“To non-metal listeners, all metal sounds hostile. Stray far to the edges of the dissonant and avant-garde in the genre, and you’ll find a breed that even experienced acolytes can struggle with. One’s first Portal experience is a conceptual case in point. From out of this dark corner of disturbing and unfriendly sounds, Hissing has emerged.” Crawling dread and slithering heads.
“Many of us know, I guess, that moment of extreme disappointment when you unwrap a prime steak you’ve been looking forward to, only to be greeted by the putrid smell of gone-off meat. “It makes no sense, I only bought the fucking thing yesterday,” you mutter darkly to yourself. That steak should have been good for another couple of days at least. “How could this have happened? Why did it have to happen to me and why today?” I can’t answer any of those questions—quite frankly, I have my own problems—but that foul whiff of putrefaction reminds of the rancid filth that emanates from the debut record of French four-piece Viande.” Meat tragedy and death woes.
“Believe it or not, it’s been roughly twenty-two years since the band’s last full-length. I know that LTE isn’t for everyone but it’s hard to deny the impressive instrumentation. Bringing acclaimed bassist Tony Levin on board took a potential this-is-just-Dream–Theater-without-James-LaBrie outfit, and made it mostly original. Sure, you can’t take the DT out of John Petrucci but, even then, it’s nice to hear the instruments without LaBrie’s voice.” Do androids dream of Liquid Tension Experiment theater?
“The promo blurb had promised me that Sarpa, although rooted in the black metal aesthetic, incorporates a lot of other elements, including some Afro/Latin rhythms! Have I got a blackened Sepultura on my hands or a misguided attempt to make world-music black metal?” Kitchen sink-core.
“What is the goal of Legacy of the Dark Lands? To my ears, it sounds the point of the album was to write a metal opera in the style of Blind Guardian. But what if the goal of Legacy of the Dark Lands, a thing that made sense at the time of its conception was accomplished between 2002’s A Night at the Opera and 2015’s Beyond the Red Mirror? What if, in the years since A Night at the Opera, Blind Guardian had developed their sound to be so unique and so orchestral that by the time Legacy of the Dark Lands was released, it was unnecessary and maybe even uninteresting?” S&M Part Deux.
“I come to my last writing engagement of the year off the back of reading Grymm’s humbling first post on mental health in metal – and the absolutely incredible reaction to that – as well as wrapping up my TYMHMs and agonizing over my year-end list. It feels somehow anticlimactic to return to ‘normal’ reviewing. That’s no disrespect, however, to today’s subject, a band formed way back in the early 90s in Portugal under the name Grendel, then becoming Geryous, before assuming their current and enduring moniker, Israthoum in 1998.” What’s in a name?
