“When I saw the beautiful artwork for Seasons Dreaming Death, the debut album from Indianapolis thrashers GraveRipper, I had high hopes that it would inject some spice into my love affair with the riff, and when I discovered that GraveRipper’s members have been involved with projects sporting distinguished names like Partiac Arrest and Car Door Dick Smash, I figured that I was in store for a good time. Let’s see if these guys managed to leave me satisfied and smiling.” Grave developments.
“Some songwriters have ‘it.’ The ability to create meaningful, compelling music regardless of genre. Mikko Lehto is one such man. From folksy majesty and blackened ferocity to doomy potency, his work, especially October Falls, is well-loved in these parts. 2021 saw the release of more of his black metal in the form of Wooden Throne. Eternal Wanderer of the Night Sky represents his second endeavor under this project, promising something less earthly but more classical with a bigger piano presence in the soundscape.” Meandercore.
“As a guy who grew up with the sounds of Accept blaring in the background, I know how important it is to keep a restless and wild metal heart and not be afraid to get one’s balls to the wall when necessary. Legendary frontman Udo Dirkschneider decamped following Accept’s Predator outing, bringing an end to a cherished era in Germanic metal. The man has certainly kept himself busy since then, focusing on his U.D.O. solo project and going on to release 17 albums of Accept-adjacent metal.” Stacking the box.
A new Incantation opus requires major attention, so we gave Unholy Deification a God-sized platform with 2 reviews! Come for the filth, stay for the cooperation.
“Oxx is a trio from Aarhus, Denmark, having released three full-lengths and an EP since 2012. In spite of easy recollections to mathy insanity, pigeonholing The Primordial Blues is unfair even to the act’s own discography, as the ominous sprawling of 2015 debut Bury the Ones We Love and Burn the Rest differs fundamentally to the frantic Dillinger-core of 2019’s The Skeleton Is Just A Coat Hanger.” Big, not so dumb OXX.
“Though Skálmöld does possess a weirdness with their hundred-guitar lineup and varying vocal styles, they combine the storytelling of Týr with the savagery of Fintroll. The result is some rather adventurous music with flailing riff changes, mead-swigging layers, and unexpected transitions from barks, rasps, and cleans. As one would expect, sometimes all this sorcery falls flat or straight-up doesn’t work. And after engaging with 2019’s Sorgir, I fear the band might be stuck in a well with great performances but incohesive songwriting and flow. Once I find the link to this fucking stream, I’ll let you know how Ýdalir fares.” Black möld? Comeback möld?
“Pastoral pleasures include quaint life activities like chewing on wheat straw, planning the tractor route, taking count of your animal inhabitants, and… well, shoot I don’t know, ask Cherd. Or ask Milking the Goatmachine, whose agrarian ideals include fat riffs, skanky drum beats, and squealing breakdowns.” Vote Goat 2023.
“With harsh, deathy vocals and neoclassical character, they began harnessing their style into records of swirling, whirling, technical thrash. While many would argue the ranking of their discography, it’s hard to deny that 2014’s Slave to the Sword was peak Exmortus. This neatly-packaged album showcased the very best Exmortus can be. With two follow-up albums since Slave to the Sword, the band continued to wow and amaze with their impressive noodling. But, as suggested earlier, they’ve yet to create a concise, flowing album like Slave to the Sword.” Unfinished swords.
“I cut my teeth on metalcore. During these tender teen years, I witnessed its growing djentification and I liked most of what I heard (sorry). I did, however, bemoan the inevitable slide towards radio rock of my former favorites such as Bring Me The Horizon and Architects. In fact, my loss of these bands from rotation was a significant impetus for my branching out into more extreme flavors of metal. But even though I’ve largely left it behind, I’ve got a soft spot for metalcore that arises most often during a workout, driven by a desire to recreate my first feelings of exhilaration in the emotional melodicism and angst. Creak stood out, not only as an opportunity to indulge.” Nostalgia creeps and creaks.
“Australia’s death-metal upstarts Werewolves channel the zeitgeist of the 21st century with their fourth full-length, My Enemies Look and Sound Like Me. Take in the apocalyptic imagery and try to imagine what lurks within. Gratuitous self-mutilation, friendly discourse between neighbors, a horse, and a guy plugging himself directly into the Hell-Matrix—truly an album cover that screams “everything is fine”. Everything is fire.
