“While black metal is not my go-to, I find myself from time to time eager to discover the next blackened diamond in the rough. Enter Washingtonians Progenitor. With an Emperor-inspired logo and hailing from the same gray, Pacific Northwest climes as fellow black metallers Agalloch, it seemed reasonable to assume that the Progenitor gents had, at least on paper, the influences (and rainy weather) needed to produce a solid release.” Wet, moldy, and mossy.
“Yeah, Blackbraid I wasn’t perfect: it sounded a bit like an EP, relied too heavily on its singles, and felt, at times, a bit undercooked. But there was more than enough there to get most fans hyped for the follow-up. Blackbraid, fortunately, hasn’t made us wait long. Blackbraid II is here…” Braid surgery.
“A project of San Francisco-based musician Robert Woods-LaDue and Bay-area session jazz musicians, Onkos is definitely metal, but like, what? Most akin to Barcelona flute/double bass bastards Inhumankind, Vascular Labyrinth can be best described as a chamber jazz act covering death metal.” In the veins of weirdness.
“Unguilty’s legacy of misery dates back to 2018, having released two full-lengths, an EP, and a split with fellow Brazilians, Fentanil. Gray is DSBM, and everything you expect, but amplified with a mammoth doom heft, the emotional devastation reigns supreme. Perhaps an interpretation of Saturnus’ underrated Veronika Decides to Die.” Days of Gray.
“The medieval hellscape on Fredlös’ cover caught my eye at once. The scene would be peaceful and pastoral, if not for the gruesome executions, the demon, and the burning buildings. Then I noticed the dancing skeletons, the shallow graves, the corpses on the border, the apocalyptic background, and the skull and crossbones; there isn’t a glimmer of hope anywhere. Intrigued, I dug deeper. Fredlös is a side project of Entombed’s Alex Hellid, and the band’s debut attempts to narrate the late Middle Ages with a mix of folk elements and metal. The music matches the cover art to a T.” The dark rages.
“Bamberg, Germany’s Noise is a busy man. By my count, he put out three EPs under his Kanonenfieber moniker—two of which I covered here—and a very good full-length with his Non Est Deus project in 2022. Alongside that, he was, it seems, producing, in all senses of the word, another record as his third alter ego, Leiþa.” The many faces of Noise.
![Blackbraid – Blackbraid I [Things You Might Have Missed 2022]](https://www.angrymetalguy.com/wp-content/uploads/2022/12/Blackbraid-Blackbraid-I-01.jpg)
“The story of Blackbraid I is a tale as old as the mountains. Unknown artist bursts onto a scene that is crying out for something new and original. Artist brings fresh perspective and everyone gets excited. This is the next big thing. Hype builds with promising singles. Debut album is released. Initial reaction from fans is rapturous. But some new listeners feel let down; the promise has not materialized. Since nuance is dead, camps double down: this is either AotY or boilerplate black music that’s been massively overhyped. Sound familiar? This is the trajectory Blackbraid’s debut album, Blackbraid I, took earlier this year when it was released.” Hype meets reality.
It’s been too long since I’ve happened upon some neofolk. Grabbing those folk albums that aren’t all that cheery and reviewing them is one of the best parts of writing here, and some of my favorite discoveries have been neofolk—including all of my albums of the year to date, for that matter. So I was thrilled to discover Pustkowia, the third full-length release from Poland’s Anna Maria Olchawa, the sole member of the project Ols.” Ols lang syne.
“Firtan got a middling review from the gone-but-unforgotten Akerblogger, praising its atmosphere and moments of clarity but cautious of its scattered songwriting and inconsistent passages. To their credit, the German quartet listened, tightening up their songwriting to enhance its more streamlined approach. While it clocks in at quite a bit longer than Okeanos, the third full-length Marter makes the most of it, creating a distinct flow and balancing its power and atmosphere with concise performances and a lethal multipronged attack.” Flirtan with disaster.
“Nulitas was one of the most promising debuts of 2021, its otherworldly atmosphere and outrageous replay value adding up to a lurching and lumbering beast with spines of searing dissonance cutting through the thick slogs of slimy riffs. While this soundscape is certainly not uncommon among the melody-hating hordes of masochists and self-flagellants, Acausal Intrusion injected a meditative quality that contrasted lethally with its hell-scraping gutturals and slam-esque pong snare. As such, upon its announcement, followup Seeping Evocation is easily one of my most anticipated releases of the year.” Seeping expectations.
