“Vibrant old school death releases from Lik, Skeletal Remains and Ripped to Shreds have highlighted 2018 so far, and with an upcoming full-length from Extremity on the horizon, things are looking bright for fans of the retro style. That said, can Down Among the Dead Men raise the bar and lay waste to the standout competition?” Old dogs, deadly tricks.
“One of the most difficult tasks for an established band is following-up a successful debut. The task at hand has resulted in many a failure, as artists choke under pressure and fail to capitalize on their promising foundations, buckling under the increased expectation from the record label and swelling fan-base. A follow-up of any sort didn’t seem a certain prospect for UK’s doomers, Age of Taurus. The band’s 2013 LP Desperate Souls of Tortured Times, was a captivating debut, built on a slightly modernized, traditional doom foundation of robust, ironclad riffage and generous hooks.” Doom call it a comeback.
“YOB, Oregon’s modern purveyors of epic, cathartic doom, have crafted a unique and powerful body of work across a long career, solidifying their status as one of the genre’s great artistic forces. Long form doom songs with gradual builds and subtle shifts is generally not my cup of tea when seeking my doom fix, but there’s something profoundly special and intriguing about YOB’s crushingly intense yet beautiful music.” Yob’s yer uncle.
“Luckily, death metal comes in so many intriguing varieties catering for differing tastes, ensuring the genre is never wanting for quality acts, from veteran enforcers to talented upstarts. But I hold particular respect for the underdog veteran acts toiling away in relative obscurity, keeping it real in the underground. One such act is Russian death metal juggernaut Aborted Fetus, returning in quick time with their sixth LP of groovy, straightforward brutality, entitled The Ancient Spirits of Decay.” Leave it to Fetus.
“The Malkuth Grimoire marked an exciting beginning for the star-studded line-up of Alkaloid. Escaping the imposing shadows of the band members other projects in unique and often unconventional ways, the album was very well received by myself and the metal community at large. Despite the chinks in its futuristic armory, such as the excessive bloat and ambitious but not always successful experimentation, Alkaloid emphatically proved they weren’t content to coast by with another typical tech death project. Now Hannes Grossman, Christian Münzner and co return with Liquid Anatomy.” Fluid dynamics.
“I consider myself to be pretty open-minded when it comes to music, and metal, in particular. Sure, I can be a cynical, judgmental prick and easily fall back on old favorites and genre staples to satisfy my listening urges, but generally, I give things a shot and like to occasionally deviate outside my comfort zone. Thankfully the reviewing game provides ample opportunity to divulge in the unfamiliar and uncomfortable, so the powers above assigned the mysterious Lusca for my listening pleasure and subsequent dissection.” Be careful what you wish for, kids.
“When A Perfect Circle dropped debut album Mer De Noms in 2000, the rock supergroup managed to exceed, or at least match, the lofty expectations its high profile membership garnered, led by Tool frontman Maynard James Keenan. The brilliant debut opus remains a staple in my listening rotation nearly 20 years later, and 2003 follow-up Thirteenth Step proved a worthy successor. Before inevitable clashes with the band member’s various main projects resulted in a 14-year recording hiatus, they dropped the ill-advised and overtly political 2004 covers album eMOTIVe. Now A Perfect Circle finally return with their highly anticipated fourth LP, Eat the Elephant.” Sphere today, gone tomorrow,
“Californian upstarts Skeletal Remains is a solid exponent of old school death, worshiping early ’90s (mostly) American death like Christians cherish the Bible.” Remains of the death day.
“There’s a fine line between genuine obscurity and an album that simply flew under the radar and remained a criminally overlooked corker, never quite attracting the attention and recognition it surely deserved. For this long-gestating second chapter of Into the Obscure, I present the strikingly brilliant 2004 debut LP from Germany’s Disillusion.” The unforgotten.
“Creative stagnation has plagued the modern melodeath scene for years, with the over-saturated market dominated by a handful of select bands injecting life into the sub-genre, while mediocre imitators pile up beneath. So does The Weight of Silence redeem Reject the Sickness and do enough to elevate their status beyond cookie-cutter levels of third-tier tedium?” Oh wah ah ah ah.
