“Sacred Son historically play black metal, plain and simple. Nothing fancy or especially complex factors into their compositions. However, The Foul Deth of Engelond sees the band exploring black metal through the lens of doom, trimming the edges with a light occult fringe somewhat recalling the folk-tinted Dewfall.” Nothing sacred.
“As spring progresses, the ever-more-present sun brings light and warmth, for some even a promise of hope. Cavernlight throw scorn on the very idea. As I Cast Ruin Upon the Lens That Reveals My Every Flaw follows their habit of epically proportioned titles. It also continues the trend of dealing with existential suffering and despair. Where it differs is in the way it delivers its message. As We Cup Our Hands and Drink from the Stream of Our Ache was a relentless rhapsody of torment, railing and raging with metallic furor. As I Cast Ruin… feels like a step beyond this rawness, to a deep, depressive apathy and acceptance.” The end of light and hope.
“When you listen to Demiricous’ first two records, they clearly didn’t know what sound, style, or production they wanted. One is more At the Gatesy and relatively dynamic in the mix. The other is a Hatesphere punishment that makes your ears scream in pain. Back in the saddle, Demiricous has brought all their death/thrash influences together on Chaotic Lethal.” Chaotic good or chaotic bad?
“Also a part of underground phenomena Vertebra Atlantis and Turris Eburnea, Gabriele’s output to time ratio is staggeringly high. So is the quality thus far. Does Cosmic Putrefaction’s third LP continue this winning streak, or does he need to take a break?” Fresh creepsicles!
“Wo Fat and I go back a long ways. Some trivia for you before we dig in: my first ever Angry Metal Guy review was written in May of 2016, for the band’s Midnight Cometh album. But, dear readers, I hear you saying “Huckster, we never saw said review.” This is true. By the time Steel Druhm and myself sorted things out, my fully-edited review was a few weeks too late to post. It probably sucked as well, but the album didn’t. It isn’t possible for these guys to suck, to be honest. And now here we are, six years to the month later, and I can finally review a Wo Fat album for you.” Wo to you of earth and sea.
“As a child of the 80s metal scene, I grew to statuesque manhood marinating in the sounds of Pentagram and Saint Vitus. Those 80s doom titans are still near and dear to me and any act that tries to recapture the sound of that era has me as an ally. Norway’s Strange Horizon are one such band, striving to recapture that classic doom magic on debut Beyond the Strange Horizon.” Dawn of the doom.
“I first heard of San Antonio’s Haunter during my brief stint in the Discord server. The discordant blackened death of 2019’s Sacramental Death Qualia caught my ears immediately. It struck the difficult balance of exploring tortuous harmonies and building an unsettling atmosphere while keeping me rapt. Dissonance tends to alienate me more often than it attracts me, but Haunter occupies a thin middle ground of bands like Ulcerate and Sunless that inject a digestible dose of dissonance while still supplying compelling melodies to latch onto.” Haunting the Alamo.
“Just over three years ago, I lost my damn mind over Wachenfeldt’s debut album The Interpreter. I gushed so mightily over its symphonic, thrashened, blackened death metal that hazardous material mitigation crews are still working around the clock to clean up the contamination. That record executed its dark mission so well that it eventually became my Album ‘o the Year for 2019, so if I said that its successor was my most anticipated album of 2022, it would be a gargantuan understatement.” Fanboys awaken.
“I don’t generally like change. Even an objectively positive change to my life—a new job, for example—takes some time to win me over. In music, however, I’m a lot more flexible—I love it when things are different, odd, unexpected. Rise to the Sky, the death-doom metal project from Chile’s Sergio Catalán, appeals strongly to the former impulse. Now releasing his fifth full-length release in three years (and sixth total release in the last two), Rise to the Sky’s gradual shift away from “death-doom” and into “just-doom” has been little short of glacial. Every Day, A Funeral is, in many ways, exactly what we’ve come to expect from Rise to the Sky, but familiarity is not something I scoff at, and his material has been plenty solid so far.” In the wake of graves.
“Fuck the rules—that’s the rough translation of OU’s mission statement. Steeped in the streets of the Beijing jazz scene, OU (pronounced “O”) has emerged with a debut that challenges head-on the stagnant energy of the modern prog space. Striking a masterful balance of joviality, tranquility, and ferocity, OU have emerged from the underground to spread their idiosyncratic brand of futureprog.” The future is NOUW, olde man!
