“It’s March, so, naturally, the time has come to reveal what precious ore hath been harvested from our ever-filthy filtration system… in January. Now backed by the full might of the Big Guy Himself (patent pending), the workforce maintaining this system of gunk upheaval and refuse retrieval grows, and deep intimidation and torture tactics lift heavy to get butts moving and fingers typing.” Teamwork builds the dream… works.
“I don’t know what I’m doing here. I liked the title – I thought it sounded cool. Belarus is fun to say. You all know by now that I am not a brutal death kinda guy, so this will be a learning experience for everyone. Slams, crunchy riffs, sticky production, and a vocalist from hell combine for maximum vitriol, and I have never felt so bewildered in my life. How did we end up in track eight? We were just listening to track two. I’ve got my work cut out for me.” Death in effect.
January is generally known as a throw away month in the reviewing world. It’s my impression that labels often treat January as a down month following the Christmas holiday. As a result, good new music tends to be slim pickings most years. So, let’s hope that it’s a good sign that the first month of 2023 was uncharacteristically good. There was, in fact, plenty to be excited about! Keep reading to find out all about them!
“I have been waiting for this one for a long time. Way, way back in late 2016, when I had only been with the staff for less than 6 months and reviewing EP’s was not yet outlawed, I picked up Kazador by Flidais, a bite-sized portion of energetic prog-power with a cover so lilac as to be blinding. I enjoyed it quite a bit, thanks to the snappy hooks and enthusiastic vocal performance, and ever since I’ve been on the lookout for a proper debut full-length. Well, a plump 6 years in the making, that release is finally upon us.” Monkey pawed.
“Germany’s Obelyskkh have been knocking around for a while now, having dropped their full-length debut, Mount Nysa, in 2011. The Ultimate Grace of God is the band’s fifth album and comes five years after their last, with the intervening period seemingly beset by COVID- and cash-driven troubles that delayed it time and again.” Tardy but hardy?
“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.
“Why do these retro 80’s pop/metal knockoff records keep clogging the promo sump? And why am I the only one here willing to pry them out? And why do bands think it’s a good idea to keep making this schlock in the first place? Autumn’s Child is one of Swedish vocalist/muti-instrumentalist Mikael Erlandsson’s many projects. While not familiar with Mr. Erlasndsson before I dislodged Starflower from a tar-like mass of solo black metal projects,” Flowers in the 80s attic.
“The black/death/prog polymaths of Ashen Horde are back with Antimony, their latest subgenre-surfing full-length. The new one is a concept album that explores the unsolved Victorian-era murder of one Charles Bravo. Experts agree that Bravo perished from antimony poisoning, but his story spins out from there to embrace a cornucopia of credible suspects and motivations.” Clue Town.
“The middle of the Venn diagram of melodic and atmospheric is where I find my favorite kind of black metal. Sizzling with the energy and catchiness of epic tremolo refrains and blastbeating tempos, and shimmering with veils of synth. If it’s a good example at least. Hence, I rushed to pick up Inherits the Void’s sophomore record The Impending Fall of the Stars as soon as I saw the magic adjectives melodic and atmospheric applied to their black metal style.” Void estate planning.
“U.K. death metal strikes early in 2023 with a debut full-length from Seven Doors, the one-man OSDM project by Ryan Wills. With a horror-inspired theme and a firm grounding in the classics like early Death, Massacre, and Cannibal Corpse, Feast of the Repulsive Dead’s formula is riffy, relentless meat n’ tatters death designed to keep one foot on your neck and the other up your strata-chocolata.” Knock knock.
