The best albums of 2022 so far – April to June

We’re halfway through 2022 already. How on Earth did that happen? It’s true what they say, that the older you get, the faster time seems to fly by.

However, the good news is that it gives me an excuse to bring you a round-up post of my favourite albums that have been released in the second quarter of the year, between April and June.

In the same way as my post for the first three months of the year (click here to read that), I have listed the releases chronologically. The task of ordering them will come at the end of the year with my mammoth ‘Album Of The Year’ countdown.

On that note, here goes…

Meshuggah

Immutable

Atomic Fire Records

Genre:

“…you hopefully get the idea just how varied and dynamic this record truly is, and why I like it more than any other Meshuggah record in their now nine-deep discography. It may be a little too long but that’s literally the only gripe I have. In every other way, it’s Meshuggah. But more than that, it’s Meshuggah at their glorious best. And that means that with ‘Immutable’, we’re in the presence of heavy metal greatness.”

Check out the full review here.

— MoMM —

Treat

Endgame

Frontiers Music

Genre: Melodic Hard Rock

“It’ll be interesting to see what others come up with over the next few months but, as it currently stands, ‘The Endgame’ is far and away the best melodic hard rock album of 2022 so far. And it’ll take an awful lot for it to be beaten, that’s for sure.”

Check out the full review here.

— MoMM —

Soledad

XIII

Independent Release

Genre: Progressive Rock/Metal

“I’m so glad I was introduced to Soledad, because the French quartet have impressed me immensely with their ambitious, bold, eclectic, and slightly eccentric musical vision…listen to ‘XIII’ and, I hope, prepare to be entertained and captivated like I have been. This is easily one of the best progressive records of 2022 so far.”

Check out the full review here.

— MoMM —

I Am The Night

While The Gods Are Sleeping

Svart Records

Genre: Melodic Black Metal

“…the album takes me back in time and fills me with an infectious nostalgia, and for all the right reasons. This album reminds me in glorious technicolour exactly why I fell for this kind of music in the first place. And it does this because it is lovingly crafted and is of an incredibly high standard throughout.”

Check out the full review here.

— MoMM —

Evergrey

A Heartless Portrait (The Orphean Testament)

Napalm Records

Genre: Progressive Metal

“‘A Heartless Portrait (The Orphean Testament)’ is anything but Evergrey’s unlucky thirteenth record. Instead, it only helps to further underline their utter dominance and superiority in my mind, and hopefully in the minds of other fans too. A companion of mine for the last few months, the music on this album has given me strength, support, and the knowledge that I am not alone on this tumultuous journey called ‘life’.”

Check out the full review here.

–MoMM–

Zero Hour

Agenda 21

Frontiers Music

Genre: Progressive Metal

“…the six songs are chock full of exemplary musicianship from guitar, bass, drums, and vocals alike, just as we would all hope and expect from a band with the reputation that they historically have. To be honest, I’m just delighted that Zero Hour are back. The fact that they bring with them such an enjoyable feast for the ears is just the icing on the cake. Welcome back gents…”

Check out the full review here.

— MoMM —

Decapitated

Cancer Culture

Nuclear Blast

Genre: Death Metal

“As extreme metal albums go, ‘Cancer Culture’ has to be up there with the very best that 2022 has had to offer so far. Everything from the slightly disturbing cover artwork to the performances, and from the production to the songs themselves, Decapitated have returned with one hell of a bang. But crucially, the bang is not only thunderous, but it is intelligent, varied, and completely engaging from start to finish.”

Check out the full review here.

— MoMM —

Lord Belial

Rapture

Hammerheart Records

Genre: Black Metal

“It may have taken 14 years to see the light of day but as far as I’m concerned, it has been more than worth the wait. I absolutely love this album and, if quality black metal is a favourite of yours, then you will too. Without doubt, with ‘Rapture’, Lord Belial have released my favourite out-and-out black metal record of the year so far.”

Check out the full review here.

— MoMM —

Kreator

Hate Über Alles

Nuclear Blast

Genre: Thrash Metal

“It really is hard to fault ‘Hate Über Alles’ when all is said and done, because Kreator have well and truly delivered the goods once again. Power, aggression, venom, and spite collide superbly with expert songwriting, memorable melody, and irresistible catchiness to produce easily one of my favourite thrash records of the past couple of years.”

Check out the full review here.

— MoMM —

Seventh Wonder

The Testament

Frontiers Music

Genre: Progressive Metal

“Ultimately, I’m just delighted that Seventh Wonder continue to write new music. The fact that they have created another excellent body of music is the icing on the cake…it is so refreshing to hear Tommy Karevik once again unshackled and able to put his own unique talent to full use. When he is in full flow, there are few better vocalists out there…But alongside him are four more supremely talented individuals…As a result, ‘The Testament’ is, quite simply, a joy to listen to from start to finish.”

Check out the full review here.

— MoMM —

Kardashev

Liminal Rite

Metal Blade Records

Genre: Deathgaze

“With ‘Liminal Rite’, American quartet Kardashev have pulled the rug out from under me and sent me reeling. I said earlier that I feel like this record is a game changer for me, and I truly mean it. I love heavy music and I also adore strong melody; Kardashev have managed to combine the two in a way that I’ve never really heard before and I am left stunned and in awe of this album.”

Check out the full review here.

— MoMM —

Charlie Griffiths

Tiktaalika

InsideOut Music

Genre: Progressive Metal

“I had a feeling that ‘Tiktaalika’ would be good, but I wasn’t banking on it being quite this good if I’m being brutally honest. There is much to enjoy about Charlie Griffith’s debut solo effort, and I keep discovering new things with each passing listen too. No doubt it’ll appeal first and foremost to lovers of the guitar and the almighty riff, but given the diversity of the material and the quality of the songs themselves, I’m certain that the appeal of ‘Tiktaalika’ will be much wider, and rightly so.”

Check out the full review here.

— MoMM —

Exocrine

The Hybrid Suns

Unique Leader Records

Genre: Technical Progressive Death Metal

“Add to the package some seriously cool cover artwork, and a production that is crystal clear without detracting from the sheer power and technicality of the music, and you’re staring at one hell of an album. I love the way that bands like Exocrine have managed to open my mind fully to the magnificence of technical and progressive extreme metal, because it is a genuine thrill ride when you get to listen to music that’s this intense, this intricate, and this memorable.”

Check out the full review here.

— MoMM —

Darkane

Inhuman Spirits

Massacre Records

Genre: Death/Thrash Metal

“…I am delighted to be able to say that ‘Inhuman Spirits’ shows that this quintet have lost none of their ability, hunger, or bite. All that remains is my now heightened ambition to see the Swedes on a stage as I’ve never had the pleasure to date. In the meantime, won’t you all please stop what you are doing and wrap your ears around ‘Inhuman Spirits’, as Darkane are well and truly back.”

Check out the full review here.

I hope you enjoyed my choices…cheers!

Winds Of Tragedy – As Time Drifts Away – Album Review

Artist: Winds Of Tragedy

Album Title: As Life Drifts Away

Label: Belfry Records

Date of Release: 17 June 2022

Even in a day and age where it’s ever easier to have a quick listen to a release to see if you’ll like it, the artwork for a record still has a remarkable pull for me. There have been a number of great examples this year already, the likes of Spheric Universe Experience and The Midgard Project immediately springing to mind. On the other side of the scale, I nearly bypassed the new Tranzat album because the artwork didn’t appeal. And the same nearly happened here, too. ‘As Life Drifts Away’ is the debut album from Winds Of Tragedy, and the cover did not initially speak to me. Faced with hundreds of review offers, I skipped past this offering a number of times because the artwork looked a bit basic, and the logo was uninspiring. In short, the presentation didn’t resonate, so I disregarded it. Late one night though, I pressed play, and my opinions changed.

On closer inspection, the pink and purple painting that adorns ‘As Life Drifts Away’ (courtesy of Ameirican artist Sean Deloria Black Wolf) is better than I first gave it credit for. The logo still isn’t great, but now that I have taken a listen to the music, this all becomes something of a non-issue. Winds Of Tragedy is actually a largely solo affair, the creation of Chilean multi-instrumentalist Sergio Gonzalez Catalan who you may already know thanks to his work with Rise To The Sky. He is joined in his exploration of the black/doom metal realm by Portuguese drummer Emidio Alexandre Ramos, whilst the production was taken care of by Filippos Koliopanos (Aesthetic Soundscape Productions) based in Athens, Greece. Everything else that you can hear on this album is down to the skill and vision of Sergio Gonzalez Catalan.

‘As Life Drifts Away’ is not a perfect album. I happen to think that the production could have been even better than it is for a kick off. It’s organic and raw, which suits the music to a certain extent, but this melancholic and atmospheric black/doom could have sounded even better with a little more clarity, especially when the songs are at their fastest and most intense. Nevertheless, the sound does not wholly put me off at all. Having been a little disparaging of it, I will concede that the output is given a gritty, unpolished authenticity by the chosen production, so I can’t be completely dismissive of it.

Then, at around 38 minutes in length, you really want every single song to hit the mark squarely to ensure maximum enjoyment. But if I’m being hyper critical, that’s not the case here, with a couple of less engaging songs to be heard amongst the eight, including ‘A Place Of Sad Despair’.

Putting all of this to one side, I’m prepared to bet that if you spend a little while in the company of Winds Of Tragedy, you will fall for it, and may fall hard for that matter. And the reason for this is because for all the rough edges here, there is a brutal honesty that comes through in the music, as well as genuine emotion. This is then backed up by some aggressive black metal ferocity, doom metal muscle, and more than a touch of elegant melody for good measure. In fact, for me, it’s the despair laden beauty that elevates this album from being just ‘ordinary’ or ‘ok’.

Take ‘Stay’ as a prime example of the quality that is on offer within ‘As Time Drifts Away’. Ok, so the synth intro that is joined by the howling of wolves is a little on the cliched side, but once the first monstrous guitar notes emerge, all else is forgotten. The drumming is slower, and more sympathetic to the heavily doom-led nature of the song, at least at the outset. As the song develops, the mournful melodies only increase, enhanced by a greater use of synths and orchestration. The speed increases also, with faster beats acting as the counterpoint to the elegant melodies created by the sounds of strings and then the guitar. I love Sergio’s deep, guttural growl too as it is so impactful and fully committed.

With the howling of cold, unforgiving winds in the background, ‘Winds Of Ruin’ opens with some utterly gorgeous clean and acoustic guitar playing, a delicate, almost whimsical melody created in the process. Even when the full force of the black/doom metal onslaught bursts into life, the melody remains at the heart of the song, the thread that holds everything together so well. Therefore, as frenetic as things become with blastbeats and cold staccato riffing dominating, the elegance remains intact.

I challenge anyone to not get a slight tingle of satisfaction at the outset of the closing composition ‘Failed This Life’; that guitar tone and the notes that are played are delicious and wonderfully heavy as well, raising a bittersweet smile on my face.

The other positive about the songs on this album is that none of them outstay their welcome. Doom-infused music often has a desire to wallow in songs that last for what feels like aeons. Here, the average song length is somewhere around four-and-a-half minutes. The advantage of this is that, by and large, the music makes a strong impact, does its thing, and then lets another track take over. Yes, it means that the album is shorter overall, but that’s not necessarily a bad thing at all. It just means that I want to listen to the intensity, heaviness, and fragile beauty of songs like opener ‘Our Time Is Gone’ or the slightly longer ‘Everything Is Dying’ with its achingly sorrowful quiet introduction and ensuing lilting cadence of misery much more frequently than I otherwise might.

Rough edges it may have, but it is genuinely difficult not to be moved and entertained by the music on this debut for Winds Of Tragedy and Sergio Gonzalez Catalan. The blend of extreme metal in the form of black and doom metal, coupled with some achingly beautiful and resonant melodies creates a very pleasing final product. It may have more than a faint whiff of the 90s about it, but I call it nostalgia and, when it is executed as well as it is here, why bemoan a listening experience that is inspired by yesteryear? The positives far outweight the minor niggles I have, so Winds Of Tragedy and the debut album, ‘As Life Drifts Away’ comes with a heartily positive recommendation from me.

The Score of Much Metal: 86%

Check out my other 2022 reviews here:

Tim Bowness – Butterfly Mind

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Denouncement Pyre – Forever Burning – Album Review

Artist: Denouncement Pyre

Album Title: Forever Burning

Label: Agonia Records

Date of Release: 17 June 2022

It wasn’t until I was doing my research ahead of this release, that I realised just how many bands that fall into the black/death/thrash arena hail from Australia. The most famous of these is arguably Deströyer 666, about which I am at least slightly familiar. However, the list also includes the likes of Nocturnal Graves, Impious Baptism, and Destruktor to name but a few. And to that list, we must also add Denouncement Pyre. I’ll admit that I wasn’t familiar at all with the name, but I figured I’d give the fourth album of this Melbourne-based quartet a listen. It was a decision, if I’m honest, based on a combination of the cover artwork, illegible logo, and the fact that ‘Forever Burning’ finds itself on the relatively reliable Agonia Records.

As with many bands of their ilk, the quartet that makes up Denouncement Pyre are cloaked in anonymity. Mercifully they don’t have names like ‘Bludgeoner’ or ‘Havokwreaker’ – instead, it’s simply initials, namely D (vocals and guitars), T (guitars), R (bass and backing vocals), and drummer L. They talk a good fight, stating that the music on this album “represents a fiery will that cannot be broken…a homage to the triumph and tribulations of those who walk the path of fire. With the limitations of the mundane world fiercely aligned against us, we charge forth, unwavering, unbound! Forever Burning!”

I’m sure you’ll agree that this is essentially a middle finger attitude, aimed at all those that might seek to oppose the band and their brand of music. And as it turns out, the attitude and the music go hand in hand because ‘Forever Burning’ is a 40-minute barrage of unbridled menace, aggression, and bristling attitude. Not that this should come as any kind of surprise though, because none of us listen to this kind of music to learn more about fluffy animals or the delicate charms of garden fairies. Music that incorporates death, black, and thrash metal is meant to be nasty and full of spite. So strike one for Denouncement Pyre.

There is a great deal to like within ‘Forever Burning’, but if I am going to be 100% fair and honest, there’s just something ever so slightly missing overall which impedes some of my enjoyment. What you do get is plenty of cold, icy riffs in the minor key, lots of brisk and unrelenting blastbeats, a nicely rumbling bass, wild lead breaks and wailing guitars, and caustic, venomous rasping growls. There are even times when the music veers into slightly slower, more groove-oriented passages, or the band deliver a melody or two. It sounds like a great combination on paper, and the reality isn’t bad either. But it isn’t absolutely knocking my socks off and that’s a little disappointing.

After further reflection in an effort to untangle my thoughts on this record, I think there are a couple of reasons why ‘Forever Burning’ is just ‘good’ and not essential in my opinion. Firstly, I find the general unrelenting nature of the music, coupled with the production to be a little wearing. Even at the halfway mark, it feels like I’ve been listening for a lot longer than I actually have. And by the end, I need to give my ears a bit of a rest. That’s not because the music is too insanely heavy or overly extreme for my tastes. But when you take the rather abrasive-sounding production and add in fast-picked riffs and incessant double pedal drumming, it creates no small amount of fatigue within me.

I also think things would be far more enjoyable with greater variety woven into the music. When there’s a hint of melody or a slower, groovier section, I find the material resonates with me just a little more, creating some extra memorability. Take the opening title track as an example of all that is so right about Denouncement Pyre. It kicks off at a brisk pace with the black metal elements most prominent, especially when the lead guitar lines come in to add some frosty melody. But there’s a demonstrable thrash attitude which further manifests itself in a fast, wailing lead guitar solo. And later, the band inject a really cool groove that gets my head nodding appreciatively.

There’s a lovely melody-tinged solo buried deep within ‘Tongues Stretched For Salvation’ but the bulk of the song does little for me, even when some sampled voices are added to the quieter section to provide something a little different. The best song on ‘Forever Burning’ as far as I’m concerned is the charmingly titled ‘Burn This World And Start Again’ which benefits from a much greater degree of groove and has some melodic refrains and leads that prove that these Aussies can do it when they want to. I just wish they’d want to do it a little more often throughout this record.

Therefore, as solid and uncompromising as ‘Forever Burning’ undeniably is, I find that I am left just a little cold by it. I have literally no doubt that real afficionados of this style of music will rubbish my review and love every sadistic, hate-filled note. But I speak as I find and aside from a few of the tracks on offer, I don’t hear enough to allow me to wax lyrical about this album, or to add it to my collection.

The Score of Much Metal: 71%

Check out my other 2022 reviews here:

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Artificial Brain – Artificial Brain – Album Review

Artist: Artificial Brain

Album Title: Artificial Brain

Label: Profound Lore Records

Date of Release: 3 June 2022

I think that it is safe to say that this record has surprised me. I’d heard very little about Artificial Brain prior to being sent this promo opportunity, so I was expecting an album full of brutal and technical death metal, the kind that bulldozes whilst expanding your mind – that sort of thing. What I actually heard, was something quite different to that, and it has been a very pleasant surprise if I’m honest.

Mind you, when I say ‘pleasant’, I can see the band recoiling in horror and revulsion, because I suspect that ‘pleasant’ was not an adjective that the band were seeking to be attached to a review of their self-titled third album. Comprised of guitarists Dan Gargiulo and Oleg Zalman, guitarist/saxophonist Jon Locastro, bass/synth player Samuel Smith, drummer Keith Abrami, and vocalist Will Smith, the sextet play music that is designed to sit far and away from words like ‘pleasant’, and ‘nice’. Their offering is dark, harsh, dissonant, and aggressive, plundering the realms of death and black metal, with strong progressive elements. It has atmosphere oozing from every pore, as well as lashings of sinister, evil-sounding intent.

But, and here’s the thing, Artificial Brain also bring along with them their unwilling friend called ‘melody’. This friend may come kicking and screaming, but once in place, is an integral element of the band’s overall sound. It might be lurking in the copious shadows or interwoven into some downright nasty soundscapes, but it is there within many of the songs. And it is this melodic edge that has meant that this record has gone up massively in my estimations. Additionally, I recoiled when I saw that Jon Locastro is credited as a saxophonist on the press release. I had images of the compositions drowned in awful indulgent sax solos, but this is not the case at all, far from it in fact. As far as I am concerned, this is a major win for ‘Artificial Brain’, and I’ve enjoyed the experience of listening to it, uncovering everything it has to offer throughout.

On that note, this is not an easy album to listen to at the outset. I find the production a little muddy and distant at times to say the least. This may well be deliberate – almost certainly so – but it does detract a little from my experience, because I would have dearly loved a touch more clarity. Added to this, with such convoluted ideas, competing elements, and lots more besides, I didn’t quite know where to listen first. However, with familiarity has come understanding, and it is a less daunting experience now than it was at first.

Not only is the album a self-titled affair, meaning that the band would appear to be extremely proud of their efforts here, but right off the bat, the opening track is also the title track of ‘Artificial Brain’. It might only last for two-and-a-half minutes, but it packs one hell of a punch. A twisted gnarly riff, accented by minimalist bass and drum accompaniment, is joined by the deepest grunt that I’ve heard in some time. It signals the onslaught in the form of blastbeats, sickening bass, and vocals that are so low that they are barely audible above the swirling cacophony. Just when I’m thinking that this isn’t at all for me, in comes an impossibly catchy melody deep in the bowels of the song. I’m caught off guard, not expecting this chink of light in an otherwise thoroughly uncompromising track. I love it, and with more time, I have grown to love the punishing brutality that surrounds it.

It’s a similar story for many of the other nine songs that feature on this record, starting with ‘Glitch Cannon’. It starts off in impenetrable death metal fashion, but when it picks up speed and injects more of a black metal edge, in comes a fleeting but noticeable melody line that acts as the entry point for what is otherwise a dense,

The collision of black and death metal can be heard in gloriously muddy technicolour within ‘Celestial Cyst’, a track that has grown on me enormously over time. Initially, the piercing guitars were uncomfortable but, alongside the bass playing, deep growls, excellent riffs, and changes in pace and intensity, it has become an incredibly addictive composition that intrigues and excites me in equal measure.

Other tracks that are worthy of mention include ‘Tomb Of The Exiled Engineer’ which carries with it the air of the chaotic whilst at the same time being oddly accessible. If anything, this serves as a good description of the album as a whole. On the one hand, it feels impenetrable and hugely challenging thanks to the sheer heaviness and complexity on offer. But after a couple of spins through, the music becomes far less daunting and inaccessible thanks to the incisive songwriting that allows enough melody into the songs to help counteract the impossibly chaotic maelstrom of instrumentation elsewhere.

In the case of ‘Cryogenic Dreamworld’, the extreme metal onslaught is tempered by passages within the song that are melodic, bordering on the whimsical and gentle, entirely in keeping with the ‘Dreamworld’ portion of its title. It still hammers home the riffs and overall sonic destruction, but Artificial Brain allow listeners to hear another side to their music, a softer side. The same could also be said of the closing track, the wonderfully titled ‘Last Words Of The Wobbling Sun’ thanks to the elegant melodies that join forces with the occasionally discordant, frequently frenetic, and mostly thunderous core of the song. Even when the melodies are a little off kilter, there’s a charm to them that is undeniable, carrying me willingly to the finale of the track indeed, the album.

I must admit that I have been left very impressed by this album, for all manner of reasons. It isn’t perfect, but in a way, this only adds to the charm of the record. I like the deep guttural vocals, I like the chaotic nature of a lot of the material, and I like the technicalities, and the experimentation. But I love the use of melody most of all because it features cleverly, in a way that doesn’t negatively affect the music’s overall aggression or extremity. For all of these things, ‘Artificial Brain’ deserves the plaudits it will receive and demands to be heard by as many fans of extreme music as humanly possible.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

IATT – Magnum Opus – Album Review

Artist: IATT

Album Title: Magnum Opus

Label: Black Lion Records

Date of Release: 27 May 2022

This is my first experience of IATT, and I’m listening to ‘Magnum Opus’, their third album, having read some positive reviews elsewhere of previous records. I’m also taking the plunge because the band find themselves on Black Lion Records, a label that has released some very good albums in the last couple of years. Billed as simply ‘extreme metal’ in the press release, but it doesn’t take long to realise that this is a gross over-simplification. Within the music found on ‘Magnum Opus’ you can hear elements of black, death, and progressive metal, as well as plenty more besides. It is quite a daunting listen initially, as there’s a lot to get your head around, but once you get to grips with it, ‘Magnum Opus’ is definitely very rewarding. Except for one element, that is, that threatens to ruin the entire thing for me personally.

The Philadelphia-based quartet is comprised of vocalist/bassist Jay Briscoe, guitarists Joe Cantamessa and Alec Pezzano (who also handles the orchestrations), and drummer Paul Cole. Based on the content of this album, they are undoubtedly a talented bunch of musicians. However, on this ‘Magnum Opus’, they have enlisted the talents of a number of notable guest artists to further expand and flesh out their musical vision. These guests include Ben Karas of Windfaerer and Thank You Scientists fame who adds his violin to a handful of songs, Jake Superchi of Uada, who adds vocals to one song, and a guitar solo from Daryl Baker. So far so good.

And then it all goes a bit wrong. Jorgen Munkeby (Shining, Emperor) and Burial In The Sky’s Zach Strouse are enlisted as guest saxophonists on no less than three songs. And they are not small guest appearances either, as the sax is used extensively in each, either as an extended solo, or as frequent embellishments. No. No, and thrice no. I will readily admit that they are both highly talented individuals, and their contributions reflect this. And I also concede that it is purely my own taste that means I have a problem with the inclusion of the saxophone. But to me, the songs are made worse by their inclusion. I have tried, I really have. But I just don’t want to hear that instrument in the heavy metal. The odd song, I can stomach, but not three, and not this widespread and potent, I’m sorry. Yes, it’s my issue, but I have to be honest. I also want to be fair, so I will award two scores below – one for me, and one for everyone else.

It’s a real shame too, because I like an awful lot of the music on this record, and I hate the fact that the overall experience is compromised by the choices made. But if I’m reviewing an album, I can’t just ignore large swathes of it and pretend they don’t exist.

‘Magnum Opus’ begins in fine fashion too, with ‘Servitude, Subjugate’ exploding into life after an interesting violin-led intro. Throughout the course of the five minutes, we’re hit with savage blackened death metal led by fast-paced drumming, staccato riffs, and dry, rasping growls. But this is cleverly interspersed with moments of quieter reflection, or with out-and-out progressive experimentation, complete with strange sounds and textures woven into the sonic tapestry.

‘Ouroboros’ begins promisingly too, with a noticeable increase in the melodic offering. The vocals flit between the higher-pitched rasps and something deeper. But as we near the two-minute mark, in comes the saxophone of Jorgen Munkeby and I just lose all interest. Delivering both melodic passages as well as deliberately off-kilter sounds, it is present without pause for over a minute and then returns later. Not even the quiet, clean-guitar-led atmospheric section, which is beautiful by the way, can appease me, I’m that disappointed.

‘Prima Materia’ does its best to pull me back to the fold, and to some extent, it succeeds. The overtly Gothic synths that give the song a vague Cradle Of Filth feel are a nice touch, but not overdone, whilst the guitar riffs and blastbeat drumming push the track into greater black metal territory than anything else. What I didn’t expect was the mid-song shift into beautiful but dark melodic opulence that has me grinning from ear to ear. And then, for the love of God, more blasted sax, this time courtesy of Jach Strouse. Seriously? The only saving grace is that it is well played, but isn’t present for too long. And when the guest solo from guitarist Daryl Baker hits, it just emphasises how much better this instrument fits the music than the saxophone.

Tracks such as ‘Elixir Of Immortality’ and ‘Demiurgos (Architect Of Disaster)’ are well-crafted affairs that bring much positivity to proceedings. The former is a slower, more atmospheric track for much of the time, but isn’t shy of mixing up the pace at points, as well as increasing the intricacy when required. The latter is much more aggressive, and faster in tempo, as well as a touch more avant-garde with an odd but satisfying mid-section that features an incredibly bold synth solo amongst other things.

One of my favourite tracks however, has to be the delightful ‘Exculpate, Exonerate’ which features a wonderful cameo from violinist Ben Karas, but which is also one of the most immediate compositions on ‘Magnum Opus’ thanks to arguably the strongest and most overt melodic sensibilities on the entire record. Even when it veers into more progressive climes, the melody remains, which I find very impressive.

‘Planes Of Our Existence’ would be another great composition if it wasn’t for…well you know the rest. At the half-way mark, there’s a marked increase in atmospheric, epic melody which catches my ear only for my excitement to be deflated by another couple of minutes of intermittent saxophone embellishment. ‘Seven Wandering Stars’ by contrast is awash with dextrous, wonderful lead guitar work that only makes me wish that more of the solos could have been guitar-led.

By now, you are no doubt bored of me and my personal soapbox, so I will conclude this review by saying that if certain instruments don’t put you off, you will find a great deal on this latest album from IATT to entertain and intrigue you. Blending a multitude of ideas together as they do is not easy, but by and large IATT are successful with their endeavours. I just wish they’d not made a couple of the choices that they have here. Oh well, I’ll just have to wait until the next album to see what IATT come up with next.

The Score of Much Metal: 68% (85% for everyone else)

Check out my other 2022 reviews here:

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

I Am The Night – While The Gods Are Sleeping – Album Review

Artist: I Am The Night

Album Title: While The Gods Are Sleeping

Label: Svart Records

Date of Release: 6 May 2022

Are you a fan of 90s melodic black metal in the Scandinavian tradition? Do you like bands like Emperor, Dissection, Mayhem, and Immortal? If your answer to these questions is a resounding ‘yes’, then you need to read on, because this record is for you.

I never like to use the term ‘supergroup’, but there’s a strong argument to use it here, because I Am The Night features some familiar names in metal circles, albeit not necessarily connected most strongly with black metal. I Am The Night is comprised of Omnium Gatherum and Insomnium’s Markus Vanhala on guitars, ex-Omnium Gatherum member Janne Markkanen on bass, Horizon Ignited’s Okko Solanterä on vocals, and Paradise Lost drummer Waltteri Väyrynen. Salivating yet? You should be.

The first thing that hit me when I checked out the promo was the artwork. It sounds daft, but the cover immediately stirred something within me. It harkens back to the likes of ‘Storm Of The Light’s Bane’ with its frosty, cold, blue palette and shrouded central figure. Without knowing anything about the clientele involved, I knew that this was a record that I simply must check out.

My senses were proved right, too, because this record is the real deal. The intro to the whole thing, the title track, might only be a little over two minutes long and a largely instrumental piece in the best black metal traditions going back aeons, but the tone is set immediately, and you just know that what’s to come is going to be good. The guitar tone instantly evokes the frostbitten soundscapes with which we are all very familiar, whilst the slow tempo creates a sense of eerie malevolence, built upon by the keys that only help to increase the foreboding, evil atmosphere.

‘Hear Me O Unmaker’ however, is the point at which I fell in love with this record. It has that classic 90s sound to it, that’s created by icy, claustrophobic guitar riffs, layers of synths, and a driving tempo led by fierce drumming. The shifts in pace and the transitions between sections are smooth and really add to the drama, and the aggression that’s palpable throughout. Solanterä’s growls are an ideal accompaniment to the malevolent atmosphere, gritty and nasty, as he spits his diatribes about the strength of the night, and the powers within the darkness. The whole thing is so infectious, especially when you add the majestic melodies that are memorable without undermining the dark nature of the composition.

The last time I so thoroughly enjoyed the screeching, wailing harmonics of a lead guitar as heard within ‘Dawnbearer’, I was listening to the almighty ‘IX Equilibrium’ album by Emperor. For the majority of this track, the assault is relentless, with drums and guitars seemingly trying to outdo each other for sheer pace and freneticism. However, in the second half, the pace slows, allowing the ever-present layers of keys to come even more to the fore, creating some sensationally sinister atmosphere, only added to by a deep voice reciting the The Lord’s Prayer. But it’s the tone of the guitars that steals the show at this point, as they are so delicious.

I Am The Night 2021. Svart Records. From left Waltteri Väyrynen, Janne Markkanen, Okko Solanterä, Markus Vanhala. Photo by Terhi Ylimäinen

Anyone missing Dissection will drool when ‘Ode To The Nightsky’ begins, as the intro is pure Nodveidt and co. The way the track then explodes alongside the evil screams of Solanterä is dark, heavy poetry, as is the entire track if truth be told, as the keys bathe everything in a blanket of cold, impenetrable darkness. I’ve always been a sucker for deep, monastic-style choral vocals and these make an appearance too, just underlining the excellence of the track in my humble opinion.

There’s a surprising amount of variety to be heard across the eight tracks too, with ‘I Am The Night’ a much more groovy affair, at least to begin with before descending into another frigid, icy attack that’s just pure nectar to those of us who like this 90s style of black metal. The whole album is well paced and keeps me interested as I listen, all the while delivering riffs, blasts, and growls, that harken back to one of the most exciting times of my life in terms of musical discovery. The band, in the press release, talk about their love of this music and they seem to have had a great time in recreating their own slice of this magic.

The love certainly shines through too, and nowhere is this more keenly felt that within ‘The Owl’ that encapsulates everything that can be so good about this music; the cold, fast riffs, the frantic drumming, the layers of dense atmospheres, elegant and majestic melodies – it has everything I want and more, including a quiet section where the metallic elements drift away to be replaced by a resplendent synth-led Gothic sequence, complete with the hooting and screeching of owls. With the addition of more choral vocals, it has become one of my very favourite songs on an album chock full of great music.

The only criticism that I could possibly level at this album would be that it literally offers nothing new to the metal scene. However, this is also as much a strength as it is a weakness. I Am The Night is a band that came together deliberately to pay homage to a style of music that all of these musicians hold dear, and there was never any intention to reinvent anything. And the fact is that ‘While The Gods Are Sleeping’ has got me excited in a way that is wonderful; the album takes me back in time and fills me with an infectious nostalgia, and for all the right reasons. This album reminds me in glorious technicolour exactly why I fell for this kind of music in the first place. And it does this because it is lovingly crafted and is of an incredibly high standard throughout. I could – and indeed have – listened to ‘While The Gods Are Sleeping’ over and over again and it hasn’t lost any of its magic. This is the real deal folks, you need this album in your lives.  

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Watain – The Agony And Ecstasy Of Watain – Album Review

Artist: Watain

Album Title: The Agony And Ecstasy Of Watain

Label: Nuclear Blast

Date of Release: 29 April 2022

Welcome to another thrilling instalment of ‘bands that Matt knows about but has, for one reason or another, never really gelled with’. It’s thrilling, I tell you, thrilling. Anyhow, the band to be discussed today, is none other than Swedish black metal band Watain. In spite of my love of black metal, this is one of those entities that has never lit the flame to ignite a fire in my belly. I’m hoping that album number seven from Watain will be the catalyst for a change.

Entitled ‘The Agony And Ecstasy of Watain’, I initially wondered whether this was a ‘best of’ or a live album. But, on closer inspection, it most definitely is not; this is a studio album full of original material and that means that I can dive deeply into it and offer a review.

And dive deeply I certainly have, listening intently for some time. And, for the most part, it has been an intent listen because of enjoyment, rather than obligation. That’s always a good sign, and I’d say that ‘The Agony And Ecstasy Of Watain’ might just be album to bring me fully on board with the band finally. The album still sounds like Watain, but there are strong links to bands like Dissection and Emperor within the compositions, not that this is any way a bad thing, because I love the music those bands produced.

A word on the band themselves would be useful at this juncture, because ‘The Agony And Ecstasy Of Watain’ is the first record since the band’s inception in 1998 that has been recorded live with a full line-up. Normally the creation of a trio formed of P. Forsberg, E. Danielsson, and H. Jonsson, Watain are joined this time in the studio by A. Lillo, H. Eriksson, and E. Forcas. Personally, I think that this has paid dividends on the final offering, because this sounds like it’s the most well-rounded, aggressive, and powerful collection of songs from the Swedes in a very long time, possibly ever as far as I’m concerned.

What’s also very interesting, is the way that Watain are able to mix up the pace on this record, allowing an all-out frenzied attack to follow or be followed by something much more measured in tempo, thus allowing more by way of atmosphere into the music.

The faster material features those well-known and well-loved fast-picked, staccato riffs, blastbeats, and savage vocals from Danielsson, as ably demonstrated in one of the later tracks on the album, the well-named ‘Funeral Winter’. It’s a blistering black metal assault featuring cold, scything riffs from the guitar duo of P. Forsberg and H. Eriksson that send a chill down the spine. The drumming is a relentless barrage of power from E. Forcas, backed up by bassist A. Lillo, although the mix does mean that he goes missing a little when the music is at it’s most frenetic. There’s even a chance for some dark atmosphere to creep in, thanks to a short-lived moment of creepy, eerie calm that halts the onslaught momentarily.

The opening track, Ecstasies In Night Infinite’ is another exercise in all-out aggression and venomous intent, beginning the album in a blood-and-thunder manner. It contains all of the savagery referenced above, but with added maniacal power thanks to some wailing lead guitar work that genuinely threatens to spiral out of control at any moment. There’s also some subtle melody at play beneath the tumult that gets more pronounced and effective with repeated listens.

That said, if I was asked to choose, I’d say that my favourite material on this record occurs when the accelerator pedal is lifted a little. It’s not an awful lot slower overall, but ‘The Howling’ features periods where melody and groove enter the fray to really wonderful effect. It’s here and within the riffing found on ‘Leper’s Grace’ that I hear those Dissection references most keenly. I have a definite soft spot for flamboyant musicianship too, so to hear the various drum fills, furious bass, and a myriad other small ingredients, is something I very much enjoy.

It’s within tracks like ‘Serimosa’ and ‘We Remain’ where the pace is deliberately slowed, and in so doing, the atmosphere is palpably increased through the judicious use of synths unless my ears are deceiving me. In the case of the former, it has a pronounced stomp that has an inexorability about it, as well as a very dark countenance that allows vocalist E. Danielsson to take centre stage somewhat whilst the music churns malevolently alongside. The latter sees not one but two guest vocal performances, as it features Farida Lemouchi (Molasses, ex-The Devil’s Blood), and Gottfrid Åman (PÅGÅ, ex-In Solitude). Musically, it has a much more pronounced doom vibe to it, easily the slowest song on the album, but no less impactful for it. The disconcerting sounds that flit around the edges only adds to the evil atmosphere that’s created, whilst the melodic aspect that emerges just after the halfway mark is incredibly powerful, complete with clean guitars and ethereal choral voices, begging repeated listens which I duly undertake.

For all that, I would have to say that, currently, the song ‘Before The Cataclysm’ is my personal favourite. I like the heaviness and power that the song brings, plus the tempo gets the head moving in some kind of cult-like unison. The song moves smoothly between a measured mid-tempo and bursts of speed, whilst the melodies that are introduced later on are out of the top drawer too, bringing another element to the table that I find rather irresistible. But it is a genuinely close-run thing as there are plenty of great songs here as I have hopefully got across within this review.

You know what they say, seventh time is a charm! At the seventh attempt, Watain have delivered an album that I can get on board with fully. They say in their press release that ‘our work is a celebration of the chaotic, the sublime, the sacred, the insane and of the triumphant ecstasy of the free spirit.’ Fair enough gentlemen, but you have also made some great black metal music on this album along the way, and that’s what I find most important at the end of the day.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Incandescence – Le Coeur De L’homme – Album Review

Artist: Incandescence

Album Title: Le Coeur De L’homme

Label: Profound Lore Records

Date of Release: 15 April 2022

I can’t believe that I nearly missed this album altogether. I have a bulging inbox full of promo invitations, but this was not one of them for some reason. Thankfully, when it came up as a recommendation on my social media timeline, I didn’t scroll past and I’m now able to bring you my review, albeit a little after its release.

The reason why I’m so relieved is because, for those of you unacquainted, Incandescence is a Canadian black metal band, bordering on the blackened death fringes, that features the talents of Beyond Creation drummer, Philippe Boucher. In fact, Boucher is the only original member as Incandescence is his baby. In the live arena, there are numerous names past and present who have filled the various roles, but in the studio, Boucher not only plays the drums, but he also handles the bass and guitar duties. In 2018, original vocalist Dystre Fjell was replaced by Louis-Paul Gauvreau, meaning that album number four, ‘Le Coeur De L’homme’ once again sees Boucher and Gauvreau dishing out their particular brand of black metal, as with ‘Ascension’ before it.

And the Incandescence brand of black metal is one that I like, too. No keyboards, no synths, no orchestration either manufactured or real. Everything you hear on ‘Le Coeur De L’homme’ comes from guitars, bass, drums, and vocals. Nothing else. And yet, as I listen, there’s a palpable sense of atmosphere that seeps through into the compositions. Not only that, but there’s just enough minor-chord melody to keep me interested as well.

In fact, I have to wonder, as I listen, why the band aren’t better-known because there really is a lot to like about ‘Le Coeur De L’homme’. For a start, if you’re familiar with Beyond Creation, or previous Incandescence records, you’ll know that Bucher is a beast behind the drum kit. And never is that brought into sharper focus than on this album. If you have a weakness for blastbeats and impossibly fast drumming, then you need to hear ‘Le Coeur De L’homme’ because it will be wall-to-wall aural nectar to you. Some of the fills and rolls are glorious as well as mind-boggling.

Then there are the vocals of Louis-Paul Gauvreau, which are properly vicious, finding themselves more towards a deep death metal growl than a high-pitched black metal shriek. But when the mood takes him, he can scream with the best of them. And, at around forty-two minutes and comprised of eight tracks, the album is perfectly positioned to make the biggest impact without leaving the listener either fatigued or feeling short-changed.

Clean but foreboding guitars open proceedings, but it isn’t long before ‘Avilissement’ erupts, and we’re hammered by furious blast beats and a flurry of fast-picked black metal riffing. With a couple of listens under my belt I can begin to hear the subtle melodies at play, and with another few spins, I can really enjoy them, whilst Boucher dominates the track with a drumming masterclass. It is this that’s also a slight negative too, because there’s a trend as the album develops, that the drums do take centre stage to the detriment of other elements occasionally. This isn’t surprising given that Boucher is a drummer first and foremost, but it’s something worthy of mention nonetheless.

The intro to ‘Tréfonds Macabres’ is utterly marvellous; sinister and darkly melodic, with the flamboyant drumming enhancing the experience. Again, from there, it’s a four-and-a-half-minute track dominated by blasts, with the caustic growls of Gauvreau prominent throughout. As with the opener, the more I listen, the more I can pick out the melodic aspect of the material woven into the more immediately discernible tumult. There’s even a nice mid-section where the pace is slowed to allow greater atmosphere and variety into the composition.

To a greater or lesser extent, this is the chosen path for the majority of ‘Le Coeur De L’homme’, although it’s nice to report that tracks like ‘La Descente’ and parts within ‘Avide De Cris’ are prepared to slow things down a little to hit us with something a little more considered and powerful in a different way.

However, Incandescence leave the best to last. The final two songs are both over seven minutes in length and quite possibly contain the best material on the entire record. The intro drumming to ‘La Spirale De L’échec’ is absolutely insane, but it soon gives way to a clean guitar passage that’s a welcome moment of respite before we’re plunged back into more aggressive climes. And, as the song develops, unless my ears deceive me, we are treated to the boldest and most arresting of melodies found anywhere on ‘Le Coeur De L’homme’, with the bass taking a front seat at points and a lead guitar solo, both of which I find immensely gratifying.

With closer ‘Desacralisation Des Moeurs’, the focus seems to be more on changes in pace, dynamics, and atmosphere. And with the slightly extended run-time, there’s more opportunity to explore ideas. So, whilst it’s another heavy, uncompromising track, there’s plenty of slower-paced material that allows a dark and evil atmosphere to envelop the music. It’s certainly the most varied and nuanced of all the songs, something that I personally believe works in their favour.

I would have loved this album to have had a slightly better production because the drums do dominate a bit too much in places, whilst the material can threaten to become a little messy when at its most extreme. I’d also love to have heard a little more experimentation and frivolity with the guitars and bass if I’m being very picky. But these comments aside, I have to say that ‘Le Coeur De L’homme’ is a most enjoyable slab of heavy, aggressive, yet melodic black metal from Incandescence. I’d certainly urge you to check it out if black metal is your thing, because I’ll be very surprised if you don’t like what you hear.

The Score of Much Metal: 83%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

Soledad – XIII

Viande – L’abime dévore les âmes

Credic – Vermillion Oceans

Postcards From New Zealand – Burn, Witch, Burn

Darkher – The Buried Storm

Treat – The Endgame

Bjørn Riis – Everything To Everyone

Destruction – Diabolical

Et Moriemur – Tamashii No Yama

Angel Nation – Antares

Wolf – Shadowland

Denali – Denali EP

Centinex – The Pestilence EP

Meshuggah – Immutable

Chapter Of Hate – Bloodsoaked Decadence EP

Ancient Settlers – Our Last Eclipse

Tranzat – Ouh La La

Playgrounded – The Death Of Death

Father Befouled – Crowned In Veneficum

Abbath – Dread Reaver

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

Kvaen – The Great Below

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

The best albums of 2022 so far…three months in

Where has the time gone? In what feels like the blink of an eye, here we are at the end of the first three months of 2022. A quarter of the year done and dusted already. Mind you, it’s no wonder the time has flown, because I have never been busier with this website. So far, I’ve published no fewer than 75 reviews, right across the spectrum of heavy music, from instrumental post rock, to technical progressive death metal. I’ve never written so many in such a short space of time…ever.

And within the 75, there have been some real belters, albums that have wowed me and made me forget the various woes that I face elsewhere in life. Music, more than ever, has helped to keep me away from a worrying darkness, providing company and succour throughout. And so, just like in years gone by, it’s time to recap on the best that January-March 2022 has served up.

In chronological order, I bring you a round-up of my favourite albums relased so far in 2022. I hope you enjoy!

Toundra

Hex

InsideOut Music

Genre: Instrumental post rock/metal

“Thanks to some inspired songwriting, flawless execution, depth of emotion, and a wealth of beautiful melody, an instrumental post rock/metal album has captured a little piece of my heart. ‘Hex’ by Madrid’s Toundra is the real deal people, do not let it pass you by, I implore you.”

Check out the full review here

— MoMM —

Lalu

Paint The Sky

Frontiers Music

Genre: Progressive Rock

“Whatever your preference when it comes to progressive music, I absolutely guarantee that there will be plenty for you to enjoy within ‘Paint The Sky’. It has technicality and flamboyance aplenty, but crucially, it is never present at the expense of the songs themselves. With performances out of the top drawer from the band and guests alike, there is literally nothing that I can fault with this album whatsoever. I adore it, and I suspect that you will too. Prepare to hear the first genuine candidate for the best album of 2022, I kid you not.”

Check out the full review here

— MoMM —

Silent Skies

Nectar

Napalm Records

Genre: Cinematic atmospheric ambient

” It is a record that is lovingly crafted, professionally executed, and stunningly beautiful from start to finish. It may not be the easiest collection of songs to listen to at times, but it is definitely one of the most rewarding thanks to the depth of feeling that the music conveys. In a day and age where more and more music is soulless, cynical, and mass-produced for an ever-more throw-away society, it is heart warming to know that there are musicians out there that still give a damn, and who understand that honesty and emotion should always be important ingredients within music.”

Check out the full review here

— MoMM —

Vorga

Striving Toward Oblivion

Transcending Obscurity Records

Genre: Atmospheric Black Metal

“A debut record it may be, but ‘Striving Toward Oblivion’ has everything that you could possibly want from an atmospheric and melodic black metal album, including something that cannot be quantified: presence. It is this assured presence and impressive maturity that, when coupled with their musical endeavours, should propel the Germans to greatness, from the deep and dark underground to the stratosphere and beyond, to the farthest reaches of space…”

Check out the full review here

— MoMM —

Persefone

Metanoia

Napalm Records

Genre: Technical Progressive Death Metal

“Wow, wow, and thrice wow. In a year that has already delivered a handful of great albums within various subgenres, Persefone have come along and thrown down the heaviest of gauntlets to the competition. This band have absolutely everything in their armoury, and they bring it all to the battle on ‘Metanoia’; darkness and vulnerability duel against aggression and rage, but both are kept in check by masterful performances from all corners. “

Check out the full review here

— MoMM —

Cult Of Luna

The Long Road North

Metal Blade Records

Genre: Post metal

“For the first time, I find myself absolutely enthralled by a Cult Of Luna album. Mind you, if you’re a heavy music fan and you don’t find something on ‘The Long Road North’ to enjoy, you might want to check your pulse. The blend of heaviness, aggression, minimalist exploration, and genuinely memorable melody makes this album a sure-fire winner. “

Check out the full review here

— MoMM —

Arð

Take Up My Bones

Prophecy Productions

Genre: Funeral Doom Metal

“What an album Mark Deeks, under the banner of Arð, has created. There is almost nothing I’d change about ‘Take Up My Bones’, except maybe the addition of another song or two. But that’s only because I am an ungrateful sod and just want to hear more and more. Trust me when I say that this is one of the most special albums of slow, maudlin funeral doom that I have heard in many a year. “

Check out the full review here

— MoMM —

Allegaeon

Damnum

Metal Blade Records

Genre: Melodic Technical Death Metal

” ‘Damnum’ is a very ambitious record, but the technical abilities of the quintet mean that the plethora of competing influences don’t end up as a huge cluttered, unfocused mess. On the contrary, once you get your bearings and listen to the album a few times, it all makes sense. It’s an intense ride for sure, but it’s a hugely enjoyable and rewarding ride too, full of interesting twists and turns. I cannot recommend ‘Damnum’ more highly, because Allegaeon are the real deal. If only I’d realised it sooner.”

Check out the full review here

— MoMM —

Godless Truth

Godless Truth

Transcending Obscurity Records

Genre: Technical Death Metal

“The Czech quintet have not only grabbed my attention, but they have also held my attention, quickly turning it into admiration. And now, as I write this review, listening for the umpteenth time, I have a feeling that admiration is turning into love. Strong words, but words that befit such a strong album, one that has managed to blend my love of complexity, brutality and melody into a eminently listenable feast for the ears. “

Check out the full review here

— MoMM —

Hath

All That Was Promised

Willowtip Records

Genre: Blackened Death Metal

“…there really isn’t a moment wasted anywhere on ‘All That Was Promised’. It truly is a behemoth of a record and I’m already thinking that it’ll take a near miracle for another blackened death metal record to knock Hath off the top spot. Only time will tell of course, but in the meantime, simply sit back and enjoy a truly special disc of the highest quality.”

Check out the full review here

— MoMM —

Threads Of Fate

The Cold Embrace Of The Light

Layered Reality Productions

Genre: Symphonic Metal

“If all symphonic metal sounded like ‘The Cold Embrace Of The Light’, then there’s every chance that it would be my favourite genre of heavy music. Intelligent, emotional, properly heavy, and with melodic sensibilities to die for, it is impossible not to fall for the considerable charms of Threads Of Fate. I have. And within a couple of spins through, so will you.”

Check out the full review here

— MoMM —

Michael Romeo

War Of The Worlds, Part 2

InsideOut Music

Genre: Progressive Metal

“In fact, ‘class’ is what ‘War Of The Worlds, Part 2’ is. From beginning to end, it sparkles and fizzes, delivering track after track of powerful, memorably melodic progressive heavy metal with style and panache. It sounds great too, blessed with a strong, clear production, thus enhancing the music considerably…Those who have high expectations are very unlikely to be disappointed one iota.”

Check out the full review here

— MoMM —

Kvaen

The Great Below

Black Lion Records

Genre: Blackened Death Metal

“If ‘The Funeral Pyre’ signalled the arrival of Kvaen on the blackened death metal scene, then ‘The Great Below’ is a sure statement from Björnfot that he is going nowhere. In fact, this sophomore release goes one step further, suggesting that Kvaen are not only here to stay, but that they could be one of the forces within the genre to reckon with over the coming years. ‘The Great Below’ is a lithe, spirited affair that is a pleasure to listen to…”

Check out the full review here

— MoMM —

PreHistoric Animals

The Magical Mystery Machine (Chapter Two)

Glassville Records

Genre: Progressive Rock/Metal

“PreHistoric Animals are a quirky band in many respects, but they are an equally special band. They create music that is very much their own, blending progressive rock with pop as seemingly only they can. And in a reality that’s really quite depressing for many of us, the music these four musicians create is an utter joy, providing an intelligence and beauty that’s sorely lacking elsewhere currently.”

Check out the full review here

Kvaen – The Great Below – Album Review

Artist: Kvaen

Album Title: The Great Below

Label: Black Lion Records

Date of Release: 25 March 2022

It was February 2020 and I was on the long train ride home, heading back from a meeting with a client in Edinburgh. On the headphones was a debut album from a band called Kvaen, entitled ‘The Funeral Pyre’. Oh, how the world has changed since then. As it turns out, it was one of the last trips I made before the lockdown in the UK, and over two years later, I am still yet to make a return to Scotland. But at least that final voyage was made with quality music in my ears because I found myself highly taken with ‘The Funeral Pyre’.

In a much-altered world, I am now faced with the sophomore full-length release from Kvaen. What hasn’t changed here, however, is that Kvaen remains the baby of Jakob Björnfot. As such, Jakob handles the vast majority of the instrumentation himself, as well as the vocals. That said, for this sophomore release, ‘The Great Below’, Björnfot has enlisted the help of drummer Tommi Tuhkala in the studio. In addition, there is an impressively long list of guest musicians that feature, creating extra depth and interest in the music on this album. The guests include Mike Wead, Jeff Loomis (Arch Enemy), Sebastian Ramstedt, Angus Norder, Nephente Fridell, and Finntroll’s vocalist Vreth.

I’ve said it countless times over the years, but you can have all the guests you want on a record – if the album doesn’t contain quality music and engaging compositions, their presence is for nought. Happily though, Björnfot understands this and has spent the last couple of years ensuring that his songs on ‘The Great Below’ are as powerful and positive as possible.

Stylistically, this new album is similar to its predecessor, meaning that if you like your heavy metal of the blackened death variety, but with elements of thrash and speed thrown in for good measure, you’ll enjoy ‘The Great Below’ as much as ‘The Funeral Pyre’. In actual fact, having had the company of this sophomore release for a good couple of weeks or more, I’d go so far as to say that this new release is even better than the debut. Given how good the debut was, that’s quite a statement, but it’s true and not just unnecessary hyperbole.

Firstly, at just 39 minutes in length, it’s a tighter, more honed release. There is literally not an ounce of fat to be heard on ‘The Great Below’. Nothing is extraneous, nothing is unnecessarily present; instead, Björnfot has laced this album with a surprising amount of variety, whilst ensuring that there is absolutely no chance for the listener to lose interest, or for the mind to wander. Personally-speaking, I feel engaged and enthused from start to finish.

The explosion of ferocity that’s unleashed at the outset of opener, ‘Cauldron Of Plagues’ is a sure sign that Björnfot means business here. Snarling screams accompany sharp, fast-picked riffs and thunderously fast and precise drumming. This is pure blackened death metal of the highest order, distinctly reminiscent of the genre’s best. But the song has an elegant side, as well as a deceptively melodic underbelly. There is even some lovely galloping groove at points where the foot is removed from the accelerator just a touch, as well as a dark, sinister atmosphere. The more I listen, the more addictive those subtle minor melodies become too, providing an intoxicating and thrilling opening salvo.

By contrast, the title track is even faster, introducing a speed metal dimension, as well as a greater thrash attitude. The song rips along as if the lives of Björnfot and Tuhkala depend upon it, frenzied and nasty in equal measure. The pace slows later in the track to allow space for a couple of twisted thrash-like solos to emerge to great effect, as well as a little drum flamboyance too. The chorus within this song is even more catchy than that of the opener, and gets stuck in your head easily, so consider yourself warned.

One of my favourites on ‘The Great Below’ is ‘In Silence’ which follows the extremely brisk paced opening duo by offering something completely different. Not only does this lumbering behemoth underline the variety on offer on this record, but it takes over seven minutes to weave its magic across an unforgiving soundscape of black metal, doom, and pagan metal. The pace does vary, meaning that it is not exclusively mid-tempo, but more impressive is the way in which it captivates me in whichever guise it chooses. The melodies, the atmospheres, the ebb and flow, the sections of haunting minimalism; it all comes together seamlessly to beguile and impress at every turn. So much so that I often cannot believe that the song is quite this long because it’s over in what appears to be a flash.

There’s absolutely no let-up in the quality over the remaining five tracks either. ‘Damnations Jaw’ is an almost perfect blend of blackened death and stunning musicianship, especially in the lead guitar breaks that descend in the track’s second half. However, for me, I just love the majesty of the track that’s created by the melodies that sit alongside the metallic tumult. Dissection who?!

‘Sulphur Fire’, with its simple, repetitive chorus and chanted choral vocals is a catchy little sucker that leaves a big impression in less than four minutes, whilst ‘Ensamvarg’ surprises with an overt detour into pronounced folk metal realms, complete with what sounds like an accordion buried somewhere in the mix. But the melody that accompanies this sojourn is so ridiculously arresting, that I love it, more so with each and every listen.

That leaves just ‘Your Mighty Has Fallen’ and ‘The Fire Within Him Burns’ to round out ‘The Great Below’. The former is a scorching and highly aggressive thrash-infused blackened death metal romp where the vocals are particularly spiteful and caustic, more so than elsewhere in fact. It’s also chock full of stunning lead guitar work, but then that’s pretty much a consistent ingredient throughout this record. The latter begins with a dark and opulent piano-led intro, very Gothic sounding in some ways. From there, it gallops along at a fair pace, delivering a final accomplished slab of elegant blackened death, littered with more lead guitar embellishments, and closed out by a dramatic, piano-led outro that feels like the perfect way to end.

If ‘The Funeral Pyre’ signalled the arrival of Kvaen on the blackened death metal scene, then ‘The Great Below’ is a sure statement from Björnfot that he is going nowhere. In fact, this sophomore release goes one step further, suggesting that Kvaen are not only here to stay, but that they could be one of the forces within the genre to reckon with over the coming years. ‘The Great Below’ is a lithe, spirited affair that is a pleasure to listen to, full of great individual performances as well as an incredibly strong songwriting prowess. The fact that it’s heavy, aggressive, and nasty as hell, just means that it’s a sinister joy to listen to. Kvaen could become really quite special in the years to come.

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

Michael Romeo – War Of The Worlds, Part 2

Dark Funeral – We Are The Apocalypse

Carmeria – Advenae

Agathodaimon – The Seven

Moonlight Haze – Animus

Hellbore – Panopticon

Konvent – Call Down The Sun

Idol Of Fear – Trespasser

The Midgard Project – The Great Divide

Threads Of Fate – The Cold Embrace Of The Light

Arkaik – Labyrinth Of Hungry Ghosts

New Horizon – Gate Of The Gods

Cailleach Calling – Dreams Of Fragmentation

Tundra – A Darkening Sky

Sylvaine – Nova

Hath – All That Was Promised

Sabaton – The War To End All Wars

Kuolemanlaakso – Kuusumu

Oh Hiroshima – Myriad

Godless Truth – Godless Truth

Shape Of Despair – Return To The Void

Eight Bells – Legacy Of Ruin

Embryonic Devourment – Heresy Of The Highest Order

Serious Black – Vengeance Is Mine

Allegaeon – Damnum

HammerFall – Hammer Of Dawn

Immolation – Acts Of God

Veonity – Elements Of Power

Nightrage – Abyss Rising

Arjen Anthony Lucassen’s Star One – Revel In Time

Pure Wrath – Hymn To The Woeful Hearts

Dagoba – By Night

The Last Of Lucy – Moksha

Arð – Take Up My Bones

Embryonic Autopsy – Prophecies Of The Conjoined

The Devils Of Loudun – Escaping Eternity

Cult Of Luna – The Long Road North

WAIT – The End Of Noise

Abysmal Dawn – Nightmare Frontier

Amorphis – Halo

Nordic Giants – Sybiosis

Persefone – Metanoia

Vorga – Striving Toward Oblivion

Mystic Circle – Mystic Circle

Nasson – Scars

Burned In Effigy – Rex Mortem

Silent Skies – Nectar

Celeste – Assassine(s)

Abyssus – Death Revival

SOM – The Shape Of Everything

Ashes Of Ares – Emperors And Fools

Beriedir – AQVA

Lalu – Paint The Sky

Nocturna – Daughters Of The Night

Battle Beast – Circus Of Doom

Lee McKinney – In The Light Of Knowledge

Descent – Order Of Chaos

Aethereus – Leiden

Toundra – Hex

Ilium – Quantum Evolution Event EP

Power Paladin – With The Magic Of Windfyre Steel

Necrophagous – In Chaos Ascend

Infected Rain – Ecdysis

Wilderun – Epigone

You can also check out my other reviews from previous years right here:

2021 reviews

2020 reviews

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews