“Every once in awhile it’s fun to shuffle through the promo pile in search of an album that explores the good ole days of rock—and by “good ole days,” I mean old-man Steely D days. Even when it’s done shittily, the outcome triggers special memories of sitting around listening to the godfathers of heavy metal and hard rock on shiny black “frisbees” (as we use to call them).” The olde ways are back in vogue (not vogueing though).
“Because the chances of getting another release worth a damn from Immortal are about as likely as my Writer o’ the Year award, I have no other choice but to look elsewhere for my Immortal Thirst Quencher. But where can I find that iciness that somehow defines Immortal but no one else? From whence shall I procure melodic black metal that taps into my heart and freezes my veins into blood Popsicles?” These are the kind of hard questions that get you a doctorate!
“For those new to Izegrim, it only takes a few descriptive words to describe these Dutch metallers. What if I described the vocalist as a blonde woman with raspy, deathy vox? What if I categorized their sound as melodeath with thrashy breakdowns? What if I described their mission as causing inner-ear damage and venue deconstruction?” I know what you’re thinking: NIGHTWISH!
“When “Spain” and “thrash” are mentioned in the same breath, I immediately think of Angelus Apatrida. While they kind of lost me with their newer stuff, their first two albums (especially sophomore release, Give ‘Em War) are essentials. The mold is a familiar one for fans of Testament, Death Angel, Exodus, and Megadeth, but those first two albums deliver. However, a couple weeks ago my definition of Spanish thrash metal changed forever when Crisix appeared in my inbox.” That sounds promising!
“There are one-man bands and there are one-man bands. Via Vengeance is the latter. Shane Ocell is not only the sole-instrumentalist of this Arizona-based doom band, but also performs guitar, drums, and vocals simultaneously. Yep, you heard me. The Via Vengeance live experience consists of Ocell sitting behind a kit, chugging away on a guitar, and belting out vicious incantations through his monitors. For this reason, Ocell’s songwriting is simplistic, proving that doom can be done well without over-the-top epicness.” One man, big doom.
Sulphur (or sulfur in the States) is ungodly, foul smelling shit. This isn’t exactly news to anyone but you don’t know the half of it until you have actually jousted with the likes of benzyl or ethanethiol. There aren’t many chemicals I’ve worked with that linger on your mustache and penetrate your clothes like sulfur. It’s pungent, it’s offensive, and it’s fucking nauseating. While I’ve had my fair share of encounters with sulfur, I have never encountered its black-metal equivalent—which is odd considering I’ve been a fan of Øyvind Madsen’s other project, Vulture Industries, for years. With a name like Sulphur, I had expected some unsettling, engulfing black metal to match the stomach-turning feelings I get when “sulfur” is mentioned.
“After a conversation with a friend about power metal, I came to the realization that many of my favorite bands in the genre are cheesy as hell. I’ve come to this slightly ashamed conclusion many times over the years, and as I’ve done before, I pulled out my power metal collection in hopes that all the black, thrash, and death metal hadn’t lessened my love for Tolkien-based nonsense and eight-album concepts about the mighty Metalians.” Cheeses H. Christ, the Doctor is such a Helloweenie!
“In 2015 I had the pleasure of opening up the New Year with a review of Volahn’s Aq’ab’al; a black metal album filled with so much cultural content (Mayan in this case) that it would have made Quorton’s head spin. Just over a year later I am presented with another opportunity to review a new release from Volahn’s small record label, Crepúsculo Negro—aka Black Twilight Circle.” Cultural diversity is the mission statement here at AMG.
“Protector first hit the scene with 1988’s Golem; a crushing mix of Kreator and Possessed sound that straddled the line between thrash and death. This approach continued with 1989’s Urm the Mad until founder Martin Missy left the band. Missy was replaced with guitarist/vocalist Olly Wiebel, whose contributions brought a more thrash-focused sound to A Shedding of Skin and The Heritage. But after The Heritage, the band pretty much fell off the face of the earth.” And now they’re back!
“Without a doubt, Urgehal’s final release, Aeons in Sodom, has to be the toughest review I’ve yet written. It’s not difficult because it sucks or lacks anything worth writing about; rather, it’s difficult because of the strong personal and emotional attachment I have to Urgehal. I am a fanboy, in the truest sense of the word. What makes it worse is that Aeons of Sodom should have never happened.” The Doctor needs a therapist, stat!
