“Italy’s Abysmal Grief have been doing horror-themed doomed things for 22 years. That’s a lot of time to be doing anything, perhaps enough that one might expect something downright brilliant from a band with such experience, but riddle me this: when’s the last time you encountered a brilliant 22-year-old?” Young, dumb and fulla doom.
“I rate low and hate high, I’m always unpleased and unsatisfied, and I have the tendency to review shit that no one wants. You know, like Fozzy and Wintersun. And you know the worst part about it? No matter how bad or ugly it gets, I hate to admit I kinda enjoy it. But, who in their right mind would grab the debut record from Priest—a band consisting of ex-Ghosts and as far back in leftfield as one can get? But, like that other Swedish band, they’re about as retro ’80s as it gets. It’s just that they play… ummm… synth-pop…” Somebody got your Ghost?
“A few weeks ago, I described the latest Arch Enemy album as the bad kind of pop metal: too slick, too loud, too focused on choruses and too conscious about image. But there’s a different, less negative definition possible of pop metal: not afraid of loading the songs with easily digestible hooks, catchy melodies, EDM influences, simplistic structure and a focus on vocals. It’s daring, because it seems to aim at a gap between fandoms: too slick and not challenging enough for metalheads, but too heavy for the mainstream.” Pop goes the minstrel.
“The life of the unpaid, overworked metal reviewer is not an easy one. Cascading promos, unreasonable deadlines, draconian editors and the unwashed metal mobs – it makes for a swirling maelstrom of music and madness. In all that tumult, errors are bound to happen and sometimes our initial impression of an album may not be completely accurate. With time and distance comes wisdom, and so we’ve decided to pull back the confessional curtain and reveal our biggest blunders, missteps, oversights and ratings face-plants. Consider this our sincere AMGea culpa. Redemption is retroactive, forgiveness is mandatory.” Steel takes a plea deal.
“It was the gorgeous construction of Torturmantra’s ”Mishandlet” (guested by Niklas Kvarforth), that roped me in. This past encounter with Gravdal, and hearing of guest appearances from members of Satyricon, Taake, SAHG, The Ruins Of Beverast, Seven Impale and Orkan along with lyrical contributions by V`gandr (Helheim and Taake) would seem to cement Kadaverin as a “must-hear” release. But does it?” The black metal circus arrives.
“Grier walks through swinging double–doors; their rectangular plates and white panels smudged by hundreds of dirty, desperate hands. Along the decades–old, re-waxed checkerboard floors of sun–bleached white and black, the vulnerable Doctor approaches the receptionist’s desk. ‘The doctor is waiting.’ The distinguished Grier makes his way through the buzzer–kept door to the far–end of the faux–marbled hallway. He turns the doorknob to Room 17. Beyond the stuttering fluorescent bulbs overhead, the Doctor finds “Dr.” Landau seated at a walnut–stained desk, just this side of the cherry–red built–ins—bookshelves filled with volumes as convincing as the toupee positioned upon Landau’s head. Grier walks to the glossy, chocolate–brown sofa positioned in the middle of the room. He lies back. Landau looks upon the weathered face and sleep–deprived eyes of the patient. He knows well the sickness the patient suffers.” Physician, heal thyself!
“Venomous Maximus try their darndest to move past the “occult” label and appeal more generally to the metal masses. Like their records before it, No Warning is an attempt to appease fans of both the sinister and the catchy. In other words, they seem to be striving for ownership of the same plot of land Ghost lay claim to. Stealing the ghost.
“The formula for Spectral Ascent is quite simple. The music is rooted in classic, 70s style hard rock with a Coven-inspired occult atmosphere, draped over the bones of Black Sabbath and Blue Öyster Cult. If that makes you think: “Well golly gee, this here description sure do sound like Ghost,” I would tell you two things: learn some grammar, and you’re almost right.” Me fail English? Unpossible!
“Rune Eriksen is a well-traveled gentleman of metal. He was an important part of Mayhem’s second creative wave and continues to be a foundational part of Aura Noir. He’s also known for his gothic doom vehicle Ava Inferi, which released one of the most enduring albums in the genre with 2011s Onyx. Now he’s launching another project with long-time Ava Inferi collaborator Carmen Susana Simoes. Earth Electric could be called experimental goth rock, and rocking it is, taking an enormous 70s rock influence and shoehorning it into Ava Inferi’s ethereal goth style.” Rock in a soft place.
“Every year, something special takes place in my hometown of Tilburg, The Netherlands: the festival of Roadburn. Roadburn isn’t like your average festival. There’s no marquees, no fields of green devolving into mud, and no crowds the size of small towns worshiping the biggest bands. Instead, thousands of people dressed in black gather from every corner of the continent, and some from other continents, to see over 100 doom, stoner and other kinds of acts whose success lies almost entirely in the underground.” Welcome to the dope show.
