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The Moor – Ombra Review

The Moor – Ombra Review

“Those who know me know that Opeth is one of my favorite bands. Those who know me well know that Still Life is my favorite Opeth record. Those who know me extremely well know that “The Moor” was the first Opeth track I heard. The prospect of anything remotely resembling their golden period of music from 1999 until 2005 is very exciting to me. It was on this basis that I chose to review Ombra by Italy’s The Moor, especially in light of the “progressive metal” tag on its one sheet.” Is less Moor?

Grey Skies Fallen – Molded By Broken Hands Review

Grey Skies Fallen – Molded By Broken Hands Review

Grey Skies Fallen have managed to fly under the radar here at AMG, despite releasing music for nearly a quarter century. While previous albums saw the band leaning into the more aggressive side of death-doom, the return of founding guitarist Joe D’Angelo has yielded a record steeped in the weepy sadboi doom of My Dying Bride and November’s Doom.” Three shades of Grey.

Whom Gods Destroy – Insanium Review

Whom Gods Destroy – Insanium Review

“What more is there to say about a prog supergroup? How about one that exists as a re-tooling of the now-defunct Sons of Apollo. Part of the melodic core of that group remains the same, with Derek Sherinian (Planet X, ex-Dream Theater) and Ron “Bumblefoot” Thal (Art of Anarchy, ex-Guns n’ Roses) returning on flamboyant keys and virtuosic fretted and fretless guitar madness, respectively, to helm the adventures of Whom Gods Destroy.” Smote by prog?

Drain Down – Toxic Society Review

Drain Down – Toxic Society Review

Toxic Society, the sophomore full-length from German hardcore/thrash band Drain Down, turns out to be everything I stupidly asked for. Am I angry and aimless enough to pick up what these Teutonic terrors are throwing down? Are you? Join me in the pit for some enthusiastic arm-flailing and high-minded discussion.” Mistakes were made.

Blazar – Fatal Cosmic Wound Review

Blazar – Fatal Cosmic Wound Review

“People call funeral doom boring, and I get it. It’s very slow, often very long, not particularly technical, and contains few riffs per minute. Its compositions are not ordinarily gym-friendly, or headbangable. But good funeral doom is good. Crushing, transportive, and at times incredibly beautiful, as the low, slow and leaden is partnered with rising, floaty, ethereal melodies. Think Shape of Despair, Clouds, Esoteric. All this to say, that the best funeral doom is that which balances its punishing heaviness and crawling tempos with clean, graceful melodiousness in order to produce something truly immense. Blazar, Spanish funeral doom/sludge gang have a different philosophy.” Angry burial.

Exhorder – Defectum Omnium Review

Exhorder – Defectum Omnium Review

“With this year’s Defectum Omnium, it’s clear Exhorder aren’t finished proving their relevance and reinventing themselves in the eyes of their dedicated fanbase. But, with such a strong outing five years ago, will Defectum Omnium be a step forward for the band or will it be, well… a defectum?” Omnium Blatherum.

North Sea Echoes – Really Good Terrible Things Review

North Sea Echoes – Really Good Terrible Things Review

“Fewer combos in metal have spurred music in my wheelhouse as that of Ray Alder and Jim Matheos. Their union for Fates Warning’s 1988 release No Exit burst in the budding progressive metal scene with USPM histrionics and Rush-fueled narrative structure. Of course, that was near forty years ago. At sixty vs twenty, your mind (mostly) thinks differently, your voice cracks differently, your hair grays and may even thin. In the case of Alder and Matheos, while immune to the loss of hair, do fall in line to some extent with the other consequences of time. In the sea of time.

Infected Rain – TIME Review

Infected Rain – TIME Review

““Progressive” is one of the most flippantly applied adjectives we have for genres today. “Modern” is equally abused, so one can imagine the clanging of alarm bells when the promo sheet for Moldova’s Infected Rain described the band as “modern progressive metal.” But I’m not one to judge a book by its cover, even if said book devolves into the Buttgate of late January. Plus vocalist Elena Cataraga goes by the stage name Lena Scissorhands, which means I get to write the word scissorhands a lot in this review, a tiny joy I never thought I’d experience.” Touchy slicey.

Zwielicht – The Aphotic Embrace Review

Zwielicht – The Aphotic Embrace Review

“Occasionally, we all gotta go back to our roots. Expanding one’s sonic palette is all fine and good, but when you’ve had a beast of a day, sometimes you just want to close your eyes and lose yourself in the familiar. 2024 has been incredibly hard work so far, which is why the AMG overlords suggested I go back to what Doomy does best: reviewing underground black metal. Zwielicht in the promo sump immediately jumped out. Experienced musicians (the band is nearly 20 years old)? Check. Evil and fast black metal? Check. Unencumbered by petty labels and their weird expectations? Check.” Hello darkness my olde friend.

Olhava – Sacrifice Review

Olhava – Sacrifice Review

“Less black metal than Trna, and more evocative synths a la Unreqvited, there is no rushing Olhava. Shimmering soundscapes are what they do, albeit that, where Unreqvited has (at least since 2018’s Mosaic I: L’Amour et L’Ardeur) hints of light and promise in the sound, Olhava is all shades of loss and a sense of hopeless grey.” 50 shades of sadboi.