Apr19

Chalice of Suffering – Lost Eternally Review

Chalice of Suffering – Lost Eternally Review

“Grief can seemingly last forever. Whether you’re actively working through it or just passively experiencing its various stages, grief is a marathon, not a sprint. Excitement, on the other hand, is always fleeting. Moments of joy, fright or rage flare up and burn out quickly. Excitement is not a state that can be sustained for long. Grief, sorrow, despondency, these can last indefinitely. There’s a reason grindcore albums never break 30 minutes while funeral doom albums stretch well past an hour. If it takes time to experience, it will take time to express. But listening to the genre at its best isn’t about being patient, as if there’s some reward at the end. It’s more about allowing yourself to be borne along by the slow process. Minneapolis, Minnesota’s Chalice of Suffering—612, represent—is here to take you on a long journey through the deepest despair.” Playing the long winter game.

Sabbath Assembly – A Letter of Red Review

Sabbath Assembly – A Letter of Red Review

“In what should be considered a minor achievement, Sabbath Assembly are dropping their seventh album, A Letter of Red, with the identical lineup as 2017’s excellent Rites of Passage. This is the first time these strange occult-rockers have kept a static lineup, and that means we hope for an album of equal or better quality than the previous (which was a favorite of mine that year). However, the band makes it clear in their lead-up to the album that they are throwing a few change-ups our way: shorter songs, tight production, and a leaning towards 70s hard rock rather than the prog rock they treated us to on Rites of Passage. With the pedigree present, I’m sure they can pull off anything they attempt–can’t they?” Come back to the Sabbath?

Cosmic Putrefaction – At the Threshold of the Greatest Chasm Review

Cosmic Putrefaction – At the Threshold of the Greatest Chasm Review

“There are two routes to success in death metal, either through brutal immediacy or boundary pushing creativity; while most bands understand this, few know how to blaze a trail down either path. The aptly named The Clearing Path deftly navigated the latter route two years ago with their sophomore record Water Between Firmament and the Realm of Hyperborea, a dizzyingly unique and atmospheric take on death metal that I still listen to and think about often. Thus, when I learned about a new, more traditional death metal project from Gabrielle Gramaglia, The Clearing Path’s sole member, my curiosity immediately skyrocketed.” Chasm spasms.

For All I Care – Forever and a Day Review

For All I Care – Forever and a Day Review

“Has there ever been a time when metalheads ’round the ‘verse rightly celebrated non-Converge metalcore? I am not qualified to answer this question, for in my infinite wisdom, I actually dig In This Moment quite a lot—and, for the record, Maria Brink sounds incredible live. I feel no shame for this, and because of that I am sure Angry Metal Guy would love nothing more than to sacrifice me to a rabid Muppet while playing Tetragrammacide in the foreground for good measure. But I digress. Germany’s For All I Care is a metalcore sextet of the non-Converge variety, and Forever and a Day is their debut full length. And as you might suspect given my polarized taste, it is possible that I might love this stuff.” We care a lot.

Atlas Pain – Tales of a Pathfinder Review

Atlas Pain – Tales of a Pathfinder Review

“2017 brought with it many things. Chief among them was the debut record by Italy’s Atlas Pain. Featuring speedy, bombastic folk metal, it was enjoyable and stuck with me more than its 3.0 may suggest. The passing of two years has brought a sophomore release called Tales of a Pathfinder at a make-or-break stage in any band’s career. Atlas Pain have approached this challenge with all the bright colors, zany attitude and symphonic trimmings which I enjoyed on the first go around and I’m delighted to write that their Italian charm has not been lost.” Can’t let it go.

Filtheater – Blight of Sempiternal Putrefaction Review

Filtheater – Blight of Sempiternal Putrefaction Review

“Don’t you just love it when something is so clearly represented by a single image or title? Yeah, me too. That’s why I blindly selected Filtheater’s debut record Blight of Sempiternal Putrefaction from the Bin ov Promos. That cover. That logo. That title. All of it screams dirty, grimy, raw death metal.” So greasy!

CLEARxCUT – For the Wild at Heart Kept in Cages Review

CLEARxCUT – For the Wild at Heart Kept in Cages Review

“It’s not exactly a secret that I hate you humanity and love King Apathy, so when I was presented with the opportunity to review the debut act of a band featuring Matthias S of King Apathy and ascribing to the same neo Cattle Decapitation lyrical teachings, it should come to roughly no one’s surprise that I squealed like a mildly surprised Kenword jumped at the chance to do so. This was a wish come true.” Wish or curse?

Haze Mage – Chronicles Review

Haze Mage – Chronicles Review

“Growing up, my teenage cat-brain was filled with all sorts of bizarre questions and interesting ‘What If?’ scenarios. How long is the prison sentence for cutting the tags off my mattress? What other dimension does the other sock go when its sibling emerges from the dryer? Most puzzling of them all would have to be ‘What if Glenn Danzig and his cohorts did away with their Satanic leanings and lyrics during their musical peak, and decided to just smoke a metric fuck-ton of pot instead?'” Enter the Maze of the Haze Mage.

Óreiða – Óreiða Review

Óreiða – Óreiða Review

“Atmospheric black metal is tricky to judge. The definitions for the style are broad, and its success really lies in the emotional resonance felt by the listener. Obviously, this is a true statement of all art, but I’ve always found the more abstract qualities of atmospheric black enhance that statement beyond its usual bounds. To me, this makes it a very difficult style of music to review. So, naturally, when I came across an unreviewed sample of the genre, I leapt at the chance to become better acquainted with Óreiða, and their self-titled full length debut.” Void where sold.

Jordan Rudess – Wired for Madness Review

Jordan Rudess – Wired for Madness Review

“I sit undressed, tied up in a chair. My spirit is broken, my body defiled. I look up at him, pleading: “Please, Mr. Rudess. No more.” Jordan Rudess, famed keyboard player for Dream Theater and Liquid Tension Experiment, looks down on me and simply laughs. With his one hand, he’s playing a keyboard. With the other, he’s playing himself. I want to beg for mercy, but another glob of mammal sauce strikes my face. “Argh!” I cry. “Right in the eye!” Multiple bodily fluids seep from my eye. Tears are among them. “What do you want from me?!” I scream. Jordan Rudess laughs. “Tell me I’m the greatest keyboard player in the world, adores by fans across the globe!”” Into the wank tank.