“Five years in the making, the Salt Lake City five-piece describe the recording of their self-released debut as a “form of catharsis for all of us … [following] painful realities and losing loved ones to cancer, we poured [out] every ounce of hurt, sorrow, mourning, remembrance, joy, and clarity…” And make no mistake, you can feel that emotion in the many moods of this record.” Riding the pine.
“Let’s start with the title of the band’s debut, Avant Garde. I guess it’s conceivable these lads genuinely don’t know what that phrase means. After all, it’s French. Then again, the band claims to be from the entire world, so. Point is, Avant Garde doesn’t test the outer edges of anything except this reviewer’s patience.” Is this real life?
“My review lineup had a fallow week in it and the promo blurb for Wraith peaked my interest with the phrase “blackened speed/thrash metal” with a “punk attitude.” In my head, this translates as something like Skeletonwitch playing The Exploited or Dead Kennedys covers. If this Indiana three-piece could only deliver on my own little fantasy there, I’d be up for that all day.” Absolute power corrupts absotutely.
“An amalgamation of sludgy riffs, frantic drumming, and some caustic vocals by Graham Christian that recalls a beloved British band with the word “iron” in their name, Cruickshank’s debut throws an awful lot of thematically disparate sounds together, but they mostly mesh decently.” Grind n’ shank.
“Pretend with me, for a second, that there is no god. If there wasn’t a god (or gods, for that matter), what an odd, peaceful existence mankind might have had. Think about the centuries of avoided wars and the countless lives spared. What if there were no bibles, no churches, no Jesus, no Virgin Mary, no resurrection, and no afterlife? What if everybody accepted death as an absolute end and lived every day to the fullest? Damn near every war fought has involved religion or a culture’s lack of understanding for another. So don’t tell me there isn’t a god. He’s real alright.” Lords of light.
“The smoke hasn’t even cleared from the battlefield that was the recent Sabaton opus, and here we go again with another over-the-top war-themed power metal album, this time by Israel’s Desert. It takes a certain amount of moxie for a relatively unknown act to drop their third album right alongside that of their nearest comparison point. Fortune Favors the Brave indeed. Desert does have a lot in common with Sabaton as far as thematic approach and overall bombast level, but they also sound a lot like Blind Guardian and Iced Earth. That’s quite a wicked trifecta.” Get sandy.
“Usually when we review albums, our readers have only our flimsy prose to rely on in order to make an informed purchase. Sure, we’ll embed a Bandcamp single or music video into the review in almost all cases, but those pre-release tracks are typically selected in order to quickly hook the listener, rather than to give a broad overview of the record in question. So then, what we’re doing with Grand Abominations, the debut LP of Philadelphia black/prog/thrash metal act Botis, is a bit of a treat: you not only get to endure my flimsy prose, but you also have the opportunity to explore the entire record ahead of its release.” Grand expectations.
“The term “nominative determinism” refers to the idea that people gravitate towards jobs that fit their names. The classic example is incontinence researchers Splatt and Weedon. My high school chemistry teacher was called Mr Burns. Band names, however, are generally the other way around: the name is chosen to fit the band’s sound, not vice versa, and you can learn a lot about most bands from their name. Clouds Collide is wonderfully evocative. You probably don’t need me to tell you they play atmospheric post-metal. It’s the personal one-man project of Chris Pandolfo, and I mean personal.” Cloudy with a chance of emotion.
“Every now and again we at AMG receive promo that defies genre classification. Out of those, one or two make us crazy trying to decide whether we even like it or not. This review marks the first time I get to experience said phenomenon firsthand. Black Passage, a “metalcore” quintet out of Bay Area, CA, are releasing their debut LP The Veil at the tail end of July.” Pigeons without holes.
“Sounds of a crackling campfire permeate the peaceful night air in the opening moments of Murk Rider’s debut full-length Exile of Shadows. Shortly thereafter, gentle acoustic guitar joins the comforting snaps and sputters. But this is no foreshadowing for a sprightly pass-the-mallow-style campfire sing-along. The addition of a creaking rope and unfamiliar bird cries contribute to generating a feeling of unease. The way Murk Rider draws upon sounds of the natural world to conjure a particular aesthetic makes it impossible to not be reminded of the haunting but soothing loon calls and melancholic folk instrumentation that start off Panopticon’s Autumn Eternal and precede a deluge of pummeling black metal.” Murking in the shadows.
