“I can address the Arch Enemy-shaped elephant in the room with For I Am King. A female vocalist, a Gothenburg-inspired guitar attack, just enough metalcore riffage to keep things relatable – Crown has got it all. To be clear, there is nothing cutting edge about it; if it’s riffs you want, ask and you shall receive. Don’t approach Crown expecting to come away with the prototype of the new breed of melodeath or a newfound respect for Arch Enemy.” Arch usurper.
“Hailing from the Netherlands, Defy the Curse do indeed play a mashup of death metal and hardcore, but they are in no way a stereotypical metalcore or deathcore outfit. This metal/core hybrid sounds like the rumbling Entombed-meets-Discharge style of a band like Black Breath.” Defy the d-beat.
“Submitting a new metal record for review in December is a hard row to hoe. The List Industrial Complex is gaining critical velocity, which means folks in our position are re-listening to the albums that most impressed us over the last 11 months and catching up on the highly regarded albums we haven’t yet heard. Unless you’re bringing your A game – or maybe the A game of a better band than yours – there’s a really good chance your album is going to be underwhelming by contrast. Dutch sludge doom band Gavran boldly present their sophomore full-length Indistinct Beacon this first week of December, the official start of EOY activity.” Indistinct scheduling.
“After taking some 20 years off, Dutch gothic doom-death act Celestial Season roared back in 2020 with a startingly ambitious comeback album called The Secret Teachings, then followed up in April of this year with Mysterium I. Now just a scant 7 months later they’re back with the second part of a planned trilogy, dropping Mysterium II in time for Christmas stocking stuffing.” Eggnog and seasonal mysteries.
“Maurice de Jong has had a rough go of things within the hallowed halls of this website. Perhaps best known for Gnaw Their Tongues but involved in no fewer than 15 current projects according to Metal Archives, many of them of the one-man variety, the Dutchman has been reviewed here in his various forms eight times by my count. His scores? A shocking 0.5, 1.0, 1.5, 2.5, 2.5, a 3.0 that our resident shark person has since demoted to a 2.5, and two presumably un-recanted 3.0s from former site writers long since missing under suspicious circumstances. Hagetisse is straightforward, riffy black metal and a far cry from the experimental blackened noise shenanigans de Jong is best known for.” The law of averages.
“No one does music like Jason Köhnen. His projects like Mansur, The Kilimanjaro Darkjazz Ensemble, and Bong-Ra constantly push boundaries, and while my reception to his work has been largely mixed, The Lovecraft Sextet has stuck. Debut In Memoriam was a unique and visceral experience, somehow weaponizing dark ambient, black metal, jazz, and opera into six tracks with three disparate but compatible palettes.” Sax and tentacles.
“As one of the primary reviewers of doom metal ’round these parts, I find it challenging to continue finding different ways to say “this music is unhappy.” I can only use adjectives like mournful, miserable, wretched or despondent so many times before I’m tired of typing them and you’re tired of reading them. Before me is the prospect of reviewing not just doom, but death doom, and not just death doom, but funeral doom in the form of The Weight of Eternity by Dutch act Angmodnes, and friends, I just don’t have it in me to google more synonyms for “sad.” For this post I propose a change. In the pursuit of more robust ways to say “unhappy,” I’ll employ metaphor.” Weighing the feelz.
Earlier this year, I talked about the void left behind in Bolt Thrower’s absence. I mentioned a few bands who are successfully filling a bit of said void by name and alluded to a few more. The Netherlands’ Graceless is one of the latter. Back in 2020, they stormed my gates, dropping one of my favorite death metal platters of that year and earning a spot on my Honorable Mention roster with Where Vultures Know Your Name. They did so not by innovating the genre or adding some new twist to an already tried-and-true formula. Nope. They did it by faithfully executing the type of meathead death metal that adds pounds (or kilos) to the barbell and hair to the chest.” Grace and disgrace.
“Look, let’s cut to the chase here, Monuments of Grief is, unsurprisingly, bleak as all fuck. With an album title like that, released under the nom de guerre The Sombre and as the followup to Shapeless Misery, there is no levity, no joy and no whimsy to be found here. Monuments of Grief is just that, a towering obelisk of doom that drags the listener down into a hopeless pit of despair, from whence one can look up at the light but with absolutely no hope of reaching it.” Sweet grief.
“The mighty founder of this blog once famously said, “Atmoblack is just 2 riffs drawn out over 60 minutes with some reverb and synths.” Those of us who are fans pushed back, at the risk of a considerable tongue-lashing. “But it’s about the atmosphere, see? Riffs are not the be-all and end-all. Mother nature is a vibe not a riff.” The matter was never resolved, but after the bruising back-and-forth, both sides retreated to lick their wounds. It was with this in mind that I approached the debut album from Dutch band Aerdryk, Met De Drietand Op Mijn Huid (With the Trident on My Skin).” Atmoblech.
