“Back in the primordial days of this here blog, we attempted something called “AMG’s Unsigned Band Rodeö.” The basic idea was to select a bunch of unsigned bands and give them the collective review treatment to find the most worthy buried gems. It was our humble effort to remind folks that the metal underground is still an important part of the world of metal.” Grabesfurcht in the morning.
“If there’s ever been a band that reeks of potential, it’s Harakiri for the Sky. Standing separate from twinkly genre-mates with muscular songwriting and a refusal to stagnate, these Austrians have released album after album of incredibly strong post-black that always hinted at true greatness but never quite achieved it.” Mære, Mære, quite contrary.
“Can art be updated? Once released, is a piece of art fixed forever, like chiseled stone? Or fluid, like the hobo wine in the AMG office dispenser? If an artist or musician takes an existing work, and makes changes, have they created an entirely separate piece, or merely created their preferred version? Austrian black metal band, Ellende, raises these questions with its latest (shhhhh) EP, Triebe.” Disastrous moments in filtration.
“Déluge is a French black metal/post-hardcore quintet, a demo and debut full-length Æther under their belt since their 2013 formation. Perhaps most similar to acts Downfall of Gaia or Celeste, Déluge‘s sophomore effort Ægo Templo is content channeling the worship of hyper-melodic post-rock-influenced post-hardcore or screamo acts like Envy, So Hideous, or Suffocate for Fuck Sake.” After France comes the flood.
“After a hazy binge of balls-to-the-wall classic heavy metal, I was pleased to see the latest offering from St. Petersburg’s Epitimia land in my inbox. Allusion is my first exposure to the melancholic group and after browsing their past discography prior to spinning this latest outing, I was eager to hear where this next descent into the otherworldly realm of beautiful violence would take them.” Cold comforts.
“Violence is as American as cherry pie, or so the great MLK Jr. once said. The genesis of this hunger for bloodshed has many roots, but an obvious one is the Wild West. A perfect storm of technological force, an insatiable desire for expansion, a fondness for guns, and laws that were… flexible. It was a violent time, and black metal is violent music, so it seems curious that these have never really been combined before.” of gunsmoke and corpsepaint.
“I see you sitting there, sipping coffee all judgmentally or taking a condescending dump on your break. You’re expecting the ol’ standby, but you ain’t gonna get it. You’re expecting me to call out that name Toadeater. Trust me, I know, it’s like a Princess and the Frog situation gone horribly wrong. But if you think I’m gonna rant, you’re wrong, buckaroo. Metal band names may be the first line of defense to size up the fortitude of your next blackened opponent, but I have the upper hand here.” Toad the wheat croquette.
“One of the countless awful consequences of COVID-19 has been music from artists having their releases delayed. Icelanders Dynfari were one of many victims of this. Their fifth album, Myrkurs er þörf (Darkness is Needed), originally slated for an April release, is only seeing the light of day now. For the uninitiated, Dynfari plays an organic blend of black metal and post-metal in the vein of Sólstafir and Agalloch. Their last LP, The Four Doors of the Mind, was a concept album chronicling the various human responses to profound mental trauma.” Therapy delayed.
“Italian duo Morwinyon formed in 2019 as a side project of post-black group Falaise, offering three full tracks and an ambient outro for an atmosphere worthy of its debut’s namesake – Pristine. Utilizing a synth-heavy ambient black metal template of Golden Ashes or Midnight Odyssey, there’s little new to be found. However, it revels in its saccharine melodic qualities, liberally serving serene soundscapes for the blackened escapist, even if it might only offer cavities and headaches to the more discerning listener.” Bittersweet.
“Phantoms Made Permanent is the sophomore release from Maine’s Eave. It follows their 2016 debut, Purge, and 2018’s EP, Banners to the Moonswept, which I — inadvertently — smuggled into a 2019 EP post. Since Banners, Eave’s original three-piece line-up has acquired a fourth member, with the addition of guitarist Gabe Shara, and they have moved across to Bindrune Recordings. When I wrote up the excellent Banners, I said that if that EP was a foreshadowing of what we could expect from the next Eave full-length, that was pretty exciting.” The future is now!
