“Treedeon is a trio based in Berlin, having released two full-lengths since their inception in 2013. Consisting of former Ulme vocalist Arne Heesch, ex-Jingo de Lunch vocalist Yvonne Ducksworth, and drummer Andy Schünemann, Treedeon is a disciple of the NOLA sludge scene, with a filthy and caustic breed that recalls Eyehategod’s ten-ton blues and a density that conjures Thou.” If a tree falls in sludge, does it make an abrasive noise?
“Now into their fifteenth year, German four-piece Downfall of Gaia need little introduction, particularly for longer-standing readers of this venerable blog. We didn’t cover their first two records, Epos (2010) and Suffocating in the Swarm of Cranes (2012) but since then, Downfall of Gaia has had a very good run in the hands of the normally-highly-critical Mark Z., with each of their next three albums swanning off with a coveted 4.0.” Worst downfall ever.
“”Disinter” means to remove a corpse from the ground. “Disembowel” means to remove someone’s internal organs. And “dismember” means to remove someone’s limbs (which is, presumably, followed at some point by both a disemboweling and a disinterring). So what do we make of Disminded? I think we can accurately assume from the truly metal prefix that we’re dealing with another type of removal altogether. One that is less physical and more mental. And probably just as costly when the medical bill comes due. But far from being just another AMG word of the day, Disminded is also death metal quintet with thrash tendencies hailing from Germany. On their third album The Vision, we’re treated to a double beat down of thrashened intensity and deathened brutality. But does such an onslaught truly cost the listener their mind?” Mind over splatter.
“It’s clear from my time with Depravation’s discog that these chaps don’t settle for anything they did before. Each new album adds another layer to the pie, each song more intricate than the one before. But the best part of their music is the spontaneity and energy. On this new release, they hold nothing back and dive in headfirst. But this ain’t an ocean of water. It’s a vat of lava.” Depravity and lust.
“Walking the line between old school death metal and blackened speed-thrash, Atomwinter are barely fucking around. I say ‘barely’, rather than ‘not’, because there is the obligatory one-minute instrumental opener to skip on Sakrileg. The album would’ve opened far stronger had the band just ripped straight into “Ov Blood and Flesh,” which tells us immediately that these guys have listened to a lot of early Incantation and taken that as their creative starting point.” Up and Atom.
“I am generally a defender of themed metal. If Viking metal is considered a valid genre, then so should pirate metal. It’s just a shame that the latter is spearheaded by a band (which shall remain unnamed) that has gone from a mixture of comedy and epic to full meme-lord. It has cost the entire genre in legitimacy, and it now seems as if pirates can be nothing but silly cartoons. The Privateer stages a mutiny on that school of thought, however, aiming for a return to the adventurous and dramatic seafaring tales of yore.” Booty raiding.
“Bamberg, Germany’s Noise is a busy man. By my count, he put out three EPs under his Kanonenfieber moniker—two of which I covered here—and a very good full-length with his Non Est Deus project in 2022. Alongside that, he was, it seems, producing, in all senses of the word, another record as his third alter ego, Leiþa.” The many faces of Noise.
“The last time Har Shatan released an album, I barely knew what black metal was. Solo project of enigmatic Zepar, it has been radio silence from them for almost fifteen years. Whether it was long-gestating concepts, or a more sudden flash of inspiration, something prompted a re-emergence. I couldn’t tell you what that is, however. Not only because I lack a lyric sheet, but also because Manum Inicere Alicui does not speak musically of anything more profound or interesting than another one-man black metal album, albeit, a well-played one.” Back from beyond.
“While no Ahab album is perfect, each has an indomitable feel. They’re big. They’re heavy. They’re powerful. This trend continues with The Coral Tombs. It’s grandiose and substantial in a way that’s difficult to articulate.” Whale tales.
“CROM! I have not heard from you these many long years. I was completely blown away by 2008s Vengeance with its slick blend of epic Bathory-isms and power metal leanings, and I pledged my sword to your service. I was, however, somewhat disillusioned by 2011s Of Love and Death and its dialed-down might and majesty. I confess to being a lowly heretic and completely missing the gospel of the 2017 followup, and I need to make amends for my unholy ignorance. Now we come to the rather unexpected release of the fourth testament to all things Wotan, warrior-esque and wengeancy, The Era of Darkness.” Feel the steel.
