“The somewhat ominously titled…However, It Still Moves is the debut of Chilean death-doomsters Sporae Autem Yuggoth. Without being able to parse the Latin, but being informed by the promo material that theirs is a “Lovecraftian moniker,” all this adds up to quite a foreboding piece. This portent proves pretty accurate upon pressing play. What unfolds is an hour of spooky, synth-accented, gritty death metal that’s essentially funeral doom with a grimy low-fi production.” No sudden movements.
“I was an active metal listener for a good part of the NWoBHM era, but it seems for every Saxon and Raven there were countless smaller UK acts that never reached the ears of folks on my side of the pond. Weapon (or Weapon UK) were one of those “could have been” tales of a band in the early 80s that wasn’t able to launch that defining debut album in time. They had a single and a demo floating around in 80-81 and had some buzz but ultimately called it a day, not to pick up the sword again until 2011.” Ancient weapons in modern times.
“It’s been quite a while since I last reviewed anyone hailing from even close to my neck of the woods but, this week, I present for your perusal Servers. Hailing from Barnsley in South Yorkshire, UK, the band—the label blurb tells me they’re a quintet and then proceeds to name only three members—return with their fourth album, the follow-up to 2019’s Ad Nauseam. Servers take the title of The Vertical Plane from a book of the same name about the (apparently) infamous Dodleston mysteries in 1985.” To serve mankind prog.
“Failure Will Follow is the album The Acacia Strain was meant to make. The second of two albums released on the same day, it is a revelation, an enigma. Like its art counterpart, Step Into the Light is the glimpse into the narrow lens of a natural if not gruesome scene: a robin feeding its chicks gore. It’s primal and strange, but not out of the realm of possibility. Failure Will Follow is the revelation, the feeding of its chicks from the massive decaying body of a deer – a graceful creature laid to waste and taken apart, its majesty a memory.” Strain, repeat.
“The Acacia Strain has had an interesting career. While their breed of hardcore-tinged deathcore rattled skulls throughout the 2000s with albums like Continent and The Dead Walk, 2014’s Coma Witch and closing track “Observer” changed everything. Showcasing capabilities beyond down-tuned “djunz” and edgy lyrics, it set the path forward with purpose and prowess.” Double the Strain.
“I love Mystic Prophecy. What do I love about them? Everything. I love the excessive machismo of their aesthetic, the over-the-top badassery of their album artwork, their delightful ESL lyrics, and the way the band shoehorns the words “hell,” “devil,” “demons,” “Lucifer,” and any number of similarly sinister subjects (not to mention album titles from their own past and classic album titles from other greats) into said lyrics. But most of all, I love that Mystic Prophecy is hell-bent on keeping heavy metal fucking heavy.” Wicked Mystic.
“Death Unchained should’ve gotten the full Things You Might Have Missed treatment from me back in 2020. Nexorum’s relatively quietly released debut was a massive tour de force of unstoppable riffs, the likes of which complemented perfectly those of Vredehammer’s similarly massive Viperous, released that same year. To add insult to injury, I snubbed both of those awesome records from proper placement on my Top 10. Make no mistake, Death Unchained is an unqualified triumph of blackened death metal with some of the best riffs I’ve heard in the genre ever, and it never relents. Needless to say, I anxiously awaited the follow-up, Tongue of Thorns, to see how it stacked against the Norwegians’ inhuman opening salvo.” Every pose has its thorns.
“Sunbeam Overdrive as a name conjures the gaudy—a would-be leisure suit-wearing hotshot cruising down the coastal highway, top-down, sunglasses on, radio cranked. But the 90’s California kid in me hears this modern style of progressive metal that borrows more from aged successful radio-friendly acts like A Perfect Circle and Sevendust than anyone who plays in the more expected noodling and tricky rhythm definitions of the genre.” Sun’s out, prog’s out.
“Grief is both intensely personal, and a commonality between us all. This admixture of the private and the relatable can make music through which it is channeled incredibly powerful. In a genre like doom, already associated with the melancholy and the morose, these emotions fit naturally and reinforce both the sense of sadness and the potency of the music itself. The recent output of Swallow the Sun initially springs to mind. Death of Giants is another such act.” Giant feelz.
“Ah, the self-titled debut. Always a good start to your legacy as a new band. Iron Maiden and Black Sabbath are the obvious examples, but it remains a popular choice well into this century as evidenced by the legendary Taylor Swift. It’s not enough to carve out a legacy on its own though. A proper label goes a long way to rise above the middling plebs, and Smokey Mirror comes out strong with the backing of Rise Above Records. All the ducks are in a row for these Texan proto-metal newbies.” Smoke and RAWK.
