“We have an incredibly hungry, ambitious doom/death quintet in San Diego’s Tideless. Many of its members served time in other bands, so experience really isn’t the issue here. What is the issue lies in the fact that Tideless, on their second full-length, is punching well above their weight class. And nothing screams “punching up” quite like a 75-minute double album of Deafheavenly delights.” Low tide, high ambition.
“Hard to categorize, the UK troupe’s unique concoction of Temple of Void / Bolt Thrower death metal, Triptykon doom, and Clutch-y hard rock groove presents an inimitable character that no other band on Earth boasts. It is this unique flavor that earned predecessor Unseen Planets, Deadly Spheres a high rating from yours truly.” Spare the Hammer, spoil the spheres.
“Shining have a carefully calibrated reputation as one of the saddest bands in history. A single spin of the renowned V: Halmstad is enough to know that it’s a reputation well earned. Oppressive, dark and full of despair— it’s rightfully considered a seminal depressive suicidal black metal record. The band’s record since then has been spotty, however. Incorporating more acoustics and clean vocals brought variety but did not increase the gut punch the band was known for. Attempts at re-aligning the band’s direction were made and unmade, naming traditions were dropped and picked up again, and the misanthropic flame started to sputter.” The definitive Shining?
“Belfast, Northern Ireland sludge trio Slomatics have been plying their trade for almost two decades now. Their seven previous full-lengths have been released in fits and starts, with their most consistently productive period being 2012 to 2016, during which window they released a trilogy of records, culminating in Future Echo Returns, the first of their records to grace these pages.” Low and slo(matic).
“There’s no right way to honor your own ancestry, especially when so much of what you could know about the ‘right way’ has eroded. Such is the plight of many Indigenous or other disprivileged peoples in North America, even in areas like Oklahoma where the concentration of descendants of many Tribal Nations remains high. Medicine Horse hails from these lands choosing to honor themselves and their chosen traditions the way that comes most naturally—heavy fuckin’ metal.” Take your Medicine!
“It’s become a cliché around the halls of AMG that stoner doom is difficult to do badly, but even more difficult to do well. As a result, it tends to hang in the “difficult to review” window of 2.5-3.5. There’s also not a whole lot of energy from readers. Whether stoner-selection bias is responsible (munchies trump comments), or the genre itself fails to excite ordinary metal fans, the fact remains that anticipation around these releases is generally low.” Sleepytime tales.
“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.
“When we discuss this majesty in metal, common threads lead to Fleshgod Apocalypse and Septicflesh and their ominous orchestras, the strength of battle in the rhythms of Bathory and Amon Amarth, while colossal vastness grants Ahab its weight or Ataraxie its bleakness. Germany’s The Circle utilizes all of the above in its dense and expansive blend of melodic death, doom, and black metal, capped off by symphonic soundscapes and a Gothic vocal style.” Might, majesty, and muscle.
“Back in 2020, before things would go pear-shaped in literally everyone’s lives, I reviewed Reflections, the debut album from Godthrym, the new band featuring former My Dying Bridesmen Hamish Glencross (guitars/vocals) and Shaun Taylor-Steels (drums). I was enamored by how heavy, dirge-y, and Paradise Lost-y the entire album was. However, once the pandemic went into full swing, Reflections only gained in momentum and solace as everything around us quickly turned to shit on a planetary scale, bringing with it a sense of comfort and catharsis and landing itself on my Top Ten of a year we all would love to forget (but can’t). Now, in a happier(?) time and with a fuller line-up, Godthrymm are back with their highly-anticipated follow-up, Distortions.” Doom for End Times.
“REZN made a minor splash in Casa Dolph back in… March?! Wow, time flies! Psychedelic doom itself isn’t particularly known for getting anywhere fast, but these Chicago practitioners have an admirable hustle to earn yet another release to their name. This go around, though, they’ve partnered with the like-minded, Hawkwind synth-heavy doomsters from way down South in Mexico City, Vinnum Sabbathi.” Double doom.
