“These guys create exciting and vital music that cannot be compared to that of Porcupine Tree. There’s a spontaneity here that is rivaled only by Boss Keloid – in fact, that’s a great comparison. O.R.k. may not be as heavy, but the quirkiness and unique delivery is there in spades, and Screamnasium is no exception.” Fewer quills, more thrills.
“U.K.-based “modern” doom act Famyne evaded my metal detector with their eponymous 2018 debut. I might have missed their sophomore outing too, had I not been desperate for some doom when skulking through the fetid promo sump on a dark and dreary night. Thus, I approached II: The Ground Below without context or expectation, and what I heard befuddled me for a good while.” Uncommon grounds.
“I’m struggling to think of a musical genre which so obstinately refuses to go away as traditional black metal. Despite the progression of 30 years since the ‘second wave’ style was crystallized by the lonely teenagers of Norway, new bands continue to produce metal which is entirely imitative of such teens. Wode, of Manchester, joined the fray in 2016 with their self-titled debut which was an especially mean and riff-dominated example of the sound. It was a powerful, if one-dimensional, release which was bettered by its sequel called Servants of the Countercosmos which wrapped intricate leads and dynamic song-writing into a more cohesive album. 4 year later and Burn in Many Mirrors is primed for unveiling, promising yet more tales of cosmic evil.” Wode to you of earth and sea.
“There’s little I enjoy more than boastful, vain-glorious chest thumping in a young band’s promo package, and the U.K.’s Celestial Sanctuary delivered just that, proudly proclaiming themselves the forerunner of a New Wave of British Death Metal. Strong words for such a young act with nary but a demo and single to their name, but can they back it up on their full-length debut, Soul Diminished?” Diminishing soul returns?
“Writing fresh introductions for black metal reviews becomes exponentially more difficult with each new attempt. Case in point: I have already written this entire review, sans introduction, because I had no clue how to introduce Superterrestrial. Like many modern underground dwellers, they revel in secrecy. Not only are the band members’ roles undisclosed, but information on The Void that Exists available online at the time of this writing is so scarce that Metal Archives has mistakenly categorized it as a two-track EP.” Mystery + apathy = Mapathy.
“Less is more. That little witticism has become the AMG mantra because it’s so very true. Most 75-minute albums are less enjoyable than a 45 minute version would be. Three Taco Bell Hard Taco Supremes are a better choice than six. It’s just how the world works. When it comes to the creepy stoner rock of Uncle Acid and the Deadbeats, this rule proves especially accurate. Though I loved their second album, Bloodlust and found their whole night stalker shtick endearing, I’ve never felt the same about any of their later releases. Wasteland is their fourth full-length and the recipe remains the same.” Creepy uncles and bad trips.
“Well I’ll be damned. It looks like your friendly neighborhood Steel Druhm swiped a King Diamond / Mercyful Fate worshiping band out from under the usually vigilant Doc Grier while he was sleeping with his back turned. U.K.’s The Heretic Order rock a kind of sloppy, sleazy mash-up of Kingly hits and meat n’ taters heavy metal, and they do so with the grace and subtlety of a gaggle of drunken bikers.” No order, no mercy.
“King Goat’s got a problem. Their debut made Record o’ the Year here at Angry Metal Guy dot Com, which means that they are gonna have a hell of a time besting their previous performance. In fact, for the most part, I’d argue that expectations are probably the bigger part of the so-called ‘sophomore slump’ than we give them credit for. And Conduit was a doozy of a full-length debut. So when King Goat got picked up by Aural Music, I was both excited for them and worried.” Heavy is the head that wears the goat.
“Like death and taxes, Mötörhead is an institution that can easily be taken for granted. For the past 40 years, it’s been an article of faith that A) frontman Lemmy Kilmister is a god in human form, and B) his band will release an album of consistent (if predictable) amphetamine-fueled rock ‘n roll every two years or so.” The band that beat up your grandfather is still around, and they want your lunch money.
“Oh no, not another folk metal album! Time to sit through tales of drinking, paganistic pride, the majestic Scandinavian forests, and- Oh wait, that’s not the case here? Okay, false alarm. Jokes aside, I do enjoy a healthy dose of folk metal. Sure you’ve got your standards like Ensiferum and Korpiklaani that are among the bigger folk metal names, but deep down inside there’s some really well-hidden gems in the scene. Unfortunately, it seems that with every decent folk metal band you find, there’s at least five mediocre ones. South Yorkshire’s Northern Oak falls in the middle of the greats and the wannabes, and it leaves them in an interesting place, considering how small of a band they are judging by the Facebook likes.” We like judging musical talent by Facebook likes. It’s what we do.
