“I’ve always found the notion of “folk horror” to be altogether more ominous and scarier than psychopaths stalking teenagers. Rural settings, pagan beliefs, blood sacrifices, normal people committing terrible acts in the name of terrifying superstition … this is all deeply compelling stuff. They Came from Visions, an anonymous Ukrainian black metal outfit, clearly agrees.” Fear wears a Snuggie.
“When I pulled reviewing duty for Firewind’s self-titled release way back during the bizarre spring of 2020, I wasn’t prepared for how hard the record was going to hit me. Aside from the band’s debut and a handful of tracks throughout Firewind’s discography, I’d never really been grabbed by their sound, so when Firewind arrived on-scene with the gnarly vocals of front man Herbie Langhans alongside some of Gus G’s tightest songwriting ever, it managed to land a sucker punch right in my sweet spot.” Hot winds blow warmly.
“Wisconsin’s Morta Skuld have been dragging their nasty cave knuckles for so long, even their fingerprints have worn off. In existence on and off since 1990, these old school warriors have been a fairly reliable if not super prolific source of no-frills, beefbrained death metal. Their early works exuded an oily, swampy charm with a sound ripped from the classic Necrophagia and Obituary playbooks. Later albums like Wounds Deeper Than Time and 2020s Suffer for Nothing were much more furious, pummeling affairs, with elements of Vader, Malevolent Creation, and Jungle Rot in their flavor profile.” Come (violently) undone.
“Calgary heavy metal five-piece Traveler received consistently favorable coverage from our beloved Huck n Roll since their self-titled debut dropped in 2019. With Huck‘s retirement just over a year ago, somehow Traveler ended up in the land ov Ken. While the hands of Steel are primed to wield this kind of heavy metal with grace, poise, and POWERS, rest assured that I am versatile, strong, and more than capable of handling these wares. Thus, Traveler’s imminent third launch Prequel to Madness earns a session in my court.” Madness meets Kenness.
“I’m a sucker for a gnarly album cover. Give me a detailed image of a zombie, ghoul or otherwise undead creature holding a bladed instrument for use in committing appalling acts, and I’m a happy guy. It was this passion for putridity that led me to choose Into the Abysmal Void, the fifth album by Gothenburg, Sweden-based death metallers Carnal Savagery.” Void noids.
“As we’ve discussed countless times, the dreaded pandemic affected many bands and their music. In Dust Bolt’s case, the band decided to take that time away from record labels, concerts, and the noise of the business to rediscover themselves. The result is a reinvigoration, bringing back the excitement the band had when they first broke out on the scene. Brace yourselves.” Dust or bust.
“I was a clarinet player as a child, but I tried my absolute darndest to learn the flute for a time (5 minutes). I found the mouthpiece simply impossible to figure out, and I could only produce the sounds of pathetic, tinny flatulence. Moved on though I have, I’ve always loved the music of professional flute players. Thus was my interest piqued by Ember Belladonna, the moniker of one Emma Kramer-Rodger, a classically trained flutist from Saskatchewan, Canada.” Blowing in the wind.
“I’ve said this before, but it bears repeating: unless you make funeral doom, you probably don’t have a great reason for making a 70+ minute metal album. Yes, there are exceptions to every rule, like the Spectral Lore/Mare Cognitum double album a few years back. That one worked because A) the material, against the odds, kicked ass throughout, and B) the concept was to write an album about the whole goddamn solar system. It was cosmic in scale, literally. But for every Wanderers: Astrology of the Nine, there are 10 more Esoctrilihum records that I will never listen to, at this point on principle. In completely unrelated news, Spanish melodeath-ers Eternal Storm grace us this week with their highly anticipated second album, A Giant Bound to Fall. Thankfully, they keep their album length to a reasonable (checks notes)…oh dear.” Giant-sized Storm front.
“Every album we get from Scott “Wino” Weinrich at this stage of his career feels like playing with house money. As a living legend in the American doom scene, Wino had his fingerprints on so much music over the decades that trying to quantify it all can make your head spin. As the founder of early doom act The Obsessed in the 1970s, he helped shape the sound of the genre in America along with Pentagram, Trouble, and Saint Vitus.” Living backwards forever.
“Riff-focused yet stuffed to the gills with exuberantly melodic leads, Blood Red Delusion’s second salvo strikes me as something fans of classic melodic death metal albums by In Flames and At the Gates—along with more modern records like Parasite Inc.’s Time Tears Down—might flock towards. Ruthless Behavior’s no-frills, no-nonsense, and aggressively death-metal-forward approach to the genre forgoes all traces of the sweeter and smoother caresses of lushly adorned modern melodic death metal records.” Blood and poor behavior.
