“When I covered Necrophobic’s 2020 release, Dawn of the Damned, I spoke at length about what this band means to me as a reviewer and fan of heavy metal music. These guys singlehandedly got me into black metal, and when I hear other bands playing a similarly melodic, death metal-infused version of the genre, I can’t help but hold them up next to these guys, my personal archetype of what this style is supposed to sound like.” Necro-mongering.
“It’s almost four years since I reviewed French blackened death outfit Necrowretch’s fourth record, The Ones from Hell, a record I enjoyed quite a bit. Harsh, claustrophobic death metal with a nasty blackened edge, it was almost sludgy in its sound at times. I had a few minor quibbles about the songwriting and pacing of the record, and a bigger gripe with the production, but it remained a very good record. The band regrouped and began working on the follow-up, Swords of Dajjal, which was three years in the making. Having swept up a new drummer and bassist along the way, was it time well spent?” Burning swords of religion and rage.
![Sworn – A Journey Told Through Fire [Things You Might Have Missed 2023]](https://www.angrymetalguy.com/wp-content/uploads/2023/12/Sworn-A-Journey-Told-Through-Fire-01.jpg.webp)
“Hailing from Bergen, Norway,Sworn have been toiling away in relative anonymity since 2005. Two early, and frankly unremarkable, records were followed by a nine-year gap before the release of 2018’s very good, Dark Stars and Eternity. Melodic black metal with a ton of atmosphere, and sounding more Finnish than Norwegian for much of its run, the album was only really hampered by a slightly questionable mix. There is no question, however, that it represented a real step up in quality for the quartet when compared to their first two outings. Scroll forward to July this year and, still unsigned, Sworn dropped their fourth LP, A Journey Told through Fire.” The fire still burns.
“Sammath’s style isn’t my usual cup of tea, but Godless Arrogance still wowed me nearly a decade ago. Avoiding any pretense of variety, the Netherlands’ Sammath played war metal in the truest sense. Monotony can be hit-or-miss, but Sammath made it work through the emotive power of their music. Godless Arrogance both sounded and felt like being in the trenches during a losing battle. Its successor Across the Rhine Is Only Death shattered the underpaid Score Safety Counter in 2019, leaving me with high expectations for 2023’s follow-up Grebbeberg.” Back to the front!
“As someone allergic to major keys, I find a natural home with metal, which tends to focus on the minor, or indeed, dissonance. We’ve all heard non-metal-listeners in our lives pontificate about how angry metal sounds. We all also know that it can bring happiness no matter how nasty it seems on the surface. Allow me to introduce you to some extreme metal out to prove this with a vengeance. Spain’s Frozen Dawn make their Transcending Obscurity debut with LP number four, a slice of melodic black metal fizzing with rambunctious energy. Polished and fresh, yet still retaining an air of the dark, occult past.” Stay frosty.
“It’s a new year, and with it comes a sense of determination to make 2023 our best and most awesomest year to date. Part of that goal involves digging deep and cleaning out the Filter of the last dregs from the final months of 2022. We caught most of the notable gems in our promo sump, but as always there were those few that fell into the wrong chute. This, the first Stuck in the Filter of 2023, is a register of our semi-precious finds!” Who finds “precious finds” in the filter?
“I was hoping that Sarcator would be short for something cool like “Sarcastic Alligator” or “Sarcophagus Emasculator.” Sadly, it’s just an unforgivable portmanteau of Sarcófago and Kreator. I trudged on undeterred, enticed by the description of Sarcator’s Alkahest. These Swedes bill themselves as blackened thrashers inspired by ’80s German thrash, a shortcut to my listening queue. And it’s exciting to review albums by teenagers; they may be hit-or-miss, but nothing warms my shriveled heart like hearing youngsters trying to drive metal onward.” Young, dumb, full of Sodom.
“I’ve declared my undying love for Necrophobic (or Necrop4.0bic, as I affectionately refer to them) in the past, and I’ve described how their melodic blackened death sound was what paved the way for my burgeoning love of black metal. Mark of the Necrogram and “Tsar Bomba” left an indelible, five-pointed mark upon me, and I was absolutely delighted when follow-up Dawn of the Damned ended up being just as great or better. Between those two albums, I fell head over heels for the guitar playing of Johan Bergebäck and Sebastian Ramstedt, and I even went so far as to describe Necrophobic’s music as “blackened Judas Priest,” mostly because of that duo’s ability to infuse the band’s sound with classic heavy metal swagger. So you can imagine the violence of my excitement when I discovered that Bergebäck and Ramstedt had joined forces with Cryptosis drummer Marco Prij to form a pure black metal project named In Aphelion.” Are you Moribund?
“Esoteric concepts need some sort of well-endowed platform to rise above obscurity. Temple of Evil believes in the summoning power of their latest sermon Apolytrosis—an ancient Greek term for the concept of redemption through sacrifice. Hailing from the kvlt island nation of Cyprus, in the brutal waters of the Mediterranean Sea, Temple of Evil presents us with the familiar offerings of pummeling blast beats, furious tremolo riffs, and embattled barks—all with the melodic flair of other Hellenistic acts like Rotting Christ or Nightfall.” Small nation, big evil.
“Malice Divine is the brainchild of classically-trained Toronto musician Ric Galvez. The self-titled record finds Galvez handling the entire creative process and all of the performances with the exception of the drums. Known primarily as a lead guitarist in the Toronto scene, Galvez was excited about the opportunity to indulge in a solo project. But old habits die hard, and Malice Divine glistens like a guitar fan’s wet dream. Galvez combines the melodic blackened death sounds of Necrophobic and Dissection with the emotive soloing and progressive song structures of Death and the technical majesty of Wintersun.” Malice in Meloblackland.
