“Artificial Sun is a quartet from Athens, Greece, picking up where its previous short-lived incarnation Trigger left off, sporting a fusion of groove and metalcore with their debut The Giants Collapse. Expect bouncy riffs, technical leads, energetic drumming, vitriolic and soothing vocals, and nice moments of experimentation to go down slow.” Fake sun and old djent.
“Tales of Kreia continues the direction of travel from Wolf Clan through Book of Fate and sees Midgard build their Viking power-folk-meets-thrash-metal sound. Heavier than its predecessors, Tales is the first all-out fantasy record from Midgard.” You just got Loki.
“While this normally isn’t quite my cup of skull-pit-juice, these three Greeks have got some serious chops on them. I may not know what befell the erstwhile, but that’s neither here nor there—friends, we’ve got death metal to listen to.” Before the befell.
“I was going to take this week off. Contrary to what you might expect, being unable to go to a physical office (as I am) actually lowers the amount of music I consume on a regular basis. I’ve scarcely listened to anything that I’m not writing a review for in weeks, and it’s been starting to get to me. So I decided to take a break. No review-writing, just for a little bit. I came really close to pulling it off too, but a late addition to the promo pit piqued my interest, and all was lost. Theosophy had come, and the next thing I knew I was sampling the Russian quartet’s take on thunderous black metal via their fifth full-length, Towers of Dark Pantheon.” Time heist.
“At the risk of torpedoing my metal cred, I must admit I have a bit of a soft spot for Godsmack.” Flamethrowers, assemble!
With its (albeit impressive) focus on sprawling song structures and meandering songwriting, progressive metal just never tickled me pink in a way that’s really stuck. Serbian five-piece Dead Frog, who I can only assume repeatedly lost at Frogger, offers their own contribution, channeling in equal measure the progressive metal giants, the alternative rock of Linkin Park, the classic heavy metal feel of Iron Maiden.” Splat.
“Bands who churn up a variety of styles within their sound present some challenges to music consumers and the journalists who cover them. On the one hand they provide a host of talking points in a single review, while on the other they make it difficult to categorize and pigeonhole. And there is nothing wrong with that, per se. One glance at where heavy metal music has drifted from its 1970s roots is all it takes to affirm that these mash-ups of styles can and often do enrich the genre.” Genre pile-up ahead.
“During their halcyon years Metallica, Megadeth, Slayer and Anthrax loomed large over the thrash landscape, basking in success and spawning a fanbase so large it defied a horizon. But there existed a tier below the A and B-listers, bands like Allegiance, Heathen and Xentrix who eked out a modest existence built on solid albums supported by a coterie of eager followers. This is not a vein you’d expect a modern thrash band to mine for inspiration, yet that is exactly where Hellnite have chosen to strike their pickaxe with their debut album, Midnight Terrors.” Mine the medium.
“If you ascribe to the Arrow of Time theory, as AMG Inc. certainly does, you can never look back. Forward, always. A million-promo horde batters constantly at the wall, and only a brave few can stem the tide. So it’s the rare album indeed that subverts the laws of nature and demands you look backward. The Return is just such a prize.” Withstand the folk of time.
“Given that I have a great relationship with my father, didn’t get bullied in high school, and don’t hate my hometown, my qualifications to review nu-metal are basically nil. Alas, I’ve made my superiors here rather upset in some way, shape, or form and have been duly saddled with a Greek nu-metal opus in the form of Project Theory’s Something between Us.” Ouch.
