Punisher : "Nocturnal Birding"

The first track of Author & Punisher's new album finds Tristan Shore's voice bare of the effects that normally color it. Midway into the song, things kick in with a more organic version of the heaviness we expect from this project. This is the first album that finds guitarist Doug Sabolick joining as a bandmate, which contributes to the more rock feel to things. Every song has a bird theme. There is a more overt industrial crunch to the amazing stomp of " Mute Swan." His vocals are more thought-out, rather than just a layer of his sonic torture machines. Megan from Couch Slut, lends her voice to the ruckus erupting, with more detailed layers of melody luring you in during this. .it might be the best industrial song I have heard this year. 

"Black Storm Petrel" carries the big Godflesh-style crunch this project has toyed with before.This song also features the vocalist from Fange.  I prefer the groove to " Titmouse," which is one of the first songs from Tristan that I recall being riff-oriented, so I think the addition of guitar offers a big step forward, even if it moves them marginally closer to the conventions of industrial rock. I thinnk the genre itself allows and fosters experimentation that creates almost an anything goes attitude. This song and the previous song have been the noisiest so far, with this texture being most effective here.  

"Titmice" finds the balance between the metallic chug and a collage of apocalyptic atmosphere. I had to go back and give another listen to find where this song ends and "Rook" begins, as the songs run together. This song has a more focused stomp, the point it bleeds together in a swathe of ambiance. that flows from a section that develops into actual singing. I had to listen to "Rook" a few times for it to click. It has a doomier pound, not unlike "Filth Pig" era Ministry. On the 3rd listen, it clicked. 

The last song, "Thrush," carries the biggest sound that finds the crunch of the guitars coupling well with Shore's machine to create the most effective cinematic punch possible when the song reaches its peak.I will give this song a 10 as he continues to evolve and perfect what he does in a very powerful way here.  This drops on October 3rd on Relapse Records. 

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pst458

Dome Runner : "World Panopticon"

 This is the Finnish band's second album. It finds Dome Runner retaining a big, apocalyptic sound, though, defaulting to a production style that feels like an attempt to merge 90s sounds with modern digital audio workstation-style mixing. The guitar might be thicker if this were not the case. There is a Voivod-like undercurrent mixed with death metal, thanks to the vocals that go from more of a howl to a growl. I would have loved this as a teenager, as a jaded adult who listens to 600 metal albums a year, I am hesitant to give early praise, as I want to hear how this plays out, so let's take a deeper listen. There is more of a mammoth Godflesh stomp to the end of the first actual song; the first track is just an intro. 

Death Metal feels like the core of "Constant Crisis Diagnosis." The fast pounding proves like effective than what they do on the first song. "Android Hybrids Immortal" does this more frantically and chaotically, though finding its groove midway through. There is a Fear Factory-like sung vocal that comes in. I think more melodic touches would help the overall dynamics of the album. "Split Self Matrix" carries a deliberate stomp that is more effective. The vocals are more shouted out into the depths of a cyber dystopia than growled. "Possessed Empty Vessel" finds a return of the harsher growls and clanging of machines devouring the guitars in the mix. This finds them displaying more of a Godflesh feel, and the atmospheric touches are a subtle dynamic that works. 

The futuristic ambiance continues on "Christless," which employs more of an electronic feel with the drums. After a minute, it kicks in with a more Ministry-like angst. The sung vocals on the chorus might be a page out of Fear Factory and thus by default Killing Joke's playbook, but it works well. The seven-minute songs feel like sprawling dirges in industrial time. The heavy foot steps walking "Reversal Blaze" is not unlik Godflesh's heavier moments. I like the contrasting vocal colors on this one. The song pounds into a drone. "Solid State Zero" is aggressive but comes across as noisy at times. I prefer the more grooving 'Frail Demise." Even with its heavy guitar that sits in the back of the mix, it flows well. This balances things out for the bark of the Pantera-like vocals. Though these also make it feel likea long lost song from the 90s. When given more space, the vocals have room for their Burton C Bell croon. 

The weirdness of "Soul Collapse Interace" would normally be my thing, but it feels more disjointed here. 'Salvation Access' carries a stark industrial tension that sounds pretty legit. The drums make things feel more raw and live.  I think a little better production value would have helped sell this one. I appreciate the varied vocal colors, but they would be put to better use with more effects and blended into the overall sound. It drones on the one beat, and is not the most dyanmic song , but still works for what they are doing. A lower "gothy" vocals crawls into the sunlight on the last song. It takes two minutes for this song to really kick in. It rides a rough-edged syncopation. I think these guys are onto something, maybe one day they will remix this album so it sounds as it should, but even with that the songs are there so I will give this an 8.5. Dropping November 21st on Svart Records. 

pst457

Paradise Lost : "Ascension"

 

The 17th album from Paradise Lost finds the progenitors of death doom shunning expectations. using the tropes from both genres, while sometimes trying to grab the goth metal throne that Type O Negative left vacant. The first song is straightforward death metal, but more deliberate than the rushed flow of double bass most bands hit you with. "Tyrant's Serenade" is more of the grandiose pagentry of morose doomy rock that lends itself to the Type O comparisons. He sings most of the song, then things become more split in equal portions when it comes to his delivery. "Salvation" is not as memorable as the first two songs. 

There a chunks of more traditional metal sections that keep cropping up, one point "Salvation" brings Judas Priest to mind. 'Silence of the Grave" is driven by this kind of triumphant chug and is one of the most effective songs so far. The solos on this album are very rock n roll. This album finds drummer Jeff Singer returning to the band. He has also played for My Dying Bride, but is going for more of a rock feel on this album. "Lay A Wreath Upon the World" is a folk metal ballad that finds them back jockeying to claim the goth metal throne. 

"Diluvium" is the first song that leans into more of a doom stomp. The vocals are bellowed with more aggression, but not a growl. Some of the more Priest-like riffs break this up. It was around "Savage Days' that things ebbed down and faded into the background, so I had to go back and give another listen. Second listen finds it coasting along. The stomp to "Sirens" reminds me of Iced Earth with its more muscular, almsot power metal style of chugging thrash, though they offer more subtle melody here. "Decievers" rocks out harder than the previous song, though  "Sirens" has a more melodic flow. 

After a couple of listens, the doomy throb driving "the Precipice" grew on me, but the vocals to "This Stark Town" are more compelling. The last song kinda rides the middle ground between goth metal and the death doom style they are known for. I will give this a 9.5 and see how it grows on me, as overall it flows better than most of their more recent work. Fans should praise this balance. Oddly enough the Peaceville sound is out on Nuclear Blast.

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pst456

Defigurement : " Endbryo"

This band, featuring members of Malignancy and Murder Construct, blasts out some death metal-influenced grindcore that still manages to cram some songwriting into these bursts of sound. Like any band dealing in this kind of sonic mischief, you have to be careful that you do not get caught up in the spastic energy and forget to make something worth listening to. The first three songs maintain a balance until the fourth song, when the need for speed causes them to get carried away. At two minutes and thirty-seven seconds, "Wounded Landscape" is the length of a normal song. It is an exercise in marginally experimental, somewhat chaotic death metal. But it works for what it is. 

They pour the speed back on for "Alteregomaniac," and aside from more deliberate vocals, the results are less impressive than the previous song. But better than what most grind-core bands do in less than a minute. There is more of a thrash  feel to "Humanity in Autumn" that works before going into the darker weirdness. "Her Knowing Collapse' blends the more feral aspects of hardcore with a blackened feel. "Godtopsy" is almost three minutes, which allows a brooding atmosphere to be cast over it. 

"We Are The Worst" finds the drummer proving his place behind the kit, and while it is a more fully realized song than some, it does not connect with me like some of the songs do. They bring more of a blasting style of death metal for "Love is Atrophy.". They circle this sonic zip-code for the rest of the album. Their last song carries some jazzy nuance, but nothing all that catchy.  I will give this album an 8,it's more grindcore-influenced death metal than not, but they were having fun making something that is fun to listen to, so it was a success. 

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Evoken : "Mendacium"

 It's been 7 years since New Jersey's doom masters blessed us with an album. The same lineup played on "Atra Mors" is all that matters to me,as they deliver something even darker and more dismal here. There is a great deal of space in the mix. Everything echoes out into it. This does not find the sound converging in lush layers, but isolated, which sonically captures a lonelier mood. Great guitar works rip out from things that are driven by the slow funeral doom march.  "Luads" moves with more of a metal groove before coming to an atmospheric standstill. 

This makes me wonder what artists are talking about when they feel sub-genres are limiting, as funeral doom is something very specific, yet they are creating something very different within it.s gates. The difference between greatness and mediocrity lies there. It's a ten-minute song that does not feel like a ten-minute song, which is the way to do ten-minute songs."Terce" has more of a Type O Negative vibe, in how the ambiance echoes out with a beautiful melancholy, the vocals keeping things rooted in this band's heavier nature that has a gradual build. 

They unfold another 10-minute epic with "Sext", which sails in on a cold ocean of synth chords, painting a similarly sparse sonic landscape to set the stage for the song. There are lots of whispered breathy vocals to contrast the growls on this album; this is another more dramatic gothy moment. It takes three minutes for this to be unfurled. At the first minute mark, the drums kick in to get things moving. Things get equally creepy and depressive as the tension builds with the guitar melodies. The drumming simmer below the shifting haze of sound bubbling. It is a more surreal affair than what we have previously heard from this band. 

"None" comes alive with the shadows painted by the subtle guitar melodies. The only more classic doom band you can trace these guys back to is My Dying Bride. The slow sail from the underworlds that is captured here does not follow the dictates of conventional songwriting,as melodies slowly slide out from the darkwater, and their sound passes through. This album could have come from the 90s, as it captures that area of metal. Darkly romantic sound colliding with vampiric grandeur.  "Vesoer" allows the keyboards to set a stage similar to what happened on "Sext: Though here it simply serves as the intro to "Compline," which digs into the spectral trudge right from the start. They shift into an almost blackened death metal riff two minutes into this song, which might draw comparisons to Incantation, as the band proves themselves willing to dive into any dynamic shift that might convey the darkness. Then they sailed back out into ghostly waters before converging back into the more stormy Nordic riff. Overall, this album is different but the same brand of gloom you want these guys to deliver, and they do. I will give it a 10 without a doubt, one of the most compelling doom albums you have heard in some time.  The album drops on October 17th on Profound Lore 

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pst454

Model/Actriz : "Pirouette"

 

The first song made me Google

"Is Jamie Stewert from Xiu Xiu in Model/ Actriz??

No, it turns out Colde Haden is doing his best impersonation. This album was released in May, and there has been some confusion among listeners who mistakenly believe it is industrial music. That would make Xiu Xiu industrial music, and we know that is not true, though they have some post-punk influence. This project has the frantic energy of youth, but that does not change the fact that it is more anxious indie rock with noise tendencies. It's fun and dancey without being pop music, but that does not make it industrial. 

For the song "Poppy," which might be about the singer, but it's more chaotic and tense, but not dark or dystopian. I prefer what was going on in the first two songs. "Diva' finds the ebb and flow of tension moving with more tension, and it comes closer to Nine Inch Nails' more experimental moments, it's electronic-based but not industrial. 'Acid Rain' comes closer to being a more conventional indie rock ballad. 

I like where they are going with "Departures." The vocal melody and interplay with the instrumentation have a great sense of movement, and the lyrics hold more purpose. "Audience" carries a clanging that comes within throwing distance of industrial. The vocals drop into more of a low murmur before his nervous vocal habits kick in. There is also more of a bang to "Ring Road" but it drones on and is kind of boring. I like where the first half of this album was going before noise became the forefront. Electronics race away with "Doves", the biggest takeaway being that the vocals play a bigger role. The last song just paces around sparse ambiance, and tries to weave a song from too little sound, leaving nothing for the vocals to work with. I will give this album an 8, these guys have potential and since I like Xiu Xiu there sound is going to appeal to me. 

pst453

Novelists : "CODA"

 

The addition of vocalist Camille Contreras has elevated the band's profile, placing them in a higher tier of metalcore alongside artists like Spiritbox and Jinjer. The first song has an effective enough hook, and Camille's pop sensibility balances things out; there is more from her harsher vocal on the title track. There are some progressive-leaning melodic elements added, such as more nuanced guitars and vocal dynamics. They do not delve into time signatures that are that far removed from the djent side of the genre. 

"'All For Nothing" is like the metal core version of a power ballad. There is nothing on this one that I have not heard Spiritbox do better on their new album. Really, the big difference between the two bands so far on this album is more guitar solos here. Things get quirkier and help distance themselves from Spiritbox on the song after this, with a more frantic electronic chaos unfolding. It borders nu-metal and djent. Using the metal-core formula to build into screaming.  Predictable, but with shiny new pieces making the sounds for the puzzle. 

Find myself having to go back and give these songs another listen as they are not grabbing me the first time around. "In Heaven" is another one that works off the metalcore-powerballad formula.It does finds its groove better than some songs here."Adam and Eve' feels like they just jammed off the previous song and took it in a more straightforward groove. "Sleepless Nights' is a little more nuanced in the songwriting department, but feels like it is chasing the heels of Spiritbox. Making me wonder if it's the label or the producer's fault. 

"78 rue' is almost a more straightforward pop ballad. "CRC" Is on the more metal side of metal-core with an anthemic chorus , which is not the most original thing I have heard this year, but is effective for what they are doing. The last song is another power ballad that tries to make the most of their new singer's voice.   I will round this down to a 9 as they are trying to fill a voice that has been filled; they need to find their own place, and they show promise in doing so here and care about the songs., with that said, they are at the top of the heap when it comes to bands gunning for Spiritbox's place in the spotlight. 

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pst452

Nyx Division : "Midnight Lights"

I really liked their 2022 album "Dark Star," is made the year's Top 10 Post-punk albums, and this one is heading in the right direction as they grow as a band, allowing room for the atmosphere to set the mood. There is a more deliberate throb to the hazy tapestry.y ot the first song.  Sinewy guitar crawls under the vocals of Domino Monet. Her voice has also matured on this album to display a wider range of emotional colors. 'Soldier of Love" finds the guitar riffing unfolding like something from the Cult's darker years. Monet's voice provides a commanding counterbalance for this. It does carry a more punk momentum without feeling rushed. 

"Black Glass' is the first song that is dark and lavish enough to cross the line from post-punk to goth. Her voice takes on a more delicate purr in places for this one to fully convey the mood. The growl of the bass line anchors the song. Then "Tomorrow" led the album back in a more post-punk direction.  "Blood For Sale" follows this diection but more of a rock-oriented hook in the chorus, which is also displayed on "Desert Rose," but a more Pat Benatar-like hook nails the chorus to your ears.

The title track also finds a balance between the conventions of post-punk and the more belted Pst Benatar vocals Monet is belting out. This can especially be heard in the chorus to make it more memorable. The last track is sonically cool but is more of an outro. I will give this album a 9.5, putting it shoulder to shoulder with their last in terms of songwriting quality, though this one has more firey energy to it.  

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pst451

PRESIDENT : "King of Terrors"

 

Anonymity creates quite a buzz. This band has a huge online presence despite only having one single out  and a Download performance under their belt . It is the songs from that performance that are given the studio treatment, with the first single opening the EP. Sonically similar in many ways to Sleep Token, they blend djenty metal guitars with technical drumming and multiple layers of soulfully harmonized vocals. If this were AI, told to create a band in the vein of Sleep Token and Bad Omens, I would believe. You hear a little more of who they are in the pop leanins in the second song, "Fearless". There is enough believable emotion being conveyed from under the mask to work. Lyrically, this is just a pop song. The vocals are pretty much the centerpiece, as this could be any band with a metalcore singer. And without the pop nuanced vocals, it would be much less impressive. 

They cross over more fully into pop for "RAGE". Perhaps it is ironic that this song does not invoke any feeling of rage whatsoever sonically. Even when things kick into the more syncopated stomp.'Destroy Me" has a more nu-metal feel, though things are dialed back to a Post-Malone level of intensity for this song. The vocals dance around a TikTok beat bolstered by Myspace metal guitars. The album's first actual metal moment drops in the last minute of the song.  "Dionysus' picks up where the last song left off as it works off a similar formula., They go for the soaring emotional response on the chorus. Once again in the song's final moments, things come crunch down.

The last song makes you think they are going to fake you out and go into a cover of Steve Winwood's "That Just the Way it is' until the heavily layered and auto-tuned pop vocals come in to bring the party to the kids. Guitars kick in enough for you to be aware they are cosplaying as a rock band. It is hard to argue against a good pop vocal. I will give this album a 9, only rounding it down to the fact that they seem a little caught up in their illusion, and instead of doing what they are good at, which is writing pop songs, they throw mediocre metal riffs in so kids can feel edgie than they are, illusion sells, these guys get caught between a markerting gimmick and being solid songwriters. Just listen to the music and forget the hype. 

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pst450

ALTAR DE FEY ; "Under a Waxing Moon"

 Altar De Fey's 2020 album "And May Love Conquer All" was ranked in the top 10 goth albums of the year here, and now five years later, they have returned with an album that might be the year's best goth album. A great deal of credit goes to the passionate lamentations of Jake Hout are the trembling heart of "Gone Too Soon". The guitar weaves the sonic cobwebs for Hout's stellar croon to crawl upon. "Over You" balances the hypnotic elegance that gives death rock its creepy grace with a more post-punk tension. It is a mood that took a couple of listens before it sank in. "Let's Switch Faces" works off the punchy syncopation of its groove..It shows their keen sense of songwriting that gives them their own identity rather than just being a band that follows in Christian Death's footsteps. In I can equal influence coming from the early forebearers of what we now call goth on a song like "Dissonance' where there are equal shades of Killing Joke and early Cure haunting their musical DNA.

 What makes them death rock is not the Rozz Williams-tinged tremble in Jake's voice, but the punk undercurrent that conjures images of needles strewn back alleys. This punk edge gives 'Obituary" a more aggressive punch. Lyrically, it comes closer to death worship or certainly a celebration of morbidly reflecting on our fragile mortality. The punk roots of death rock become more noted as the album progresses. "Judith With the Head of  Holofernes" is taking on a more manic energy, while still being draped in the Halloweenish ambiance. In fact, there is no more fitting time of year for this album to be released."Tower of Deciet" is the stomping energy they attack their instruments with, bestowing a renewed urgency to the album.

They saved the darkest song for last as  "Until The Grave". It moves with more of a mournful march. It's a convincing mood they have created on just this song, but the entire album. Poseurs who just want to play dress up and dance at the club might not catch onto what is going on here, as there are actual instruments, plugged into drawing from a canvas that celebrates actual darkness and not just the pagentry of. Their knack for compelling songwriting continues to not only endure but aging like wine with each release, perfecting what they do a little more, so I will give this album a 10. If you are a fan of death rock, this album is a must. Released on Transylvanian Recordings.

5 

pst449

Frost Children : "Sister"

 I need a palate cleanser after reviewing the new Lorna Shore album, so here we. The opening chant of pop duo Frost Children's new album is more of an introduction to the androgynous party pop that they are cranking out than an actual song, as the synth melody to "Falling" attests. The vocals feel like the kind of sugary pop punk that Blink 182 cranked out, but for a younger, gayer audience. The first single from this album, I really likeso let's see if that was just luck or there is going to be some catchy songwriting. I think "Electric' has more of the edge that I need from them. The electro sound they are churning to get the kids bouncing is nothing new; in fact, this sounds like this could have come out in the early 2000s. I was expecting more of a glitched-out out noisy hyper pop affair. 

"Control" brings more of the interesting, rougher-edged sound that I was expecting from the first two songs, though the vocals are fairly derivative. If an emo band from 2003 got high on Molly and found themselves in a gay bar, the results might be similar. Things take a turn into a more emo pop version of what they do going into "Bound2u' then the drugs kick in, it almost reminds me of Pierce the Veil, if they did not have guitars 'What is Forever For" would have dominated Myspace back in the day. It is basically pop-punk made with synths instead of guitars. Though a guitar shows up on the title track. But this confirms rather than negates my previous statement. 

"Dirty Girl" finds the more nagular synth throb creating a more experimental feel when contrasted against the coo of the vocals. Not their hookiest chorus. The guest vocals of  Kim Petras further solidify their pop cred. I think the balance of their auto-tuned vocals against hers gives things a more compelling yet accessible sound. The album's strongest song, and a suited introduction to them, though it raises the bar high. To contrast this, " Don't Make Me Cry" sounds very average. The groove, combined with Babymoroco, makes "Ralph Lauren" work.  

"4ME" is more like an interlude than what would be considered an actual song on this album. "2love" closes the album with a little more experimentation, which is a side of the project they need to dig deeper into. Though this one works more of a droning pulse, which works better in the club than just listening at home. Overall, it's a fun album, but doesn't break  any new ground I will give it an 8.5

pst448

Lorna Shore : "I Feel the Everblack Festering Inside Me"

 I gave Lorna Shore's 2022 album an 8, as I noted they were good at what they do, but it did not resonate with me. A few minutes into this one, and I can hear where it is heading in a similar direction. The arrangement to the opening track is more chaotic, but they have a big, sometimes orchestral sound that gives the feel of a metalcore band trying to cosplay as Dimmu Borgir. Will Ramos throws his voice around in a manner that can be a bit annoying. I think the lower death metal voice is more his forte, but these guys are building off a brand. 

It is produced in a manner that sounds heavy, and is played in a manner that sounds heavy, but so far, it does not feel heavy. I think the pristine production has sterilized some of the heaviness out of this album, as it is without a doubt overproduced. The blackened elements of their sound feel like it's something they like but is not a part of who they are as people. I do appreciate that "Oblivion" has more atmosphere as it balances this song out. I think most of their songs are twice as long as they should be, and as songwriters, they need to learn how to trim their own fat. 

"In Darkness" finds the orchestral elements taking a larger role, while they throw chaotic temper tantrums behind it, eventually leading to variations of a breakdown. The formula they use is on a sliding scale, still intact. It is very cinematic, but almost to a Disney level. This is even taken a step further on "Unbreakable," which is more calculated and accessible for this brand of metalcore. Though symphonic metal core is a stupid concept, as the symphonic element negates the hard-core part of the metal-core equation. Though the band wil surely insist they are beyond labels and sub-genres. 'Glenwood" makes it clear what the problem is. The melody created but the sweeping guitar lines and symphonies is trying to be epic, and it's not dark enough so it ends up sounding like a metal band trying to make music for a Disney Princess parade. 

"Lionheart" is more about the Disney bullshit, where " Death Can Take Me" dials that back a bit , but in doing so leaves them sounding more like your average metalcore band, though the more melodic elements this time around remind me more of Behemoth. I would rather just listen to Behemoth, as there are fewer pig noises.  But it is an improvement for the Disney thing. "War Machine"  has some more deliberate breakdowns like riffs that are heavy neough to understand why people like these guys. They are back to being Temu Borgir, on "A Nameless Hymn", which, if you did not know better, might fool you into thinking this was some next-level shift, but it's almost a total ripoff, like their producer asked AI to write the song for them. Despite the pace picking up to a more At the Gates speed in places, the last song is numbingly boring. 

They went into the studio and made the album expected of them, dialing the symphonic elements up enough to make it feel like they are not just dialing it in. It is enough of a change to talk about in interviews, and some kids are just dumb enough to be wow'ed by the guitar solos and overproduced layers of pig squeals to not ask further questions of this band or even know what questions they should be asking.. Is this done in a professional manner that sounds polished and massive? Yes, but these guys have a ton of money invested in what they do, so of course, they are making a professional-sounding album. But it's boring, and really makes perfect sense they would pander to the press and depend on bands like Babymetal and Sleep Token as they are really just cogs in the machine , and this is business as usual, so I will give this a 6. If you want to hear what good deathcore is, give the new Internal  Bleeding a listen instead; it does not have any of the Disney trappings and crushes this album.

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