“Egolution was a tough nut to crack. I picked up the debut from Sweden’s Black Oak based on the promo’s bold namedrops of Cult of Luna, ISIS, and Palms. When I started listening, I expected standard sludgy post-metal. I was wrong. Fifty-three minutes later, my head spinning with variants of “what the hell did I just listen to,” I panicked. Black Oak’s restless blend of post-rock and hardcore with electronic influences, prog, classical flourishes, and more left me confused.” Let go my Ego.
“I probably picked this promo because the band name is so similar to my favorite band of all time; you can’t spell Nevermore without Evermore! But before I tumble down a tearful slope of despondency over the loss of the great Warrel Dane, let’s talk about Nevermore sans the “N.” Sweden’s Evermore is a relatively fresh face in the European power metal game, having released an extremely promising debut in the form of 2021’s Court of the Tyrant King.” Never, ever, MOAR.
“Another rando and another band I should already know but don’t. Mezzrow has been around since the late ’80s, trying to bring America’s brand of thrash to the halls o’ Sweden. For various reasons—issues with their label and losing band member after band member—all that came out of their struggles was 1990’s Then Came the Killing. A ’91 demo later, and Mezzrow was no more. Fast forward sixteen years, and the band reforms for a live performance. Their small but passionate fanbase was excite. Would Mezzrow record a new album?” Not Merzbow.
“Sunrot has got some shit to say, and they’ve imbued the sophomore The Unfailing Rope with an essence of festering self-loathing dripped forth from incensed veins. A low-tatter mind knows that drilling a hole into your skull won’t alleviate mental anguish, but fight after fight after fight can lead you to consider (“Trepanation”). And when life has gifted you a “seething scorn [that] cauterized the wounds that never bled,” (“Patricide”), well, that lets you know all you need to build the ethos of Sunrot: the only catharsis seems to be the end. Have you got a morbid fire stoked in your curious and deflated heart yet?” Extreme solutions.
“If I’m being completely honest, I snatched up Xul from underneath the illustrious Kronos because of that artwork. I’ve held a special place in my heart for Devangelic, of course, as one craves banging one’s head into a wall periodically, but the massiveness of the artwork is the best representation of this Italian quartet. While the reach exceeded the grasp in the concept albums of years past in the Anunnaki reverence of Ersetu and Dante’s Inferno-inspired Phlegethon, third album Xul keeps things simple. While the Sumerian theme of Ersetu spills across, the emphasis is brutalizing. And brutalizing, as mother always said, is best.” There is no Dear Hollow, only Xul.
“Perhaps no metal band in history have had the second act that U.K.s Satan have these last 10 years. Everything they’ve touched has turned to gold, with 4 stunning albums of NWoBHM glory unleashed, most recently in the form of Earth Infernal. Apparently that Midas touch spills over to side projects as well, as Satan guitarist Russ Tippins’ collaboration with Tanith has certainly been noteworthy. Their 2019 In Another Time debut was an enjoyable love letter to 70s hard rock, and though it was a bit unfocused at times, it was a pleasant spin. Now Tanith is back with sophomore outing Voyage and everything has been improved, streamlined and laser-focused on twin guitar rock and the power of proto-metal.” Tanith your ass!
“The artwork for Arcane Paths to Resurrection struck me immediately, and not only because it’s cool. There was something familiar about it, and after a little digging, I found that the same artist, Artem Grigoryev, is behind both this and the cover of Suffering Hour’s The Cyclic Reckoning. What’s funny is that even before discovering this, I was thinking about how much Decipher’s debut reminded me of Suffering Hour. It has a similar grittiness, a similar piercing edge to its guitar tones, and similar thrashy energy.” Suffering for art.
“Sweden’s Saint Deamon aren’t quite a household name in the Euro-power scene, at least partly due to their lagging career productivity. They started out well, making a good impression with their 2008 debut and rapid follow-up, 2009s very good Pandeamonium, but then they dropped off the face of the Earth. 10 years later they made an unexpected comeback with 2019s Ghost, and now in comparatively short order, they return with fourth album, League of the Serpent. Snakes on a shelf.
“Hello, reader—can I call you reader? Let’s be honest with each other. You know exactly what to expect here. You know what kind of music this is; you know what this review is going to say; you do not need to skip to the end to know what score is coming. Even if you don’t know that the former vocalist for Gloryhammer Thomas Winkler has, since his dramatic departure from the group, started up anew with a Europe-spanning band called Angus McSix, even if you didn’t know that Gloryhammer and Winkler are well-known for their cheesy, over-the-top tales of fantasy, even if you haven’t glanced down and noticed that the preview song on Bandcamp for Angus McSix and the Sword of Power is called “Laser-Shooting Dinosaur,” you know.” Six appeal.
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