“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.
“”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 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.
“I know this looks like the daftest thing imaginable, but stay with me here: this is actually brilliant. I have no idea what led to one pun escalating quite so far out of control, but here we are: the Nuclear Power Trio. Three guys in terrifying dictator masks, playing Latin fusion instrumental metal, brilliantly. Three years ago I loved their EP A Clear and Present Rager, which brought me in with a comedy video and immediately gripped me with the quality of the music. Wet Ass Plutonium is their debut full-length. Does an instrumental band teetering on the edge of being a novelty act have a full album in them?” Strong Mancore
“The Zenith Passage’s debut effort Solipsist crackled with a flame stoked by the identity that The Faceless set ablaze with dry and percussive pick spittings, alien-warble soloing, and sneakily grooving rhythm, but it wasn’t all so cut from the same cloth. Main mind McKinney even then seemed to have thoughts a touch more mechanical firing in his brain chamber.” Man vs. machine.
“It’s been a good, long time since we’ve heard from Swedish death metal royalty, Vomitory. From 1996 through 2011 they regularly assaulted the metalverse with high-quality material adroitly blending vintage Swedeath ideas with American death of the Floridian persuasion. It didn’t break barriers but it sure as hell busted skulls, and ghastly platters like Blood Rapture and Carnage Euphoria stand the test of time. Their last album, 2011s Opus Mortis VIII, was a great parting shot full of ripping riffs and bashing brutality, and they were sorely missed when the silence settled. Now 12 years later the beast arises.” Assume the hurling position.
“What can be said about Cattle Decapitation that hasn’t already been said about your local ax murderer? They’re disgusting, blood-soaked, and pungent, yet oddly endearing once you get to know them. Following a uniquely Carcassian career trajectory, ,b>Cattle Decapitation first plopped on the abattoir floor as a vegan-powered grindcore outfit with their first full-length in 1999. 20+ years and nine albums later, they’ve evolved into a celebrated death metal band with more melodic (yet no less bloody) sensibilities.” Meat is back off the menu, boys!
“Perhaps no metal band in history have had the second act that U.K.s Satan have these last 10 years. Everything they’ve touched has turned to gold, with 4 stunning albums of NWoBHM glory unleashed, most recently in the form of Earth Infernal. Apparently that Midas touch spills over to side projects as well, as Satan guitarist Russ Tippins’ collaboration with Tanith has certainly been noteworthy. Their 2019 In Another Time debut was an enjoyable love letter to 70s hard rock, and though it was a bit unfocused at times, it was a pleasant spin. Now Tanith is back with sophomore outing Voyage and everything has been improved, streamlined and laser-focused on twin guitar rock and the power of proto-metal.” Tanith your ass!
“Now into their fifteenth year, German four-piece Downfall of Gaia need little introduction, particularly for longer-standing readers of this venerable blog. We didn’t cover their first two records, Epos (2010) and Suffocating in the Swarm of Cranes (2012) but since then, Downfall of Gaia has had a very good run in the hands of the normally-highly-critical Mark Z., with each of their next three albums swanning off with a coveted 4.0.” Worst downfall ever.
“A death metal supergroup featuring members of Autopsy, Asphyx, and Hail of Bullets floating in the promo bin unguarded? I best grab that one for safekeeping! And so Steel didith claim the sophomore outing by Siege of Power. While their debut was a very uneven affair without truly memorable moments, what these super fiends opted to do on This is Tomorrow is much more interesting. There’s still a punky crossover vibe to some of the material, but there’s also a greater willingness to cross-pollinate genres and explore different soundscapes, making for a surprisingly diverse set of tunes.” Siege perilous.
