“Second acts for bands are always interesting. Sometimes the years away from the tussle and grind of the record release schedule does a band good, allowing passion and creativity to flow anew as it did back in their early days. Sometimes that same passage of time provides maturity and a seasoned confidence that informs the new material. In the case of Dutch goth-doom act, Celestial Season, we saw a bit of both of these progressions on 2020s The Secret Teachings. Coming off a 20-year hiatus, the compositions felt surprisingly creative, confident, and adventurous. They retained enough of the original sound from their heyday but were unafraid to wander into new soundscapes. Two years later we get the follow-up, Mysterium I.” Mystery season is upon us.
Apr22
Pyreship – Light Is a Barrier Review
“Post-metal and stoner rock both struggle to escape the shadows of their forebears. Nothing gets me off like a well-developed soundscape, but countless bands claim to be the next Neurosis or Kyuss while bringing nothing to the table but fuzzy minimalism. This Melvin can attest firsthand that the Melvins already exist, and imitating them is a losing battle. So I approached the sophomore release from Houston’s sludgy post-metallers Pyreship with high hopes and a raised eyebrow.” Riding posts.
The Lord – Forest Nocturne Review
“Say what you will about Sunn O))), they are iconic. While the music is arguably the stuff to fall asleep standing to or hear in the laundry, the duo is the epitome of metal consistency. Nearly twenty-five years of droned-out, doomed-up, and heavy-as-fuck riffs later, and the duo is still kicking in slow motion. Member Greg Anderson, owner and proprietor of Southern Lord records, offers his own take on the low and slow with a new moniker The Lord, and debut album Forest Nocturne.” O))) God!
Freja – Tides Review
“I’m a simple creature, really. If you make your album even vaguely Nordic-themed, I’ll pay attention. The mythologies that have spawned countless legends, a whole lot of music, and many other artistic expressions are so enduringly popular for a reason, and their themes have similarly lent themselves to some really good metal. Freja is among the newest bands to find influence in this striking topic, a Dutch duo of one C. and W., who describe their style as one of “towering, thundering” atmospheric black metal.” The tides are a raider.
Azaab – Summoning the Cataclysm Review
“”Azaab” is an interesting word. Translated from Urdu, it means “torment” or “agony.” If that isn’t metal enough for you, the word itself sounds brutal; that harsh “z” consonant, violently squished between an unrelenting onslaught of vowels, all culminating with the unassuming but no doubt homicidal “b.” Ironically, Azaab is also the name of a death metal band hailing from Pakistan. This Islamabad-based five-piece just unleashed their debut album Summoning the Cataclysm upon an unsuspecting world.” A is for Azaab.
Sentient Horror – Rites of Gore Review
“New Jersey is known for many things, few of them good. What doesn’t come to mind when one thinks of the “Garden State” is good olde fashioned Swedeath. The sketchy ne’er-do-wells in Sentient Horror are doing their very best to change that, and third album Rites of Gore is a rowdy celebration of all things Entombed-core. Along with their buzzy HM-2 fetishism, the band integrates plenty of nods to the old-school death metal sound practiced by the likes of Cannibal Corpse as well as some truly beef-brained, meatheaded grooves that would make Jungle Rot proud.” Jersey reeks of death (and landfills).
Miseration – Black Miracles and Dark Wonders Review
“When it comes to versatile metal vocalists, few people pop into my head faster than Christian Älvestam. I loved his work with Scar Symmetry, and I followed his career after his departure. I was overjoyed when he joined Jani Stefanović (Renascent and DivineFire) in both Solution .45 and Miseration, and I especially enjoyed the latter’s output. Miseration’s 2006 debut Your Demons – Their Angels didn’t stray too far from Älvestam’s work in Scar Symmetry, opting for a highly melodic death metal sound and utilizing both death vocals and clean singing. I lost track of these guys after that, and I was utterly shocked—and delighted—to find that they were going to be releasing their fourth record here in 2022.” Misery love melodeath.
Corpsessed – Succumb to Rot Review
“As one of the more underrated bands in the current cornucopia of cadaveric cavern curators, Corpsessed concoct some of the coolest, catchiest riffs in the business. Succumb to Rot is saturated with such riffs, and makes use of a tried and trve sonic palette to complement them. Thick guitar tones reminiscent of Incantation and Phrenelith; chunky bass guitar; even chunkier drums not dissimilar to those of Tomb Mold; titanic caveman roars; the formula is simple, but it bloody works.” We all have a cadaver in the cavern.
Feral Light – Psychic Contortions Review
“There are, of course, other styles of metal practiced here, but few Minnesota bands outside of black metal have enjoyed the critical acclaim that acts like False or Obsequiae or Minnesota-by-way-of-Kentucky transplant Panopticon have. Those who have been watching the local scene closely will tell you that Feral Light have turned some heads over the last few years around Minneapolis, not to mention abroad. Enough so, apparently, that their fourth full-length has secured the attentions of heavyweight Italian avant-black label I, Voidhanger.” Minnesota wild.
Undeath – It’s Time… to Rise from the Grave Review
“I want to make one thing immediately clear: It’s Time… to Rise from the Grave fucking rocks. For several spins, however, it left me severely confused. I realized that Undeath was certain to evolve. While a retread of Lesions of a Different Kind would have been completely enjoyable, the band’s knack for effortlessly folding together countless influences of classic death metal, while also crafting an unmistakably distinct sound, meant that a retread would be disappointing by default. Indeed, Undeath’s slick, slimy grime continues to coat every riff and permeate the band’s compositional bedrock.” Slaves to the grave.