“Despite operating out of a state best known for metrosexual men wearing fake tans and engaging in post-modern mating dances for sultry females, Windfaerer prizes the mythology of the Iberian Peninsula and pays homage to such ancestry. Tenebrosum is derived from the Latin for “darkness” and with Spanish song titles, they certainly target a higher-brow audience than the aforementioned gentlemen.” New Jersey has turned out some classy music over the years, and it never stops surprising folks.
“Longtime readers may recall the genesis of my infatuation with Hope Drone in late 2014 when I featured them on the very first Sampling Bias (um, yeah I’ll do another one of those sometime) which covered the proud continent of Australia. I lauded their self-titled debut as ‘possibly the most devastatingly nihilistic recording I’ve ever heard, both instrumentally and lyrically’.” Relapse blurbed that little line, so does Kronos love Hope Drone’s newest record enough to merit a second blurb? Or did he fawn himself into a corner only escape-able through a good panning?
“To pilfer a phrase from the revered postmodern philosopher Christopher B. Bridges, “there’s something wrong if you can’t stand still.” If his words are to be taken at face value, Germany’s Thornesbreed must have sensed a problem in their sound. Consisting of competent but unexciting death metal, their 2003 debut The Splendour of the Repellent was followed up eight years later in 2011 by the 273.15 Degrees Below Freezing EP, which can, for the sake of expediency, be described as “Profanatica but not as good.” 2015 sees the band releasing their second full-length in the form of the enigmatically titled GTRD, marking another step in the band’s perpetual musical wanderings.” Wandering, meandering and change for change’s sake. Is that a recipe for success?
“Readers already familiar with my preferences will recall that on multiple occasions I have referenced Ulcerate as both pioneers of the growing experimental and dissonant death metal trend and the most creative band since Meshuggah. Bold words indeed, (pun intended), but in truth, Ulcerate’s last three albums have been so excellent that I had to update the seal of approval I placed on them to a walrus.” Can Dawn of Azazel win such a prodigious stamp or do they earn the dreaded Frowny Face of Kronos.
“I’ll fully admit that I have a soft spot for fun in my metal. After all, a man can only listen to Ulcerate growl about entropy, Triptykon purging Tom G.’s demons, and Kvarforth whining about how long it took him to clean out his bathtub after his fateful promo video (I don’t speak Swedish, so this is conjecture) so much, and even though I greatly enjoy all of those artists and listen to their great work regularly, sometimes a change of pace is needed. Enter Alberta’s Striker, and their excellent third album City of Gold.” For the record, bathtubs are a real pain in the arse to clean.
“When it comes to orthodox Swedish-style black metal (which I’ll call “orthodox black metal” for the rest of the review), explaining the general aesthetic is essentially pointless. I can call an album cold, frostbitten, grim, and evil until I turn blue in the face from hypothermia, but that won’t answer the one question readers have when they come to reviews: is this worth listening to?” Orthodox black metal for Christmas? I see what they did there.
“Ghost Chorus Among Old Ruins is the last album out this year that I expect to give a shit about, and what a loose, worm-riddled mass that shit is. Baring Teeth’s first offering, Atrophy, is a must for those who want to understand the future of death metal – discordant, abstract, disturbing and forward-thinking as a Rodin sculpture strapped to a freight train. If that intro didn’t get you reading, there’s nothing else we can do.
“If you’re anything like me, you’re super awesome. But more to the point, you would have been saddened by the split of blackened death metal troublemakers Akercocke a couple of years ago. Perhaps the UK’s most consistently entertaining extreme metal act of the last decade, they seemed to improve on every album, reaching a pinnacle on 2007’s Antichrist.” The band is gone, but the legacy lives on in a disturbing new entity.
“Intensity and drama unify my musical palette. As unalike as Count Bassie and Ulcerate are, they’re both able to serve up a shitton of excitement, albeit in quite different ways. But the differences between dramatic genres are still immense, which makes a Mono record quite the refresher in between this year’s big tech-death releases.” Here’s something a little bit different.
“One of the most frustrating trends in modern death metal is the influx of these so-called “cavernous” bands – groups that huddle together around the altar of Incantation, strumming buzzy nothing riffs over indecipherable grizzly bear vocals, apparently recording everything through two layers of drywall using microphones caked with dried mud. They’re all maniacally focused on conjuring a dark and otherworldly atmosphere, but utterly incapable of writing a single memorable song (I’m looking at you, Teitanblood).” Some people just don’t respect a good murk.
