“Many older bands, once established, will eventually coast by just on their name alone. Sure, they’ll cut a new album every few years, but it never lives up to their influential works of yesteryear. It’s often an excuse to go out on the road, play nothing but the classics, and bring home the money while also hocking wares that have nothing to do with the band’s original intent. England’s Killing Joke, however, are a unique beast.” The Joke is on you!
“I have a penchant for picking bands based on their names alone lately. For the most part, doing so has yielded some pretty damn good results. So when the Grymm Grab Bag™ belched forth The Camel, The Lion, The Child, the debut full-length from Seattle’s He Whose Ox Is Gored, you can say that I was a bit nervous. Long band name? Check. Nietzsche-inspired album title? Check. The sound labeled as “progressive doom”? Check.” Progressive doom is progressive… and doomy.
“Doom fans among you will likely know about New York’s Grey Skies Fallen, a vintage doom/death act that has been steadily improving their My Dying Bride/Anathema-influenced paeans to pain since the late nineties. Grind fans among you will likely know about New York’s Buckshot Facelift, a slightly less vintage hardcore/grind band that has been vomiting up vitriolic violence since the mid naughties.” But did you know they had a shared project? You didn’t, so don’t pretend you did.
“The Kontinuum… continues! Not to be confused with the tech death band Continuum reviewed here by Dr. A.N. Grier earlier in the week, Kontinuum are an Icelandic band that plays a multifarious blend of dreamwave and post-rock/metal with some inviting and interesting gothic undertones.” Is Iceland becoming the next Finland?
“Caïna certainly aren’t your typical black metal band, they’re not Norwegian, Swedish, American or French as you would expect. In fact, Caïna is the labor of heartache by Englishman Andrew Curtis-Brignell and his band’s discography is all over the map.” Constantly changing and mutating, this act is very hard to pin down. But Madam X has many pins and a will to win.
“Firstly, before I delve into the guts of this review, here’s a bit of context regarding the elaborate conceptual narrative San Francisco’s Giant Squid have once again crafted with their latest weird and wonderful musical trip, entitled Minoans. The Minoan civilization emerged on the island of Crete and thrived from roughly 2700 to 1450 BC. I’m not here to give you a fucking history lesson, but for those seeking to get the full engagement of another carefully constructed and highly ambitious Giant Squid concept album, there’s an interesting backstory behind this mysterious civilization well worth investigating.” I feel like we just got a fucking history lesson.
“Intensity and drama unify my musical palette. As unalike as Count Bassie and Ulcerate are, they’re both able to serve up a shitton of excitement, albeit in quite different ways. But the differences between dramatic genres are still immense, which makes a Mono record quite the refresher in between this year’s big tech-death releases.” Here’s something a little bit different.
“With Scotland potentially poised to proclaim independence from English rule in a very un-William Wallace fashion (ballots instead of broadswords), it seems only fair to highlight some Scottish music for a fookin change, eh? Today’s subject is Falloch, a folksy, relentlessly bleak post rock outfit that takes elements of traditional Scottish music and blends them with healthy doses of melodic, vaguely blackened metal. I suppose their sound could be described as Eluvilite mixed with Primordial and Agalloch, with some Enya thrown in for haggis and giggles.” Remember, they may take your dignity, and they may take your lunch money, but they’ll never take…your AMG!
“Just about every day, Angry Metal Guy pushes out a review of an upcoming or recently released album, producing press for the album whether we love it or hate it. It exposes readers to a lot of material, but disadvantages artists who aren’t putting out music at any given time. Given a small temporal window, this creates a very biased sample of the music scene. I love reviewing albums, but a lot of great and criminally overlooked bands are in between releases right now, and it kills me to see their hard work go unseen. So in order to rectify their invisibility, they’re being talked about here, where my shitty opinions have the outsized soapbox needed to fling themselves out onto the populace like fetid water from a fire sprinkler.”
“You have to love it when you work so damn hard on something for a while, and all of a sudden, without any reason or explanation, things start to gel together in a satisfying fashion. Not in that sort of “right place at the right time” bullshit, but rather the amalgamation of street-level honesty, soul-bearing sincerity, and watching ideas becoming fully realized right before your eyes and hands.” Is it coming together for Wolvhammmer or falling apart?
