“What’s this? Someone other than Dr. A.[1. bigail]N.[2. utjob] Grier reviewing a Mercyful Fate-worshiping release? Say it ain’t so! Well, sorry for all you King Diamond weenies, but it’s true. With the good Doctor tied up on other things, it falls to me to tackle this new album from Spain’s Witchfyre.”
“I can’t remember the last time I reviewed so many back-to-back black metal releases. But, no matter if it’s black metal or power metal, with so listening sessions of a single style of music, it takes awhile to snap out of it. I mean, Craft, Immortal, and Marduk have a shitload of albums to sift through. Though I know almost every one of them by heart, I never miss the opportunity to re-listen to a band’s entire catalog before beginning a new release. So, after hours and hours of listening to albums to better compare a new release to its predecessors, I’m free and now tasked with reviewing the debut album of a heavy/power metal band called Iron Hunter.” Iron up the metal!
“I hate to start off by being a Negative Nancy, but past the halfway point of 2018, I can’t squash the feeling that the year has been somewhat of a disappointment thus far when considering the plethora of metal releases that have dropped. Sure there’s been standouts and some genuinely very good to great albums, but these have been in short supply when stacked up against the sheer weight of albums that have filtered through the Angry Metal Promo pit. Of course, there’s plenty of time for the year to take an upward turn and blow us all away, and I for one am hoping the quality of death metal albums gets cranked up as the year progresses.” Less is gore.
“While I like many of the rethrash bands currently in the scene (Warbringer, Power Trip, Reign of Fury—to name a few), few bands have the energy and in-your-face attitude of the original scene. Spain’s Crisix don’t appear to write the hefty stuff, with smirks on their faces and whoopie cushions under their asses, but these guys can fuck shit up. Two years ago, these sonsabitches fell from the sky and roundhouse-kicked me in the nuts. And now they’re back to sac-tap me once more with Against the Odds.” Tapping the (main) vein.
“When the whole “symphonic metal with opera vocals” thing hit the world with Nightwish, I was intrigued and quite receptive to the concept. I enjoyed their first few albums, yet within a scant few years, the deluge of generic female-fronted clone acts had me running for more extreme climes and rarely have I looked back. That brings us to Last Days of Eden, Spain’s answer to Nightwish.” Symphony of the Night(wish).
“Where All Hope Fades is Ataraxy’s second full-length, following on from 2012’s Revelations of the Ethereal. With a promising title, and seeing Where All Hope Fades referred to as “gruesomely textured” harboring “a sense of deep-set misery, almost pushing the record into death-doom territory,” I felt compelled to check it out. What I sampled, proved an interesting nod to 90s era Finnish death metal with notable similarities to bands like Abhorrence and Amorphis.” Is the letter “A” the key to quality doom death?
“Of all metal subgenres, heavy metal is the one with the honor of regularly being used as a synonym for metal at large. Considering it’s arguably the oldest of the bunch, this should come as little surprise, but one could also argue the case for doom metal, which no one outside of the scene ever heard about. Is it then due to age, exposure, or just my own warped view that heavy metal seems to be the most stagnant of metal subgenres? I won’t say nothing fresh ever arises from its corner (Sumerlands is a fine example) but by and large, heavy metal bands today all seem like pale imitations of the golden boys from the 1980’s. Death Keepers don’t do much to change that impression with debut Rock This World.” Remember the old, those days were gold.
“If you ever wanted to hear nineteen-eighty-pick-a-year aped by some little shits who never lived through Cliff Burton-‘tallica, 2017 delivered in spades. Barcelona’s young bucks No Amnesty should have been getting their braces off at 15, not hitting the stage. Now older, wiser, and still ineligible for a beer in the US, the world is their öyster.” Thrash knows no age of consent.
“A Spanish band that’s been active since 1999, Vhäldemar released a pair of relatively well received albums in the early 00’s, featuring influences far-flung as Gamma Ray, Manowar, and Rhapsody. After independently releasing a couple of underwhelming records in the early half of this decade, they’ve found a new home with Fighter Records, a label known around these parts for harboring the disasterpiece that is Tales of Gaia’s Hypernova.” Power metal: Approach with caution.
“Unlike the more northerly regions of Europe, the Iberian Peninsula is not often thought of when the metal scene is considered as a whole. There are bands, many of them well-known and respected, but the area is not Germany or Finland. Thought of even less is the Galacia region of Spain. But all the same, it’s spat up a lively little melodic death three-piece (after some down-sizing) in Bloodhunter. The name might be a little silly, but the music is not, fusing a traditional Gothenberg sound with hints of mid-period Death for their sophomore album The End of Faith.” The Iberian conspiracy.
