“If you were to ask me how to do avant-garde black metal, I would point straight away to Dødsheimgard. The trajectory of their sound from raw second-wave fury to electronic, industrial, jazzy, experimental black has been nothing short of thrilling to witness. 2015’s A Umbra Omega—my personal entry point—set a new standard in the avant-garde metal scene, demonstrating the weird, wonderful depths DHG could conjure, fully realized.” Odd fellows unrest.
![Darkthrone – Astral Fortress [Things You Might Have Missed 2022]](https://www.angrymetalguy.com/wp-content/uploads/2022/12/Darkthrone_Astral-Fortress.jpg.webp)
“Darkthrone is the only early-days black metal band that’s kept me interested through the decades. In times when I care little for the vast majority of black metal releases, I’ll always give a new Darkthrone album a fair shake. That’s because over their 36-year career, Nocturno Culto and Fenriz always embraced change and took more risks than a degenerate gambler at a no-limits poker table in Macau.” Olde, colde, bolde.
“When one of the founding fathers of death metal wanders out of the cemetery with a new album, the dead heads of the world take notice. Autopsy is right there with Massacre and Death as a progenitor of this gruesome genre, and on 9th full-length, Morbidity Triumphant they remind you that this is their grave and you just play tourist within its rancid confines. And this new splatter scrapbook finds Autopsy shockingly vibrant, agitated and more rabid than on 2015s Skull Grinder.” Mess with bull, get the gore.
“Katatonia’s brand of depressive post-metal has not changed so much in the years since they released The Fall of Hearts. At its heart, the band’s sound is built around slow, lilting tunes in a minor key, with a clear and unaffected voice hovering above the fray.” So, has Angry Metal Guy’s Law of Diminishing Recordings™ finally caught up with these Swedes?
“Katatonia are something like my anti Pokémon: when I first discovered them, circa Viva Emptiness, I shared none of the love that the rest of the metalsphere had for the Swedes, and yet it and each subsequent album would eventually dig the band a little deeper into what’s become their home at the innermost depths of my heartcicle. Like the infamous pocket monsters ov yore, each successive Katatonia offering has introduced new defining elements to their makeup, constantly evolving and establishing distinct historical chapters in their wake. Today we revisit Tonight’s Decision, an album that bade farewell to Katatonia’s violent youthful tendencies and set them on a course for dark prog greatness.” They chose…wisely.
“Well, you always get what’s coming to you. Though I’m a faithful and unfaltering fan of everything Darkthrone, the band’s 2016 full-length release kinda ticked me off. Having dealt with Napalm and Frontier Record’s insistence on sending out stream-only promos to music journalists across the world, I was a little peeved when Peaceville did the same with Arctic Thunder. Everyone remembers it. And I said some things I shouldn’t have. But, I got over it. And so did everyone else. But, when talk of the newest Darkthrone opus, Old Star, rolled around, I was content with receiving another stream-only promo. I mean, fair is fair, right?” Damn the stream!
“We all know AMG‘s policy on supergroups, but if ever there was an act that continues to entice, it has to be the Swedish Modern Prometheus, Bloodbath, a band responsible for creating two of my very favorite death metal albums and reliably catering to all my HM2 needs. Our very own Steel Commander saw fit to furnish their previous release with a favorable review, and while I didn’t enjoy it quite as much, I can’t say they have ever truly disappointed me. Four years drinking deeply of the grave has re-energized the quintet to return and beguile those of a buzzsaw bent with another foray into the old-school.” Bloody arrows of death.
“I created my moniker out of a weird obsession with Akercocke. A close friend and I would muse over the lyrical and conceptual themes from Goat of Mendes, watch videos of the band being interviewed by Irish religious nuts, and generally make long-winded jokes over Jason Mendonca’s LinkedIn profile and his love for tweed and sophisticated exhibitionism. Beneath this was a love for the eclectic and unique extreme music that Akercocke crafted.” Tweed the demons.
“The process of quantifying quality is always a capricious thing. Contrary to nature, what I might allow for one band, I may use to vilify another, and we haven’t even begun to touch on the perils of genre favoritism — because, despite any reviewer’s very best attempts to consider a product on its individual merit, there will always be some material that I’ll subconsciously allow an extra furlong of leeway.” Media bias!
“Makers of what they have referred to as “shadowy,” “blackened,” and “industrial” noise, T.O.M.B. ask in their own language of exploding synthesizers what would happen if, instead of making music haunted and cinematic, someone collected everything haunted and cinematic about metal and made it musical. Literally, this is a group that has crafted an entire album from samples recorded at famous insane asylums, and here on their newest release, Fury Nocturnus, they do their best to convince listeners they have found an even spookier space.” An experiment in terror?
