“Furthering what is sure to be the metallic trend of 2018, Lasse Pyykkö has seen fit to bestow upon us another nexus of death-doom via that sinister shroud, Hooded Menace. Fifth album, Ossuarium Silhouettes Unhallowed, shrugs off the gossamer gathered between releases and prepares to enrapture a captive audience with riffs of yore and environs unsavory, but this time, with an added depth of disease.” Unhallowed Eve.
“Machine Head was with me during some dark times and I was there for them. So, to say I’m a fan—or to say that they changed my life—is an understatement. But, now, 2018’s Catharsis is upon us. And, honestly, I’m so fucking confused, depressed, and speechless that all I can do is sit here quietly, wondering how much longer I can go on supporting my beloved Machine Head.” Gaskets blown here.
The first time I saw Mammoth Grinder live, I was wasted at a bar in Portland and had to laugh as the band announced every song as a Deep Purple track to see if anyone would notice. The second time I saw Mammoth Grinder live, I was shithoused in Brooklyn and had a Warriors-style adventure trying to find my way home on the New York subway system after the show. Point is, apparently being drunk and seeing Mammoth Grinder live is the best way to get hooked on them, because I’ve been anticipating Cosmic Crypt since before I started writing for AMG.” Fat, drunk and at a Mammoth Grinder show is no way to go through life, Z.
“The crack of lightning, the rumble of thunder: If I had a nickel for every time I heard a song with such ominous bleatings, I still wouldn’t be able to buy a pint. But, this time, there’s no falsettos to back the rumble or guitar shredding to support the raining blood. Instead, Denmark’s Savage Machine uses this sky screaming to launch mankind from this puny planet. But, what’s in store for mankind on Abandon Earth?” Into the void trvly.
“Since their inception, Portal’s outre take on death metal has been something of a curiosity; a malformed fetus suspended in sepia alcohol behind so many dusty artifacts. Few other artists have encroached on their sound, and even fewer can pretend to challenge their simultaneously dour and frenzied Victorian aesthetic. Theirs is horror music, to be sure, but the horror stems from a sort of noir psychedelia, an all-encompassing fractal unrest where the creak of the floorboards and the crack of colliding planets are indistinguishable in scope.” The cake is a lie.
“Salt Lake City’s Sonic Prophecy has at this point become a fixture in the US metal underground, plying their craft of beefy, vocal-driven, traditionally styled heavy/power metal that evokes Judas Priest, Iced Earth, Manowar, and others of the sort. Word on the street has been positive for this lot, so Savage Gods now stands in judgement before easily-irritated power metal guy.” Swords n’ Tequila hold the tequila.
“I’m a bit of a Johnny-come-lately when it comes to folk. I occupied the Ensiferum / Finntroll bandwagon for a decade, but the Viking folk of Heidevolk came to me as a recent and pleasant surprise. They are not Bathory, not Korpiklaani, not Týr or Vintersorg, but the Dutchmen blend the aesthetics and strengths of each into one cohesive package.” Go folk yourself.
“Tribulation have been on an interesting career path as of late. While their early works could be loosely classified as Swedish death metal a la Entombed, the band gradually began to bring in other influences and become something else entirely. As of 2015’s The Children Of The Night, the band was taking cues from such diverse sources as Mercyful Fate and Sisters Of Mercy,, and seemed to have learned a few things from former tourmates In Solitude, with excellent results. I was curious about what Tribulation would do next, and with the impending release of Down Below, it looks like I’m about to find out.” Evilution.
“Everyone pictures themselves as the protagonist. Ask one hundred people what they’d do in a zombie apocalypse and they’ll all give you the same answer: survive. And yet, someone has to be that guy who gets mauled right near the beginning of the outbreak, or who foolishly stands near a window and is promptly eaten alive by the horde, squirming helplessly for their last miserable minutes. Nobody thinks they’re cannon fodder; that is something proven and earned by an individual. Paroxysm of Hatred, the sophomore release from Greece’s Rapture, have proven themselves to be just that.” No, not THAT Rapture.
“In 2014, Symphony X bassist Mike LePond brought his four strings of righteous fury to a new “solo” all-star project by the name of Mike LePond’s Silent Assassins, featuring (Symphony X) bandmate Michael Romeo, prominent session guitarist “Metal Mike” Chlasciak, and Alan Tecchio, reknowned vocalist of Hades, Watchtower, and Seven Witches (formerly). The foursome doled out a self-titled debut that was refreshingly powerful, while balancing potent original compositions with ultra-hooky selections from LePond and Tecchio’s erstwhile involvement in Seven Witches. Now, LePond, Romeo, and Tecchio are back as a trio with multiple guests to dole out a second helping of hard-hitting traditional metal inspired by whatever historical and mythological subjects happen to be kicking around in Mike’s head.” Mike and the Real Mechanics.
