“Unusual genre crossovers are a tricky thing to get right. Done well, by bands like Diablo Swing Orchestra, they can produce brilliant music that sounds like nothing else. Done poorly, they certainly sound like nothing else. When we last saw 80s horror-themed black metal/synthwave crossover act GosT on their previous album Possessor, Eldritch Elitist noted the combination was sometimes awkward, but great when it worked.” GosTed.
“Formed way back in 1985, Arizona’s Sacred Reich plays thrash metal according to the original recipe, blending Priest / Sabbath worship with just a dash of early-80s hardcore. Thankfully devoid of cheesy theatrics or progressive aspirations, the band has generally relied on atonal palm-muted riffs and socially conscious lyrics to win the day. While Sacred Reich never really went away, they had also not released a new album since 1996’s Heal, seemingly content with occasionally playing the festival circuit. For whatever reason, they must have changed their minds recently. With some fresh inspiration and a reconfigured lineup, Sacred Reich has delivered their first studio release in 23 years, the aptly titled Awakening. Morning in America.
“The term “nominative determinism” refers to the idea that people gravitate towards jobs that fit their names. The classic example is incontinence researchers Splatt and Weedon. My high school chemistry teacher was called Mr Burns. Band names, however, are generally the other way around: the name is chosen to fit the band’s sound, not vice versa, and you can learn a lot about most bands from their name. Clouds Collide is wonderfully evocative. You probably don’t need me to tell you they play atmospheric post-metal. It’s the personal one-man project of Chris Pandolfo, and I mean personal.” Cloudy with a chance of emotion.
“I’ve learned that when it comes to the promo sump, metalcore sneaks in the back door. This makes sense. we at AMG like to joke about all things -core, so why explicitly say you’re a metalcore band in your promo? Why not say you play post-metal, and when you’re safe inside the city gates, sneak out of that Trojan horse and stab the shit out of us with your VERY EARNEST SCREAMING and siq breakdowns? And so it is that I find myself reviewing Sacrifices, the second full-length from Germany’s A Secret Revealed.” Core at the door.
“I like a gap of a few years between albums; I find it reassuring. Anything sub-24 months and I begin to get twitchy. This is probably wholly unreasonable, and I’m sure the AMG readership can think of a litany of absolute turnips that took years to write and record, but I simply can’t help it. I was a little put out, therefore, to discover that Witchery were planning to unbox their latest work, I Am Legion, a paltry 350 days on from the release of their crushing 2016 effort, In His Infernal Majesty’s Service.” It’s the slow knife that thrills.
“For some reason, I seem to be the go-to reviewer for anything Sepultura-related here at AMG. This is a pretty unrewarding “honor,” given that the band has been releasing underwhelming albums for many years now (and don’t even get me started on Max Cavalera’s various projects). The band’s latest record Machine Messiah is their fourteenth overall, and marks their first collaboration with celebrated Swedish producer Jens Bogren (Opeth, Katatonia, Fates Warning).” Watch Dr. Fisting try to break free from his bloody roots.
“First, we have Fronch fries. And Fronch dressing. And Fronch bread. And Fronch death metal. And to drink, ta-da! Peru! As with most bands with old guys like me in them, I have a long history with Mercyless. I received a cassette promo of 1993’s Coloured Funeral right after losing access to a free copy machine that put a nail in the coffin of the print version of Unchain the Underground. While I never got around to reviewing it, that particular slab of adventurous Fronch death metal stayed in regular rotation and made the cut through upgrades to CD right into the digital age.” Mercyless is about to activate your dental plan.
“Barely a year after their debut record The Key, Geoff Tate’s Operation: Mindcrime project is back with Resurrection, part two of what threatens to be a trilogy of concept albums. Backed by a large cast of supporting musicians, the former Queensrÿche vocalist is aiming to beat his former band at the conceptual-metal game.” Tate v. the Rÿche: Round II. Place yer bets.
“The most lauded element of Ohio gorehounds Embalmer’s past work was the deranged voice of former vocalist Rick Fleming. As cited on their Wikipedia page (clearly written by someone close to if not in the band), “In 2013 the band parted ways with vocalist Rick Fleming, who subsequently robbed the band of the remainder of the band fund before going into hiding.” Under the “Former members” section he is listed as “Dick Fleming.” Not likely a typo. Ahhhh, Wikirevenge!” Wikirevenge is a dish best served with embalming fluid and sauteed tomatoes.
“My introduction proper to Anvil came at the pubescent age of 14 when I chose Pound for Pound as one of my 12 introductory cassettes from the Columbia House Record Club. I’d heard a song here, a song there, but Pound for Pound was the first platter I heard from nuts to noggin. My initial feeling? Underwhelmed.” Will the new platter whelm Mr. Kikuras?
