“Five doom/death songs comprising sixty minutes of music is a risky proposition that lives and dies by one thing: riffs. If you’re going to write songs that average out to twelve minutes in length, the riffs contained within had better be interesting, dynamic, and, of course, crushing.” That means some long, potentially ADHD offending tunes. Can Ophis hold the interest of the busy metaller?
“Twenty-fourteen brings us the answer to this question in the form of Pale Communion. The record is Opeth’s follow-up to the (apparently) love-it-or-hate-it Heritage, and the second record in the style that is maybe best described as “post-Opeth.” While the band continues to be recognizable in tone and melody construction, they are not the band they were. They are not a death metal band with some prog elements—”death metal with feeling” as Peter Lindgren once said to me in a discussion about whether the band fit the genre “progressive death metal”—they’re just a progressive rock band.” So, where does Pale Communion fall on the scale from “got its groove back” to “meh”? Find out by reading this here review.
“As someone who entered the world of metal during the mid-1990s, I quickly got used to bands evolving and changing established formulas. We never knew if someone’s next album was going to go techno, or go punk rock, or invent new subgenres entirely. Granted, a lot of these “experiments” had commercial motives behind them, and oftentimes the results straight-up sucked. But still, there’s something to be said for being surprised.” Mr. Fisting is tired of metal bands playing it safe and he’s pissed at metal fans too. Give us hell, Fisting!
“Ah, the dreaded Second Album. It’s the infamous make-or-break moment that either legitimizes a young act as The Real Deal, or the one record that calls a band on its bullshit. Case in point: 2012’s Sorrow and Extinction put Little Rock, Arkansas’s Pallbearer into the ears and hearts of many doom aficionados, rightfully earning its place on many end-of-year playlists. A minor line-up shuffle and a few high-profile tours later, they’ve returned with the much-anticipated Foundations of Burden.” With several AMG staff members anxiously hoping for a big win from these doomsters, can they deliver?
“The transformation of Anathema has always been enigmatic to many metalheads. The obligatory rewind to their early 90’s pioneering death/doom records almost seems redundant now that this is their tenth album without a hint of metal in it. Any hope of them making a return to their roots is about as worthwhile as waiting for the new Kovenant album (why anyone wants it I cannot fathom). But the key difference here is that their abandonment of metal did them nothing but good…” Is the scarcity of precious metal still working out for these sullen fellows?
“June is never a good month for the Grymm household. Between the rapidly increasing temperatures, even more rapidly increasing humidity, and BUGS EVERYWHERE, I’m not exactly what you would peg as “walking on sunshine.” I just want to stay inside, shun the sunlight, and get some dirge-and-purge going. And here comes Australia’s Mournful Congregation, with their stop-gap 2-song, 30-minute EP, Concrescence of the Sophia, bridging the distance between 2011’s all-encompassing somber funeral march, The Book of Kings, and their next full-length album. Should you stay in and harvest the sorrow, or would it be better for you to go outside, put on Coppertone SPF100, and flamethrow some 8-legged critters?” Grymm is far too fair for the scorching suns of summer.
“Suffolk extreme metallers (and eternal underground whipping martyrs) Cradle of Filth, have given Mordgrimm the official go-ahead to release their infamous third demo, Total Fucking Darkness, to the masses over 20 years after its initial release, remastered with more tracks.” Grymm gets pulled underground into Total Fucking Darkness, will he make it out unscarred?
“It’s no use making fun of Gazpacho for the name. I did that once already and unfortunately they’re still named after a type of tomato soup. While this tomato soup isn’t cursed, it does contain MSG, which is about as close to ‘metal’ as one needs to get to be reviewed here at AMG.” The Angry Metal Guy himself drops in to wax not-particularly-eloquently about the Norwegian progressive band Gazpacho’s newest full length. Don’t miss this review.
“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.
The worst thing that ever happened to London’s Haken was that someone once compared them to Dream Theater. In fact, enough reviewers compared the band to Dream Theater that on Metal Archives the only “associated act” is the unfortunate Berklee Music School graduating class of nineteen eighty-boring. “Why,” you ask, “is it a problem to be compared to DT? They have a long and storied career!” Because I am not alone in finding the band’s music to be void of creativity. It is insipid, lacking in feel, and often only an exercise in form. So when someone says to me, “Yeah, man! They’re like Dream Theater!” that’s an instant cue for me (and many others I’ve met) to shut down; to tune out; to back out of the room slowly and look for a shotgun. Still, being the daring man I am, I couldn’t help but listen to Haken’s new album The Mountain when it landed in my box a few weeks back. Honestly, the band has such a fantastic loyalty from its fans, that I felt like I had to at least give them a chance. In general, InsideOut is a trustworthy label and they put out good material [With a few notable exceptions, of course — F.t.A.G]—so what choice did I have?
