“”Upharsin” is part of an Aramaic phrase seen in the Hebrew Bible, in which the words “mene, mene, tekel, upharsin” appear mysteriously upon the wall of the palace of King Belshazzar, which are interpreted by the prophet Daniel as foretelling the fall of Babylon and its dispersion to the Persians and the Medes. The rich religious undertone pervades the Polish Blaze of Perdition, not as a point of blasphemy but of portent.” Scripture written in blood.
“The Fisher Kings of Faroian metal are back and on the hunt once more with ninth album Battle Ballads, and all is right in the metalverse. Ever since these lads put the tiny Faroe Islands on the map way back in 2002 with their How Far to Asgaard debut they’ve been highly reliable purveyors of a unique blend of trad/folk/Viking metal that has no peer. 2019’s Hel provided highly entertaining and classy tales of swords and shields and I wanted more almost immediately. After a 4 years wait we finally get more from Týr.” Salt/sword life.
“If you haven’t heard an Ingested album at this point, it’s that you’re new to the scene as a nerdy metal aficionado or that you’ve actively avoided all music labeled as deathcore for the past fifteen or so years. Unfortunately, if you found your head bobbing in extreme reluctance at the whiplash grooves and squeal-driven breakdowns that adorn the newest Aborted release, you should probably consider checking out the odd act or two. Ingested’s 2018 release, as well as some of their earliest work, would be easy, enjoyable listening” Digest the Ingested?
“”In the name of the Code, and of the Sacred Disk, and the Holy System. Our Core, which art in Data, Hallowed be Thy Code.” These words adorn the lavish brochure you were handed as you stepped into the Keygen Church. There, behind the altar, stands the robopastor/technosorcerer Victor Love. You recognize him; our IT prophet Sentynel has lauded Love’s work in Master Boot Record twice, but now the doors to Love’s liturgical side project Keygen Church have swung open.” Room and motherboard.
“Two years ago, Athenar released perhaps his best album in Let There Be Witchery. And it’s one that I continually return to again and again. But this year’s Hellish Expectations strips everything back, delivering ten new songs in the shortest runtime of Midnight’s career.” LESS IS MOOOOOOAAAARRRRRR!
“Fewer combos in metal have spurred music in my wheelhouse as that of Ray Alder and Jim Matheos. Their union for Fates Warning’s 1988 release No Exit burst in the budding progressive metal scene with USPM histrionics and Rush-fueled narrative structure. Of course, that was near forty years ago. At sixty vs twenty, your mind (mostly) thinks differently, your voice cracks differently, your hair grays and may even thin. In the case of Alder and Matheos, while immune to the loss of hair, do fall in line to some extent with the other consequences of time. In the sea of time.
“Arizona’s Job for a Cowboy garnered significant buzz and division within the metal realms when they dropped their 2005 debut EP, Doom. The brawny slab of deathcore impressed those inclined, before gradually transitioning into a modern death metal act with tech leanings, largely dispensing with the core influences. Fairly nonplussed by the band’s earlier material, Job for a Cowboy’s pivoting career trajectory blindsided me on fourth LP, Sun Eater, released nearly a decade ago. Signature technical proficiency, testosterone-charged aggression, and bludgeoning, slickly produced modern death remained, however, the unexpected integration of progressive structures and complex compositions, offering a hefty thump of aggression and brutality, largely impressed.” Cow tipping, gun slinging.
“Those familiar with the band’s previous work will find it mostly unchanged here. Morne sit at the intersection of post-metal and doom with the residue of crust and sludge corroding any exposed surfaces. Structurally, they like to write a big, driving riff with methodical drums pounding away and then just camp on that for a while. Then they build a house there and put down roots.” Morne hasn’t broken.
“Sorcerer are back, and boy howdy did I need the sanctuary afforded by their classic epic doom sound after marinating for weeks in Autopsy’s gore-encrusted catalog! For those not familiar, Sorcerer haunted the Swedish doom scene since the late 80s without seeing a proper release until 2015s In the Shadow of the Inverted Cross. Though I was a fan of their demos and compilations in the 90s, I missed In the Shadow entirely and didn’t come back on board until 2017s The Crowning of the Fire King. That album’s loving tribute to the Candlemass school of epic doom blew my mind and ended up my Album o’ the Year. I still spin it often and it’s one of my favorite albums of the decade.” Wanded: Dead or Alive.
“I’d be lying if War Curse’s new offering didn’t take me aback. It is so different from anything they’ve done before that it took me a few spins to grasp. Like many bands before them, Confession will either be a stroke of genius or their weakest album.” Curse of evolution.
