2022

Axioma – Sepsis Review

By Grymm on June 22, 2022 in Reviews, Post-Metal, Sludge, 14 comments

“The one-sheet accompanying the promo described Sepsis as “dark metal,” a term usually thrown around with great ease by Century Media Records in the late 90s and early 2000s to describe practically all of their roster. However, Sepsis owns that adjective, because this shit is dark. The frantic fills and percussive abuse by Jon Vinson on, well, every song here punctuates the howling-from-the-abyss Eyehategod-like vocals of bassist Aaron Dallison, who seemingly channels his rage and disappointment in humanity from a neverending well.” Consult a physician.

Darkane – Inhuman Spirits Review

By Saunders on June 21, 2022 in Reviews, Melodic Death Metal, Thrash Metal, 32 comments

“I like Darkane. The veteran Swedish outfit has always struck a particular chord with me, especially on their more consistently ripping offerings, such as underrated debut Rusted Angel, and gems like 2002’s Expanding Senses, and 2005’s Layers of Lies. Despite falling into the shadows of their more recognized contemporaries, Darkane’s gnarly, melodic and hooky blend of thrash and melodeath, amply bolstered by chunky modern metal grooves and symphonic touches, offers a damn good time when the band is in the zone.” Rusted angels of darkness.

Ianai – Sunir Review

By Dear Hollow on June 21, 2022 in Reviews, Ambient, Dark Neofolk, Folk, Neofolk, 30 comments

“Ianai is a “single-entity” project shrouded in mystery. Its secretive mastermind Trevenial offers twelve tracks influenced by folk music across the globe, equally evocative and primitive. With ties to England (mastered by Orgone Studios’ owner Jaime Gomez Arellano) and Finland (produced by Jaani Peuhu), and featuring a classical orchestra and world music artists, as well as a vast array of guests, from notable acts like HIM, Sisters of Mercy, Swallow the Sun, and The Rasmus, Sunir is a debut loaded with potential and questions in equal measure.” It takes a global village.

Exocrine – The Hybrid Suns Review

By Kenstrosity on June 20, 2022 in Reviews, Death Metal, Technical Death Metal, 42 comments

“Like so many other extreme metal acts, Exocrine crave evolution in their skills and sound. That being the case, it should come at no surprise that The Hybrid Suns abandons many of the stylistic choices that defined Maelstrom and Molten Giant while still respecting those albums’ imprint on the band’s career. Exocrine’s compositions retain a similar sense of grandeur despite the stripped down instrumentation. The Hybrid Suns is also a heavier and noticeably more br00tal record.”Evolution of the wicked.

Winds of Tragedy – As Life Drifts Away Review

By Twelve on June 19, 2022 in Reviews, Black Metal, Doom Metal, 26 comments

“At this point, discussing the impressive release schedule for music written by Sergio Catalán feels redundant. In fewer than three years of activity, Rise to the Sky has released five full-length albums alongside two EPs, one of which came out fewer than six weeks ago. And yet, here he is again, the main man of the one-man (alongside drummer Emidio Alexandre of Dark Oath) project Winds of Tragedy, only this time, the name of the game is black metal, not doom, and As Life Drifts Away is not the latest in a long line of releases, but the debut.” New style, same feelz.

American Anymen – Cities Changing Names Review

By Felagund on June 18, 2022 in Reviews, Industrial Metal, Punk, 25 comments

“We’re no stranger to bands who claim more sub-genres than they have members (or fans). You’ll routinely see tags for things like “symphonic doom” and “blackened death” and “hardcore Viking sludge.” It’s also not surprising when musicians change course from one album to the next. We’ve all perused reviews about a band with an established sound veering off into wildly new directions. Really, adding new sub-genres seems to come with the territory. But what happens when a non-metal band takes a running leap into the dark side? Such is the case with New York-based act American Anymen, a group that, up until very recently, played a vitriolic form of anti-folk on a slew of singles, EPs, splits and one full-length. Now, it appears they’ve leapt headlong into the metal game with Cities Changing Names.” Duct tape-core.

Seven Kingdoms – Zenith Review

By Steel Druhm on June 17, 2022 in Reviews, Heavy Metal, Power Metal, 73 comments

“I first stumbled upon Seven Kingdoms with their third album, 2012s The Fire is Mine. It happened at a point where my tolerance for power metal was at a low ebb and I had mostly moved on to other styles. So good was the album that after one spin my appreciation for power was reignited and the fire was mine once again. There was so much energy and vibrancy to their sound and so many slick hooks, that it became a favorite platter I still return to. The sky seemed the limit for the band with such a mammoth release fresh on the shelves. Then they gave us a free clinic on how not to succeed by failing to follow up the album for five long years.” Of Kingdoms forsaken.

Bekor Qilish – Throes of Death from the Dreamed Nihilism Review

By Dear Hollow on June 17, 2022 in Reviews, Ambient Metal, Black Metal, Progressive Metal, Thrash Metal, 18 comments

“Consisting of Italian vocalist and multi-instrumentalist Andrea Bruzzone and company, Bekor Qilish offers its debut Throes of Death from the Dreamed Nihilism. While it toes the line between full-length and EP at twenty-eight minutes, it manages to embody really fun “Voidhanger-core” to a tee.” Avant-guardians.

Inexorum – Equinox Vigil Review

By Holdeneye on June 16, 2022 in Reviews, Black Metal, Melodic Black Metal, 90 comments

“Most people don’t come to metal music in search of traditional “beauty” per se, but I’m always surprised and bewitched when I run into an album that is simultaneously heavy and gorgeous. Equinox Vigil, the third full-length from Minneapolis project Inexorum, is just such an album.” Beauty in the depths.

Serpent Ascending – Hyperborean Folklore Review

By Carcharodon on June 16, 2022 in Reviews, 10 comments

“Knocking about since 2008, Finland’s Serpent Ascending is the solo handiwork of Slugathor bassist Jarno Nurmi, formerly of Desecresy and Nerlich also. It wasn’t until 2016 that Nurmi released this project’s full-length debut, Aṇaṅku. A slab of blackened death metal in the vein of Desecresy and with more than a little Cruciamentum in the mix, Aṇaṅku packed a decent punch into its pleasingly trim 30-minute run. Another six years slithered by before the reptile resumed its climb to the surface, appearing now for second full-length outing Hyperborean Folklore.” Snakes on a fjord.