Black Royal

Grand Cadaver – Deities of Deathlike Sleep Review

By Steel Druhm on August 27, 2023 in Reviews, Death Metal, 23 comments

“2021 saw the birth of Stockholm HM-2 worshipping Swedeath act Grand Cadaver, composed of veterans of notable groups like Katatonia, Tiamat and Dark Tranquillity. Their Into the Maw of Death debut was a loving tribute to the early days of Entombed and Dismember and had more buzzing than a landfill in an Arizona summer. It brought nothing new to the well-trod d-beat death community beyond star power, but it was competent and aggressive enough to make for an entertaining spin, and the presence of Dark Tranquillity’s Mikael Stanne on vocals was reason enough to check it out. Now this group of super troopers are back with second release, Deities of Deathlike Sleep and the formula remains the same.” Corpus delicti.

Saunders’ and Felagund’s Top Ten(ish) of 2022

By Angry Metal Guy on December 29, 2022 in Blog Posts, Lists, 65 comments

Saunders and Felagund demand to have their Top Ten(ish) lists heard across the land. We obliged.

AMG’s Unsigned Band Rodeö: Dawn of Creation – Self-Destructive Matters

By Dolphin Whisperer on November 9, 2022 in Angry Metal Guy's Unsigned Band Rodeo, Death Metal, Groove Metal, 34 comments

“Back in the primordial days of this here blog, we attempted something called “AMG’s Unsigned Band Rodeö.” The basic idea was to select a bunch of unsigned bands and give them the collective review treatment to find the most worthy buried gems. It was our humble effort to remind folks that the metal underground is still an important part of the world of metal.” Welcome to Serbia.

Hierophant – Death Siege Review

By Dear Hollow on September 3, 2022 in Reviews, Black Metal, Death Metal, Doom Metal, Noise, Sludge Metal, 10 comments

“I was first introduced to Italian noisemongers Hierophant with their 2013 sophomore effort, the provocatively titled Holy Mother: Holy Monster. An absolutely punishing release, it included all the hallmarks of acts like Oathbreaker, Celeste, and Hexis in its blackened hardcore/sludge combo. However, with a cutthroat crusty edge, it forsook all subtlety for punishing vitriol, excruciatingly dense and brutal.” Death sieges us all. Hold fast!

Mass Worship – Portal Tombs Review

By Steel Druhm on February 4, 2022 in Reviews, Black Metal, Death Metal, Grind, Sludge Metal, 42 comments

“Not being an especially spiritual bloke, I only took a flyer on Mass Worship’s sophomore platter Portal Tombs because they were tagged “death metal” in our greasy promo sump. Well, the promo sump sits on a greasy throne of greasy lies! These Swedish sadists are NOT death metal, and it’s actually a challenge to explain what they are. I can tell you Portal Tombs is a ridiculously heavy slab of extreme metal designed to smother and obliterate all light and joy from this cursed world. Their style rumbles through death, black, sludge, doom and grind genres like a nuclear-powered killdozer, and the band is more than happy to beat you with any and all tools they come across during their bloody rampage.” Portals and tombs but no cake at all.

Oshiego – Jaljalut Review

By Felagund on January 23, 2022 in Reviews, Death Metal, 5 comments

“Oshiego play a very familiar style of death metal, with plenty of old school charm and technical flair. According to the promo material accompanying the album, their sound is described as a “relentless assault” and “crushing,” featuring an “uncompromising old school approach.” I wouldn’t disagree with these accolades outright, because for the most part, Jaljalut proves itself to be quite the “relentless” beast, maintaining a consistent, if overwhelmingly repetitive speed and tone throughout.” Relenting is for losers.

Horndal – Lake Drinker Review

By Holdeneye on April 11, 2021 in Reviews, Death Metal, Hardcore, Sludge Metal, 9 comments

“Art always has a theme, even if that theme is not having a theme. Consciously or unconsciously, the theme informs the art, and never the twain shall be separated. But sometimes the thematic elements of a piece of art transcend their medium, taking on a life all their own and looming so large that it can be difficult for a critic to properly evaluate the piece. I’ve found this to be the case with Swedish band Horndal. Named for the small industrial town where some of its members were born and raised, Horndal is the sound of a town lamenting its own demise. Their debut album Remains told the story of the closing of the local steel mill and of the devastating and dehumanizing aftermath for the citizens of Horndal, and sophomore record Lake Drinker tackles the struggles created when tech monstrosity Google purchased huge tracts of land near the town in order to build massive server facilities.” Home is where the hurt is.