![Troldhaugen – Idio+syncrasies [Things You Might Have Missed 2017]](https://www.angrymetalguy.com/wp-content/uploads/2017/12/a2452319573_10-768x768.jpg)
“Are you ready for absolute fucking madness?! Troldhaugen sneaked into view in 2014 with their sophomore album Obzkure Anekdotez for Maniakal Massez, a madcap rollercoaster that blended insane genre-hopping avant-garde with a touch of folk into a spiraling descent through a parody of an asylum.” Insanity is clarity.
![Cascades – Cascades [Things You Might Have Missed 2017]](https://www.angrymetalguy.com/wp-content/uploads/2017/12/Cascades-Cascades-001-768x767.jpg)
“This might be difficult to believe, coming from an adult who pretends to be a Muppet and uses his free time to write about metal for $0.00/hr, but sometimes I make decisions which are… well, I won’t say ‘stupid’, as I’m a freakin’ genius, yo….But being of such mortal-mindset transcendence, I’ve been known to choose me a choice or two that made roughly zero sense to roughly everyone who wasn’t me. I walk the Oz-ian line of ideas most frequently when I’m out Bandcamping, where something as simple as a particularly fetching album cover can damn me to another week of poverty.” Live for art, not money.
“In a faraway corner of the Southern hemisphere belonging to radiant women and men who loot (and labor), a storm is brewing. A seething swarm of stoner sludge swirls and simmers in the starless sky, and my advice, should you hear that thunder, is the same as Colin Hay’s: you better run, you better take cover. A scant 2 years after dropping a self-titled pseudopodian riff bomb on an unsuspecting world, Melbourne’s Motherslug have added a second full-length to their cornucopia of doom, and all the salt in the world won’t keep you safe from this slugger.” Slimin’ and stealin’.
“Ne Obliviscaris have proven one of the more controversial bands that I’ve reviewed during my incarceration tenure at AngryMetalGuy.com. My review of Citadel split the crowd with AMG Himself, an outspoken critic of the Aussies’ modern aesthetic. I, on the other hand, love their dynamic duality of blasting black and death metal, with softer, classically-influenced progressive tendencies. My youthful inexperience with imparting opinions on controversial matters ensured I lingered on the dissenting commentary provided by others and did, in fact, give it some consideration. Nonetheless, others’ doubts were set aside by the end of the year as I happily awarded the record my coveted Album of the Year. Three years passed, my skin thickened and now they’ve written their third full-length: Urn.” Even rhinos get lonely.
King Parrot make grindcore great again. At least that’s what I thought after first hearing the Australian quintet’s 2012 debut Bite Your Head Off, which bucked genre norms by fusing groovy aggression with honest-to-God vocal hooks and a “hip slumdog” attitude. In my review of 2015 follow-up Dead Set I referred to the band as the “Die Antwoord of grindcore,” and that remains one of my favorite analogies I’ve made at AMG to this day.” King for a day, grind for 12 minutes.
“‘I am convinced,’ Nietzche wrote, ‘that art represents the highest task and the truly metaphysical activity of this life.’ Though he wrote this in a preface to his first work, The Birth of Tragedy, he was certainly not referring only to the written word — an art that few can claim more ownership of than him. That preface was written by none other than Richard Wagner, and though Nietzche would sour on him later in life, this profound appreciation for art in a broad sense would not end. The love of aesthetic creation, the belief in its power to affect the heart and erode human differences, is the very core of In Contact, a starry-skied series of extended vignettes on love and revolution, passion and loss, fragility and courage, rain-soaked in the joy of creation.” Creationism ascendant.
“Deathcore, in its peak popularity, was essentially the dubstep of metal. Structured around a massive breakdown in the same way dubstep is structured around its 808 drop, the prototypical deathcore song was a kinetic experience designed to ratchet up the tension until a cathartic release blasts forth. This compositional style is extremely limiting, which is why both sub-genres will (and arguably already are) seen as flashes in the pan.” Pan’s Labyrinth.
“In the entire English language, no three words get me more excited than “Australian blackened thrash” (maybe “double bacon cheeseburger,” but that’s a different article). Deströyer 666, Gospel of the Horns, Nocturnal Graves — all great stuff, and Bloodlust is just as savage. This Perth-based trio formed in 2011 and consist of current and former members of Impiety, The Furor, and Mhorgl, among others. Somehow debut Cultus Diaboli slipped by me in 2015, but no matter — sophomore full-length At the Devil’s Left Hand is here, and it provides all the Satan, hellfire riffs, and Satan that your pathetic little ears can handle. Did I mention Satan?” Satan.
“Glance at the cover art for this grotesque slab of stripped-back brutality and immediately you get an insight into the album’s grimy and barbaric death metal aesthetic, unleashed in all its fury in what is likely to be one of the most gruesome releases of 2017. Crafted by the hands of Aussie underground scene veterans, Contaminated live up to their chosen moniker with uncomfortable ease and while the album has some issues and certainly isn’t for the faint-hearted, it’s a hell of a punishing ride.” Clean the Toilet ov Death.
“Australia’s Cemetery Urn describe themselves as ‘barbaric Australian death metal,’ and one gets the feeling listening to their self-titled third record that they’d welcome ceaseless barbaric bloodshed.” Commence the hacking.
