“Today on Angry Metal Guy we’re pleased to present you with some depressive, experimental doom black… wait, are those pink orchids? How adorable! It’s times like this that question whether I was destined to be a flower-arranger rather than a metal reviewer, but thanks to the adventurous forays of An Autumn for Crippled Children (AAfCC herein), I can finally embrace the idea of being both.” And on this special day of Thanksgiving, please allow Noctus to give you the gift of crippled children.
“The foremost sin of Angry Metal Guy as a website is that Noctus gave Altar of Plagues’ Teethed Glory and Injury a slightly less than perfect score. Since getting my hands on that album, I’ve been haunted by some part of it every day, whether it be the absolute devastation of “Burnt Year”, the dissonant wall of “Mills” or the wash of drum fills backed by gut-wrenching swathes of sound on “A Body Shrouded”. The album is one of few I have ever considered to be flawless, and one of the most memorable aspects of Teethed Glory and Injury is the drumming. So when I heard that after the group’s disbanding, Johnny King was drumming in Malthusian, I knew I had to check in on the budding black metallers before anyone had the chance to slightly disagree with me.” What’s this? Are Kronos and Noctus beefin?? And with the holidays just around the corner too. For shame!
“No matter how over saturated or played out a musical genre may become, there are always one or two bands that can make it all vibrant, fresh and new again. Whether it’s their raw conviction, enthusiasm or killer song writing, those bands make the years melt away and remind you how it felt to hear the style for the very first time. That rush of excitement, feeling of awe and the sense of being there at the next step in metal’s evolution, that’s what it’s all about! When it comes to classic Swedish death metal, Blood Mortized is THAT band for me.” Stand back! Steel has been waiting for this one with baited breath and now he’s on it like beast at a beast emporium.
“Of all of Arjen Lucassen’s projects, Ayreon is his best known and my least favorite. Having previously given both The Human Equation and 01011001 a shot, Ayreon really was a nut I couldn’t crack. Partially this is because I think the rock opera genre of power/prog metal bands à la Avantasia or Timo Tolkki’s Horrible, Terrible, No Good, Very Bad Avalon tend to lack vision; but the writers also lack the kind of talent necessary that make undertakings like Jesus Christ Superstar or Little Shop of Horrors fun and interesting.” One does not simply write a 600 word review for a 90 minute concept record from Arjen Lucassen. Click to see the epic of The Theory of Everything.
“I can judge a book by its cover. And I always do it. I even take the tome in my hands and I weigh it. Yes, I weigh books and decide whether or not I should go on reading the blurb on the usually polished, sensually pleasant cover. If the words convince me and the overall product smells good, I put it back on the shelves and I resume cruising through the aisles like a junkie who has learned that the best fix comes from the filthy hands of fellow addicts. They know better. In music, I follow the same criteria. I don’t get fooled too easily by a press agent all too eager to impress someone who enjoys weighing books in shopping centers on a Tuesday morning. I mean, come on.” Alex weighs both life and literature… and music. Yes, he’s like Anubis, weighing and judging all things. And now it’s Circle’s turn to be measured.
“I love the first two Artillery albums. I’ve said so often and I’ll continue to trumpet the work those great Danes did until I’m in the cold, hard ground. Since I went on an Angry Metal Tirade about this very topic in my review of Artillery’s 2011 My Blood opus, I’ll digress from further gushing here. Suffice it to say, since those treasured platters, Artillery has had its share of ups and downs, with My Blood being particularly unimpressive and legacy bruising. After some line up tweaks and a new vocalist, they’re B.A.C.K. with Legions and a slightly new approach while still trying to resurrect their former greatness.” The first family of Danish thrash is back again and this time, they don’t make Steel Druhm weep at the grave of their former greatness. That’s good, since we hate seeing the guy cry black tears of wengeance.
“Genre tags such as progressive and avant garde are kind of paradoxical terms in metal. Surely something truly progressive or avant garde should traverse the outer fringes of musical expression, bringing to the table a metal forged of fearless, arcane exploration? Often that’s not the case – those terms are in many ways boxes only slightly larger than thrash, death, and other tags of old. Does the anticipated third album of England’s Code break free of these restraints?” JF Williams asks and also answers. That’s why we keep him around.
“Its been a long time since I’ve been impressed by a doom metal record. You would figure it would be a pretty easy thing to get the hang of, if you think about it: create an atmosphere of (circle one: sorrow, solitude, deep introspection) utilizing well-timed (female vocals, violin, acoustic guitar) passages before (crushing ruthlessly, lamenting sadly, turning loose some swans). Yet somehow, at best, recent doom releases have given me a feeling of “meh,” and at worst, eliciting some unintentional chuckles. Eye of Solitude have a few things going for them: they’re young (only been around since 2010), they’re UK-based (and they KNOW their doom metal over there), and they’re hungry. Canto III, their third album, not only has given me hope for the genre once more, but they also have a serious contender for a Best of 2013 record.” Grymm is notoriously difficult to impress when it comes to doom/death, but that’s exactly what Eye of Solitude did.
It’s time for some Double Deicide!! Yes, I know that sounds like a professional high dive maneuver, but here it’s Steel Druhm and Madam X weighing in on the new opus from those infamous Floridian demon lords. Is In the Minds of Evil a return to the glory days or another safe and stale dose of by-the-numbers death? Opinions may differ, even in this here post!
“Ever wondered what hell the unholy union of Germany’s Dark Fortress and Secrets of the Moon would spawn? Alright, now let’s make things a little more interesting and maybe just a little more sordid. Let’s bring in Sweden’s Naglfar and turn this into a lascivious little three-some. Taking it a step further, ever wondered what their bastard child would sound like? Well here you have it! Eudaimony is the spawn of just such an unholy, messy union, with former Dark Fortress front man Matthias Jell (Azathoth) on vocals, Naglfar’s Marcus E. Norman on guitars, bass and synthesizer and Secrets of the Moon’s Jörg Heemann (Thrawn Thelemnar) on drums.” Grim, unhappy blackness from a veritable super group of black metal luminaries? That’s got Madam X written all over it…in BLOOD!
