“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!
Metal Blade Records
North Sea Echoes – Really Good Terrible Things Review
“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.
Job for a Cowboy – Moon Healer Review
“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.
Morne – Engraved with Pain Review
“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 – Reign of the Reaper Review
“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.
War Curse – Confession Review
“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.
Cirith Ungol – Dark Parade Review
“Cirith Ungol always seemed mysterious and enigmatic to me as a metalhead growing up in the 80s. Their earliest output sounded like it came from a bygone age when Iron Butterfly and Alice Cooper were in their primacy, and no one else sounded anything like them. They were the most cult of bands and that made them all the more interesting. From the clumsy acid rock meets metal of 81s Frost and Fire to 84s massive, doomy, and epic King of the Dead, there was just something odd and fascinating about them. 1986s One Foot in Hell was more traditionally metal but the band’s unique character remained in full force. After a 5 year absence, they dropped the lackluster Paradise Lost and then vanished completely. Thus concluded the strange case of Cirith Ungol. Or so we thought.” No one expects the Cirith Inquisition!
Harm’s Way – Common Suffering Review
“Power. No, not power in the flamboyant nature of a curl-adorned Italian cosplayer wielding sword to fire-breathing dragon. Power. The fast-twitch response to anticipating joints bearing weighted-iron that engorges relaxed fibers with blood, with breath—this is where Harm’s Way lives. Straight-edge, hardcore, beatdown, just a few of the words that explain Chicago’s own and their method of compressed and concerted attack.” In gainz way.
Primordial – How It Ends Review
“”Is this how it ends?” “We are devoured by time.” The latter phrase is the first lyric on Primordial’s How It Ends; the former is one of the last. The champs of epic metal return with their first album since 2018’s Exile Amongst the Ruins and tenth overall. The new batch of material obsesses over endings and the concept of finality, filtering this preoccupation through Primordial’s long-established formula of galloping rippers and stately marches. The slab’s title and its themes reflect both the state of the world and, inevitably, the state of Primordial.” Glory fades.
Cannibal Corpse – Chaos Horrific Review
“Cannibal Corpse is a death metal institution, with their legendary status cemented in the death metal halls of fame. And a new Cannibal Corpse album still remains a big fucking deal in the death metal world. I can’t claim to be the rabid fanboy like a couple of my colleagues, however, I have a long-held history and respect for the band, so it is a sweet deal to pen my thoughts on their sixteenth (!) album, entitled Chaos Horrific.” Death walking chaos.