Category: Djent

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Imminent Sonic Destruction – The Sun Will Always Set – Album Review

Artist: Imminent Sonic Destruction

Album Title: The Sun Will Always Set

Label: Independent Release

Date of Release: 15 April 2022

With a name like Imminent Sonic Destruction, you might well expect an intense listening experience, the kind that will blow your ears apart with a ferocity that’s calculated and brutal. To some extent, that’s what you get with this band. However, this only tells half the story as those already familiar with the band will know. Because, whilst there is a great deal of heaviness and brutality within their sound, there’s also an incredible amount of variety too, with echoes or more of many different genres and subgenres of music evident, from progressive metal to djent, and from pastoral prog rock, to groove metal. There’s even room for a bit of classical and, dare I suggest it, a little lighter pop too.

I’m surprised as I listen to ‘The Sun Will Always Set’ the third album of the band’s career, that I’ve not crossed swords with them before. I put it down to circumstance rather than an unwillingness to check them out; every time I’ve had them in mind, something has conspired to prevent a decent listen and therefore a review. Now is the time though, and I have thrown myself eagerly into ‘The Sun Will Always Set’, to find out more.

Formed in Detroit, Michigan in 2011, Imminent Sonic Destruction are about as far removed from their hometown’s most famous export, Motown, as it’s possible to get. Mind you, with such a varied music palette, a brief blast of Motown might not have been that big a surprise to be honest. Ok, so I’m being a little flippant, but I’m being honest when I say that this music is varied. Unusually, the band has remained intact since the beginning, meaning that the 2022 line-up is identical to when they released their debut, ‘Recurring Themes’ back in 2012. As such, you’ll find Bryan Paxton on bass/vocals, Pat DeLeon on the drums, Scott Thompson handling guitars, vocals, piano, and midi pedals, Pete Hopersberger on the keyboards, synths and vocals, with Tony Piccoli on lead vocals and guitar.

This kind of stability has clearly aided the American outfit too, because what I hear on ‘The Sun Will Always Set’ is impressive. I’ll admit that there are a couple of the tracks here that I’m less keen on, but overall, there’s not a great deal to complain about. I’d heard rumblings in the past about the quality of the vocals in places on previous outings, but on that score, things must have improved because again, this isn’t an area that causes me any serious problems. Ok, the clean vocals occasionally struggle when pushed to the limit, but with the variety of the delivery, from clean to growling, to screams, it means that the focus isn’t on one style alone.

I’m pleasantly surprised from the off, thanks to ‘Arise’, the opening track. It starts with a delicate piano and clean female vocals, gently, serenely becoming more cinematic as it develops. The melodies, the strings, and the layers of vocals add depth and gravitas to the piece, meaning that instead of being a throw-way intro, it’s a beautiful beginning.

Within moments though, ‘The Core’ obliterates this gentle introduction with some massively heavy guitar notes and powerful, urgent drumming. The vocals that emerge initially are clean, but then we get a bass bomb and in come the nasty growls that seem more in keeping with the brutal, djenty, metalcore-ish soundscape. The bludgeoning is pretty intense, but there is complexity, as well as differing textures to keep things interesting including a pretty cool lead guitar solo. Despite all this, it’s one of the least impressive tracks on the album in my opinion.

I’m much more a fan of ‘Fledgling’, which feels far more varied and dextrous. From the tinkling of keys to the stop-start djent riffs at the outset, not to mention the more cinematic tones underneath, it presses my buttons much more firmly. And the melodies are much more pronounced, created by some cool lead guitar licks, to a catchy chorus with clean vocals and expansive sound. The track goes off in different directions willingly, with some brilliant technical complexity in the instrumentation, but that big chorus keeps returning, keeping things nicely in check when things threaten to get out of hand.

As good as ‘Fledgling’ undoubtedly is, ‘Nightshade’ has to be my favourite track as I write this review. At over twelve minutes, it’s a bit of a monster, but it’s a brilliant monster. The intro is full-on drama and intensity, with a cool groove materialising, accented by pinched harmonics for which I can be a bit of sucker. I love the bass rumble within this song too, gratified that the very decent production (Nick Hagen, guitarist of fellow US metal band Intransient) gives room for each of the instruments to breathe and be heard. The chorus melody is marvellous, so catchy, and the introduction of acoustic guitars is a very welcome touch. Elsewhere, the band explore overtly Pantera-like grooves, flamboyant musicianship including keyboard and guitar solos, and plenty in between, making it one of the most fun and interesting compositions on the aklbum.

The aforementioned pop-like sensibilities surface within the rather surprising ‘Solitude’, a much gentler track that strangely reminds me a little of Shadow Gallery at points, as well as more recent Devin Townsend. The synths offer a deep resonance, whilst electronic beats supplement those of drummer Pat DeLeon. And the melodies are light, breezy, and oddly soothing. Things do get heavier in the second half, but don’t overrun the melodic intent of this great song.

‘Source’ is another track that I’m slightly less keen on, despite it being a perfectly decent track in it’s own right, but the closing title track ends ‘The Sun Will Always Set’ on a suitably high note. The opening clean guitar notes fill me with joy, as does the ensuing nine-minute passage of music, complete with rich, warm sounds, almost rock-meets-ambient in tone. It demonstrates, once again, that Imminent Sonic Destruction understand dynamics and as heavy as they get, can more than hold their own when things get lighter. The song is a glorious effort, complete with rousing melodies, layers of vocals, and a closing ambient section that could make a grown man cry.

When you add into the equation guest appearances from some notable musicians, including cellist Raphael Weinroth-Browne, guitarist Tony Asta (Battlecross), vocalist Lady Luna (Lady Luna And The Devil), and Dragged Beneath’s vocalist Kevin Wroebel, you begin to realise just how good this band are, and how highly thought-of they are in certain musical circles. And the great thing is, that ‘The Sun Will Always Set’ justifies the high regard in which they are held. Imminent Sonic Destruction have put together a superb record here, one that deserves to see them rise higher and command even more success in the coming years. If you’re a fan of progressive music, then there is definitely something on ‘The Sun Will Always Set’ that is guaranteed to get your pulse racing. Highly recommended.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

Monuments – In Stasis

Soledad – XIII

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Monuments – In Stasis – Album Review

Artist: Monuments

Album Title: In Stasis

Label: Century Media Records

Date of Release: 15 April 2022

My general aversion to full-on djent over the past decade or two has meant that UK-based metal band Monuments have never been high on my list of bands I’ve wanted to keep up with. I have listened to their previous material more out of a sense of obligation than desire, simply because I feel that I need to listen to everything labelled ‘progressive’. It may cover a multitude of styles, but ‘prog’, loosely, is one of my favourite genres of music. But where Monuments, and others of their ilk are concerned, theirs is a style that has always been too overtly modern and djenty for my tastes. Not only that, but I’ve always heard a little too much of the dreaded ‘metalcore’ where Monuments are concerned in the past.

As with other styles of music over the last year or so though, I have seen a thawing of my djent opinions in particular, and so it felt like a no-brainer to give this latest effort from Monuments a go. Not only that, but ‘In Stasis’ is the first album to be released with new vocalist Andy Cizek, who has replaced Chris Barretto behind the mic. And with long time guitarist Olly Steele recently leaving, to reduce Monuments to a four-piece, my interest was piqued enough to see how Monuments would fare in 2022 with this, their fourth full-length release.

Given all of these changes of late, the album is somewhat ironically named. However, as the band are keen to explain, the title was born out of the fact that “the album became centered (sic) around the concept of being in stasis, stuck in the middle of a power struggle with oneself.”

Not being massively knowledgeable on the last three records in their discography, I will leave it to others to play the ‘compare and contrast’ game. What I will say at this juncture though, is that ‘In Stasis’ has surprised me a little. The core sound, dominated by those chugging djent riffs in clever time signatures remains very much intact, as does the injection of melody and the juxtaposition of harsh and clean vocals. But I wasn’t expecting ‘In Stasis’ to be this enjoyable and, dare I say it, this varied. There is plenty of material on this fifty-minute album that got me smiling or raising an eyebrow in appreciation. I like it when that happens.

‘No One Will Teach You’ starts things off on ‘In Stasis’ and if I was to listen to this track in isolation, I’d think that very little has changed from what I’d heard from Monuments before. It’s full-on djent attack, with those familiar chunky riffs and powerhouse rhythm section, with vocals that flit from spiteful growls, to a higher-register clean delivery. I’m still not sold on the more metalcore ingredient that’s the shouted/spoken approach whilst I have to really be in the mood for the kinds of breakdowns that this music generally brings with it. But in spite of this, it’s an interesting song that I don’t dislike anywhere near as much as I thought, probably because of the nice complexity that sits within the spiky, muscular heaviness.

It’s with the introduction of the second track, ‘Lavos’, that my attention is more fully grabbed. It starts off at a furious pace, naked aggression held in check by excellent musicianship all round. Within moments, everything drops away though to leave Cizak to sing alone with only the barest hint of a soundscape behind him, subtly cinematic, and with a dark vibe. And then, when the chorus hits, the vocalist lets rip, leaving a path of destruction in his wake; the sheer variation in Cizak’s delivery is exceptionally impressive, but so is the song overall, as it brings in melody, variety, and a thoroughly engrossing sound. If the entirety of ‘In Stasis’ followed suit, I’d be waxing even more lyrical than I am now.

That said, there are other compositions amongst the ten that really hit the mark as far as I am concerned and show a band that’s willing and able to try new things along the way. On that score, I’d pick out ‘Cardinal Red’, ‘Collapse’, ‘The Cimmerian’ as definite album highlights.

The former, ‘Cardinal Red’ features arguably the strongest of all of the melodies on ‘In Stasis’. The opening sequence sees a seesaw between naked aggression and more reserved passages that hint at the melody to come. And when the chorus descends, it’s truly beautiful. The subtle electronics that sit beneath the guitars, bass, drums, and vocals comes out to play more eloquently with the benefit of headphones, and it’s a nice touch, adding texture and a hint more of modernity. I’m also a fan of the chosen riffs, as they cut with precision throughout, whilst drummer Mike Malyan underlines his talents very eloquently too.

‘Collapse’ is a monstrous song that may return somewhat to type, but there’s no denying the power and the catchiness of the song’s chorus. It’s one of the more overt metalcore-infused tracks here, but once you hear the chorus, you’ll not be able to get the hooks out of your mind.

And then there’s ‘The Cimmerian’. At over eight minutes, it’s the longest on the record, but it is well worth its length as it explores so much within that time. I love the opening guitar lick and the intensity that hits from there. But even more striking is the way in which we’re taken on a journey through quieter, more minimalist soundscapes where the smoothness of Cizak’s voice really impresses me. It means that the heavier sections make more of an impact, but it laces the song with a really nice melodic aspect which is present throughout, creating an anthemic feel. The acoustic guitars are a lovely touch, as is the delicate cinematic outro to see out the album in its entirety.

If I’m being completely honest, then I must admit that ‘In Stasis’ hasn’t won me over 100%, and I’m unlikely to fervently sing the band’s praises throughout 2022. However, it is an enormous step in the right direction as far as I’m concerned. This is the sound of a band expanding their blueprint and doing it in a way that will no doubt please existing fans and bring new admirers to their cause. There is no denying the fact that Monuments are a very talented and focused outfit, capable of making a really great noise, and I will definitely keep them on my radar in future.

The Score of Much Metal: 82%

Check out my other 2022 reviews here:

Soledad – XIII

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Soledad – XIII – Album Review

Artist: Soledad

Album Title: XIII

Label: Independent Release

Date of Release: 15 April 2022

I’m so excited about bringing this review to you, for a number of reasons. Firstly, it is a new discovery for me, and those are always exciting. Secondly, this new discovery came from a friend and fellow music journalist, demonstrating that we always try to work together and support each other for the benefit of the music and the bands/artists themselves. Thirdly, this is a self-produced record, deliberately so, in order for the band to stay as independent as possible. I like everything about this, so I couldn’t wait to record my thoughts in this review and get the word out there.

The band in question go by the name of Soledad, and depending on how you look at it, this is either their debut or their sophomore release. Soledad, you see, was born in 2016 by Lola Damblant-Soler and the first recording, ‘Catharsis’ was a solo affair. This record, entitled ‘XIII’, is the first for Soledad as a band in the traditional sense. Joining Lola are a trio of musicians that include guitarists Matthieu Colas and Theo Pinte, and drummer Julien Giet. Lola herself continues to contribute vocals, guitars, and keys, as well as being the primary songwriter for Soledad.

The description that they offer of themselves is sure to get many of you salivating from the outset, as they proudly reference bands like Haken, Leprous, Neal Morse, and Muse in the process. The words ‘pop’ and ‘romantic music’ make an appearance to create an intriguing and exciting prospect. What’s even better, though, is that the music does live up to the hype. In fact, whilst there is merit in the description above, I’d also add A.C.T. in there too, as well as mentioning genres like ‘West End Musical’, ‘classical’, and ‘djent’. It’s a heady concoction and as we all know, throwing a million things into the melting pot does not always work. In the case of Soledad though, the majority of the music works, meaning that ‘XIII’ is a very impressive creation indeed.

What it also means is that it’s a typically difficult album to review in a succinct fashion because of the sheer amount of variety at play. In which case, strap yourselves in and get ready for what’s to come.

The record begins with ‘Hanging Over Me’, a track that has a very A.C.T. art rock feel to it. It starts with piano and vocals, the former delicate but rich, and the voice smooth and almost hushed, whispered. The melody is beautiful, and things only get better with the introduction of drums, bass and guitar, taking the composition into all kinds of directions, from pop, to prog rock, to West End Musical. But at it’s heart is a wonderful energy, so stirring, and elegant. It also has a slightly bittersweet feel to it, with a sense of overriding positivity pushing through despite the album’s dissection of themes of doubt and uncertainty.

After this rousing intro piece, I wasn’t quite ready for ‘Hex’ and its incredibly muscular djent-like riffs, reminiscent of more recent Haken. There are a few harsh vocals in the background too, for added aggression, before guest vocalist Suzie Lou makes a bold appearance. I love the overt progressive nature of the riffing and the complex structures, as well as the way the heaviness recedes on a sixpence to be replaced by sounds of nature accompanied by much more minimal sounds. As the track develops, there are so many layers to uncover, so many ideas going on, but it sounds absolutely spot on, and not overdone or contrived in any way.

The opening harsh mechanical sounds that usher in ‘Migraine’ are entirely in keeping with the song’s title, as are the punishing, thumping drums that mete out a simple but effective early beat. This song features the talents of Hassan Hajdi, and it is the sudden shift into melodic territory that captures my full attention. The juxtaposition between uncomfortable sounds and embellishments, and all-out serene melody, accented by layers of vocals, is inspired, justifying it’s place as one of my favourites on the album. The meandering lead guitar solo is another great touch, showing dexterity and feel to sit alongside some chunky, heavy riffs.

From there, we are led to ‘Fading Sight’ which has a much more whimsical feel to it, with plucked strings creating the opening delicate sounds alongside Lola’s soft voice. The final minute or so features a heavier soundtrack, but the opening melody continues unhindered by the weight of strong riffs – if anything, it is only enhanced and firmly supported by them.

By contrast, ‘Shelter I’, featuring guitarist Jeremy Bares, has a much more modern feel to it, coupled with a lush classical-infused slow waltz tempo. Strong but reserved djenty riffing plays an important part, bringing those Haken references to the fore. The incongruous slide guitar sounds from Bares actually work in a strange way as this composition highlights the greater art-rock drama and theatrics that are very much a part of the Soledad sound.

Having only described five of the eleven tracks thus far, I feel I need to change tack to prevent you all falling into a coma. However, it’s so difficult to do so because there’s still so much to discuss. ‘Shelter II’ is another favourite, with bucket loads of over-the-top pomposity and strong performances from all corners of the band. To me, this is the sound of the lovechild created by an illicit rendezvous between early Haken, A.C.T., and even Queen at their most outrageous. The central chorus melody is an utter delight and bathes the entire song in its warm glow.

The title track sounds like I’m walking past a nightclub in the early hours, with the electronic beats just about audible through the tightly closed doors. But then we’re whisked away on a metallic carpet, across aural soundscapes that are really rather diverse and ambitious. I can certainly hear the Leprous vibes, but again, there’s so much going on that it’s hard to pinpoint just one reference. By the time you become familiar with the path upon which you’re treading, Soledad take you elsewhere. None more unexpected than the all-out classical interlude at the heart of this song, that makes you feel like you’ve stumbled into a performance of ‘Swan Lake’ and then back to the prog metal via a Disney soundtrack. I love it, and you’ll be hard-pressed not to, I guarantee it, as the commitment to their art is so palpable at this point.

One of the most arresting and heart-breaking melodies appears within the stunning ‘The Spell’. Again, piano and vocals take the lead here, embellished lovingly by strings until the heaviness descends in the latter stages to add extra gravitas to that opening melody that so captivates me. ‘Remedy’ continues the excellence, with more effortless skill and powerful songwriting, before the album’s longest track arrives in the form of ‘Remembrance’. As you might expect, it dances all over the place with delight, taking us from dark and foreboding, to light and playful in the blink of an eye. Again, the chuggy riffs and muscular rhythms are well-placed and underline just how properly heavy Soledad can be when the mood fully takes them. But such is Lola’s voice that everything is laced with a smooth, effortless visage. And the sheer power and beauty of the final three or so minutes is utterly spellbinding, the way it ebbs and flows, building the tension, only to release just as I hoped it would with a flurry of dexterity, particularly the drums.

‘XIII’ is a 58-minute record and yet it really doesn’t feel like it’s that long. Before you know it, you’re listening to the concluding track, ‘Amnesia’, a song that cleverly reintroduces melodies and ideas heard at earlier points on the album. But here, the melodies feel even more expansive and emotive, pulling many of the album’s strands together neatly in the process. And that final guitar solo is nothing but sheer musical nectar. 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. I really hope that this review has whetted your appetite, because if not, I’ll be gutted. Not only because I’ll have clearly lost my touch as a reviewer, but also because it might mean that a truly marvellous record will have slipped past you. Please don’t let that happen – 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.

The Score of Much Metal: 95%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Meshuggah – Immutable – Album Review

Artist: Meshuggah

Album Title: Immutable

Label: Atomic Fire Records

Date of Release: 1 April 2022

Immutable. An adjective meaning “unchanging over time or unable to be changed.”

In many ways, the title of this album is perfect. Over the past three decades, Meshuggah have consistently and stubbornly stood at the pinnacle of extreme progressive metal. The term ‘djent’ and the bands that plunder this genre were born largely thanks to the Swedish behemoth, a band that has consistently created music that’s both incredibly technical and challenging, earning the tag of ‘pioneers’ and rightly so. Refusing to compromise, and refusing to recover old ground, ‘Immutable’ is a great title.

Looking at it another way, though, to play devil’s advocate, the title could also be argued to be misplaced here. For ‘Immutable’ offers, somewhat paradoxically, yet more change and new elements to the Meshuggah sound. The very fact that Meshuggah never stand still just proves that they are not immutable. We could argue over the title for hours – as someone with a law degree, and who deals with deciphering legislation on a daily basis, this would see me in my natural element. However, to do so would be to miss the point of this review and bore everyone to tears. Instead, allow me to say that this might be my new favourite Meshuggah album.

This is, I grant you, a big claim, given the music that the quintet have created over the years. But I stand by this statement. On one hand, it isn’t that much of a surprise because I’ve never given myself over fully to Meshuggah. I’ve often found that as extreme, heavy, and technical that their output has been, it has sometimes lacked sufficient melody and immediacy for my personal tastes. I don’t question the ability of the musicians for one second because to do so would be folly of the greatest proportions; these five musicians are some of the most talented within the world of heavy music, able to do things that my poor brain simply cannot begin to fathom. But albums like ‘Catch 33’ and ‘Chaosphere’ were just relentless in terms of complexity and aggression, and just left me a little bit cold. I admire them, but I cannot lie and say that they are albums I gravitate to with any great regularity.

I enjoyed ‘The Violent Sleep Of Reason’, their last album, released a full six years ago. But I like ‘Immutable’ even more. And the key to my enjoyment is that, by the admission of Meshuggah themselves, ‘Immutable’ is more melodic and definitely more dynamic than most of what’s gone before. This revelation will not find favour with everyone, as music taste is entirely subjective. But for me, a more melodic and varied Meshuggah is very welcome news indeed.

I do have a ‘but’ though, and that ‘but’ is that ‘Immutable’ is too long. I’ve said it many times before, but generally, albums that extend beyond the hour mark are too long. ‘Immutable’ is comprised of thirteen separate tracks that come together to form a monolithic 69 minutes of music. It feels a little miserly of me to say, after a long six-year wait, that a band as good as Meshuggah have presented us with too much music. But I’m nothing if not consistent and, when you consider how intense their music is, the length of this record will likely test all but the most masochistic of metalheads.

Bear in mind too, that words like ‘melodic’ and ‘dynamic’ have different meanings depending upon the surrounding context. ‘Immutable’ is not melodic in the same way as a power metal record might be, so it is still an intense aural battering, of that there is absolutely no doubt. And when that battering lasts for well over four thousand seconds, that’s one hell of a beating in anyone’s language.

Let’s leave this small critique at the door though and move onto the music itself, because therein lies the real magic. Firstly, as with most of their studio releases, the production on ‘Immutable’ is fantastic.

The first immediately noticeable difference on this album is with the use of clean, whispered vocals from Jens Kidman around which the unmistakeable complex polyrhythmic riffs and beats thunder through the speakers, albeit a little less aggressively than they have in the past. The dark undercurrent is marvellous and cloaks the track in a menacing, unsettling atmosphere. Only towards the end do we hear the archetypal growls from Kidman, although he reverts to the whispers at the death.

The riffing from Mårten Hagström and Fredrik Thordendal within ‘The Abysmal Eye’ are much more in keeping with the more ‘standard’ Meshuggah sound if such a thing truly exists, as does Kidman’s deep, rasping vocal delivery. But for me, it is Tomas Haake that steals the show, producing an incredible beat the likes of which few could possibly emulate or even envision in the first place. Alongside Haake, the bass of unsung hero Dick Lövgren rumbles superbly, creating the most solid of skeletons upon which all else sits. It’s as you were for ‘Light The Shortening Fuse’, the other advance single with which most of us are already acutely familiar. As Someone who struggles with a simple four-four time signature, the smooth, effortless, occasionally almost unnoticeable changes just blow my tiny mind and I sit and shake my head in forlorn appreciation.

There are so many great moments within ‘Immutable’ that it’s hard to pick just a few in order to maintain the pretence of brevity. However, I have to mention the fantastic lurching, almost tribal sounding chug of ‘Ligature Marks’. I love the lead guitar notes that soar above the heavy riffing, injecting melody of a strange, haunting, almost dissonant style; it’s certainly an intense and ear-catching moment on the record.

The melodic intro to ‘They Move Below’, a monster of a song that spans nearly ten minutes, is utterly delightful and allows a period of calm and beauty to emerge just when it’s needed. It is a delicate, beautiful couple of minutes, but the calm is shattered in a heartbeat, only to be replaced by something equally beguiling, albeit of a much more aggressive and nasty disposition. The djent aspects of the Meshuggah sound loom large through the muted guitar notes that weave yet another mind-bending sonic tapestry. It is songs like this that ensure that ‘Immutable’ justify the accolade of being my personal favourite Meshuggah album – with this level of songwriting prowess, how could it not be?

But we’re not done, as ‘Kaleidoscope’ plays around with a more modern djent sound, whilst lacing it with their own inimitable complex magic, including some insane guitar leads that defy logic, at least to me anyway. But the biggest eyebrow raise comes in the form of ‘Black Cathedral’. The first time I heard it, I had to check the promo download to ensure that I was still listening to Meshuggah. It may only be two minutes long and an instrumental to boot, but it makes an impression. With fuzzy, fast-picked staccato riffing, it’s undeniably a black metal -inspired composition. And as such, it’s dark, foreboding, and downright evil. I wasn’t expecting this, and I suspect neither are you.

Add in some very demonstrable death metal nuances within ‘I Am That Thirst’, a hypnotic groove within ‘The Faultless’ and the all-out balls-to-the-wall speedy aggression at the outset of ‘’Armies Of The Preposterous’, and 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.

The Score of Much Metal: 93%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

WAIT – The End Of Noise – Album Review

Artist: WAIT

Album Title: The End Of Noise

Label: The Artisan Era

Date of Release: 11 February 2022

An acronym for ‘We Are In Transit’, WAIT is an interesting find and one I thought I should bring to everyone’s attention. WAIT is currently a trio and if you like metal, there’s a decent chance that you will have come across a couple of the musicians involved in the band. Charlie Eron and Max Phelps formed WAIT in 2016, the latter a guitarist and vocalist who has been involved with the likes of Cynic, Exist, and Defeated Sanity during his career. The duo were later joined by bassist Alex Weber who can cite Exist, Svengahli, Jeff Loomis, and Sabbath Assembly on his resume.

‘The End Of Noise’ is the debut full-length album following the release of an EP in 2019 entitled ‘We Are In Transit’. It features seven tracks over a run-time of somewhere in the region of 50 minutes. You’ll not be surprised to learn then, that the music on ‘The End Of Noise’ finds itself within the progressive metal realm.

Whilst I think it’s fair to say that this album hasn’t completely blown me away, there is enough about it to recommend you take a listen for yourselves to make up your own mind. I certainly find plenty of elements that I like, starting with the heaviness of the music. This isn’t light, airy-fairy prog, this has strong riffs delivered with precision, veering into djent territory quite often. There are periods of calm and quieter soundscapes, but the foundation of WAIT’s music is essentially technical and heavy.

The press release does not mention the drums except to say that they were handled on the EP by Anup Sastry. Whoever (or whatever) is responsible, they sound punchy and very competent, if a little unremarkable at times. The same cannot be said for the bass of Weber, as the instrument is all over this record, one minute dancing, the next rumbling with power to add further gravitas to the guitar riffs.

The opening track took a while to work on me because the lead guitar melody is very prominent within what is almost entirely an instrumental workout. The guitar riffs are a stop-start chugging djent-like affair and the lead guitar melody noodles over the top for large periods, occasionally sounding ever so slightly discordant or flat. I entirely suspect that this is deliberate and actually, after a while, it gets under your skin. It’s certainly memorable. In the final few moments, clean vocals enter, a delicate addition to the churning riffs beneath, and an inescapable similarity to Cynic springs to my mind. Of course, there is a big difference, but the echoes are there to be heard.

‘Earths Last Orbit’ is quite possibly my favourite track on the album. The vocals are again clean and they carry a definite melodic presence, making the song one of the more immediate on ‘The End Of Noise’. Even though the technicality remains, the song demonstrates a slightly more organic feel, with the word ‘grunge’ popping into my head at times. Gruff barked vocals come into play at the halfway mark and they fit the music well, as the drums pound and the riffs chug and churn nicely. If I was to be a little critical, I’d venture to suggest that the track doesn’t necessarily warrant its run-time of over seven minutes, but that aside, it’s a cool song.

That last criticism is also relevant to other songs on ‘The End Of Noise’ too. I find my mind wandering as the music tends to wander without direction on a few occasions whilst not really delivering a killer blow. The technicality is present, whilst the ideas and ability are in place too. However, the songwriting is just a bit bland at times, with a lack of variety on display. And crucially, a lack of melody is probably my biggest disappointment overall. With a little less chug, and a bit more melody, this could have been an even bigger hit with me.

Nevertheless, tracks like ‘Reverie’ have some great moments within them, especially the more pronounced synths and vocal delivery that combine to remind me again of Cynic amongst others. There’s an otherworldly feel to the track that I rather like, as well as latching on to some of the complex riffs that seem to make a greater impact. And the drumming feels more exuberant too, another positive aspect.

The album ends with a near nine-minute closer in the form of ‘Until The Road Is Closed’. And actually, after repeated listens, it becomes a strong final note upon which to finish the album. It is arguably the most varied track, with interesting semi-gruff vocals adding a dark, sinister edge to compliment quieter passages that are equally dark. But, as the song develops, so does a greater sense of melody, and it is this that gently recedes into nothing, signalling the completion of ‘The End Of Noise’.

There’s definitely enough on this debut to entertain me and there’s definitely enough here to suggest rather strongly that there is yet more to come from this trio. ‘The End Of Noise’ is a commendable, occasionally excellent, debut release that I’m certain will find favour with many of you. And I shall, without doubt, keep my eyes and ears open for more music from WAIT in the future. Let’s just hope that the wait (sorry) isn’t too long.

The Score of Much Metal: 78%

Check out my other 2022 reviews here:

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Album Of The Year 2021 – Number 22

Welcome to Day 9 of my ‘Album of The Year 2021 Top 30 Countdown’. I can’t quite believe that I’m this far through already, it doesn’t seem possible if I’m honest. Maybe it’s because I’m having fun? Surely not!

As I write this series, I’m reminded of what a positive year it has been for new music. Bands might be suffering to keep going and tours have been cancelled left, right, and centre. But the musicians never cease to amaze me, creating fantastic new music whatever hurdles are put in front of them. It’s why my Christmas list to Santa Claus is 100% music-related – we need to support our favourite bands, otherwise we might lose them.

As always, I want to remind newbies to my website that links to the previous posts in this series, as well as links to the entire lists of previous years can be found at the bottom of this post. You might like my choices, you might hate them – but hopefully, regardless, you’ll enjoy reading them. Surely better this, than just a quick one-off list with no explanation or context behind the decisions? Or maybe not!

On that note, I’ll leave you explore my latest pick for 2021:

Number 22

Vola

“Witness”

Mascot Records

Release Date: 21 May 2021

Score Of Much Metal: 93%

Another day, another familiar name to my end of year ‘best of’ series. This time, it’s Danish metal band Vola that find themselves nestled nicely within the top 30. However, like others, they find themselves just a little lower in the list this year than maybe I, and others, would have expected. Let me explain why, if I can.

‘Applause Of A Distant Crowd’ came a little out of nowhere for me and knocked me sideways. I love it when that happens because the experience can be rather magical. The problem is that any follow-up has a difficult task to reproduce the magic, and that’s partly where ‘Witness’ suffered – I went in to the album with massively high expectations and whilst they were largely met, a little of that previous magic failed to materialise.

I know this might sound harsh, but I’m just being honest as you expect of me.

Additionally, there are the moments of greater experimentation on ‘Witness’ that must be congratulated, but which only left me feeling disorientated and a little disappointed – ‘Black Claws’ remains a tough listen for example, as I still can’t get to grips with the hip hop/rap element.

Taking everything into account though, ‘Witness’ still offers a great deal of enjoyment and had it been my entry point into the band instead of ‘Applause…’, I’m certain that it would have ended up higher in the list. Nevertheless, ‘Witness’ is quality and is fully deserving of a place on my list this year because when they nail it, they really nail it.

What I wrote at the time:

“…the first thing to hit me when I listened to ‘Witness’, was the increased djent influences. The big chugging riffs of that genre were definitely present throughout ‘Applause…’ but unless I’m mistaken, they are even more prevalent here.

The vocals on ‘Witness’ are another area where it feels like Vola have opened up somewhat since ‘Applause…’, happy – eager even – to experiment with new ideas in this area.

A word at this point needs to be made of the production. If their instrumental and songwriting talents weren’t enough, ‘Witness’ has been self-produced, with only the mix and mastering handled by a third party, namely Jacob Hansen. And the final result sounds incredible. Muscular, clear, nuanced, textured, it really does the music full justice.

Witness’ is a heavier album, where the boundaries have been pushed just that little bit more in terms of the different ideas given voice within the album…At the end of the day, I love the riffing, I love the melodies, I love the rich layers, and I have taken many of the songs to my heart. If, like me, you enjoy heavy music with a progressive bent, but with strong, immediate, and irresistible melodies, then ‘Witness’ will be a massive hit with you. But then I guess you already knew that, didn’t you?

Read the full review here.

The list this year so far…

‘Honourable Mentions’

Also, if you’ve missed my lists from previous years, you can check them out here:

Navian – Cosmos – Album Review

Artist: Navian

Album Title: Cosmos

Label: Indie Recordings

Date of Release: 19 November 2021

I have never been the biggest fan of instrumental music, as I tend to find that it can be a little underwhelming, a touch boring, and often an exercise in technical prowess over memorable song writing. Of course, this is an over generalisation, and a few years ago, I even awarded my album of the year to Earthside who are predominantly an instrumental outfit. Another band that have singularly failed to read my personal script go by the name of Navian. And, having waxed lyrical over their debut EP, ‘Reset’ during the summer last year, I am delighted to be able to delve into ‘Cosmos’, the Norwegian trio’s debut full-length studio release.

It was a pleasant surprise to find out that the press release that accompanied ‘Cosmos’ quoted a line from my review of ‘Reset’, but the bigger, even more pleasant surprise was the one that greeted me when I pressed the play button for the first time. I had high hopes for this album based on the EP, but I can safely say that those expectations have been greatly exceeded by ‘Cosmos’.

With an unchanged line-up for ‘Cosmos’, Navian remains comprised of guitarist Martin Stenstad Selen, drummer Ola Dønnem and bassist Christian Alexander Espeseth. However, the trio have taken their output to a whole new level, to the point where I’m going to have to re-think my Top 30 of the year list, so soon after finally getting to a point where I am happy with it. It’s a good hassle to have though, and should speak volumes as to how good this album truly is.

My quote used in the press release states that their EP demonstrates a “freshness and a bounce that is entirely infectious.” I stand by that quote, and would absolutely apply it to ‘Cosmos’ as well. In fact, the quote is probably not forceful enough to be used for this album, because it is the kind of music that radiates utter joy, happiness, and so much fun. I’m still not au fait enough with the likes of Plini and Animal As Leaders to make accurate comparisons (it has been a busy and difficult year in many ways), but I would definitely go with these as reference points to assist with gauging Navian’s chosen sound. Add to this though, a smattering of Voyager in the djent-like riffing in places, as well as the overall way in which the music makes me feel. Then stir in several other styles including fusion, jazz, pop, and metal, and you’re beginning to piece together the final product that Navian creates.

Technically adept and tight as anything, the three musicians make everything sound so effortless, smooth, and beautifully dynamic. Bursts of heavy riffs assault the ears one second, before a delicate atmospheric passage takes over. Then a scatty, bouncy section will lead into a gloriously uplifting melody, something to carry me away from the humdrum world around me.

Navian start as they mean to go on, opening with ‘Luna’, a thoroughly perfect composition that opens with a bright, atmospheric intro, immediately welcoming. From there, a stunning lead guitar melody takes centre stage, alongside subtle rhythms and notes from drums and bass alike. The djent riff that emerges reminds me of latter-day Voyager thanks to the technicality and sense of playfulness, blended with bold but soothing synths. How anyone can remain immune to Navian’s charms even so early on is beyond me – they have my undivided, rapt attention.

Follow-up track, ‘Ghost Stories’ is, if anything, even more technical than its predecessor. The intricacies at play are highly impressive, as are the complex time signatures and rhythms. The song never stands still, creating pronounced peaks and troughs that incorporate chunky riffs and smooth lounge jazz breaks that actually work, despite veering dangerously close to elevator music. And it all works thanks to the strong melodic ideas incorporated within.

The electronic elements of the Navian sound are pushed to the very forefront within the intro to ‘Apricity’, one of the most captivating songs on the entire album. The central melody is euphoric and it genuinely warms my heart every time I hear it. Mind you, I could say exactly the same for the equally beautiful ‘Silver Lining’. Again, the melodic heart of the song beats strong despite an abundance of technical flair, dexterity, and flamboyance. If anything, the melody has a bittersweet hue to it, and could be viewed as either a happy piece of music, or a very emotional, sad one. I’ve listened to it numerous times and it affects me in different ways each time. The important factor either way though, is that it does affect me, because that’s the hallmark of a quality composition.

Navian clearly have the Midas touch because everything they try just turns to gold. There is not one moment wasted within any of the eight tracks that makes up ‘Cosmos’. ‘Temple’ features yet more strong melodies, whilst even the more overtly pop-influenced ‘Breeze’, with more pronounced electronics and effects works its not inconsiderable charms on me. As its title might suggest, this is a bright, effervescent song, full of wicked cheekiness that comes and goes swiftly but with a twinkle in its eye and a god-natured smirk on its face.

‘Dutchess’ has an air of shoegaze about it thanks to some nicely-layered synths and electronics. The minimalist portions of the song are stunning; full of atmosphere and fragile beauty, they gradually build in intensity, to overflow with life and real power. The song also features the talents of Circus Maximus’ guitarist Mats Haugen just to add a thick layer of sweet icing to the already delicious cake.

It’s left to the title track to close ‘Cosmos’ and, at nearly eight minutes, it’s far and away the longest individual piece on the album. I an captivated by the way the song spends much of its time subtly building up pace until it reaches a point where it easily delivers the most intense section of music on the record, before dropping away only for it to then return for a fitting crescendo towards the end, complete with lead guitar flourishes, and a muscularity to the rhythms.

Progressive, nuanced, occasionally eccentric, but always playful, inviting, and richly melodic, I have been blown away by ‘Cosmos’. Navian have effortlessly shattered any preconceptions that I or others may have had that instrumental music delivers an inferior listening experience. They have also, equally effortlessly, proven beyond any shadow of doubt that technical wizardry and multi-faceted ideas can co-exist alongside gorgeous hooks and melodies without either element ever being compromised. In short, Navian are a breath of fresh air, air that I would happily breathe whenever the opportunity arose.

The Score of Much Metal: 94%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Sleep Token – This Place Will Become Your Tomb – Album Review

Artist: Sleep Token

Album Title: This Place Will Become Your Tomb

Label: Spinefarm

Date of Release: 24 September 2021

It’s one thing to be able to shroud your identity in mystery behind masks or by deliberately shunning the media, but it’s quite another to be able to hide the true identity of your music as well. However, that’s exactly what the enigmatic Sleep Token have managed to achieve with their sophomore release entitled ‘This Place Will Become Your Tomb’. I come, somewhat fittingly, to this new record with no prior knowledge of the band, their debut release ‘Sundowning’ or what to expect upon listening – just a recommendation or two from voices that I trust when it comes to music. And, having listened to ‘This Place Will Become Your Tomb’ several times through, I feel no less confused, no less disorientated, but no less intrigued either.

‘This Place Will Become Your Tomb’ spans a meaty 53 minutes over twelve individual tracks and in that time, I hear post metal, djent, rock, electronic, prog, alternative, pop, and a plethora of other styles and influences. As a result, I have no idea how to describe the approach of Sleep Token in any kind of pithy way whatsoever. What I can say with certainty is that, on balance, I do enjoy the listening experience. There are some points where I’m left feeling a little less enamoured, particularly in the album’s latter stages. But overall, I find the album a generally interesting and rewarding listen.

Given the varied nature of the offering, it would be impossible to review the album properly without delving into some of the songs, to try to adequately describe what exactly is going on. So here goes…

‘Atlantic’ opens proceedings and a more fragile track you’re unlikely to hear. What we’re presented with is a delicate piano melody from…err…the pianist/keyboardist, on top of which we have some incredibly emotional vocals courtesy of…err…the vocalist of Sleep Token. His voice has a modern, strangely mainstream edge to it if that makes any kind of sense. What I mean is that he might not sound out of place in a number of other bands currently plundering the popular music channels.

After an increase in what I can only describe as dark dystopian electronics to heighten the atmosphere, the song explodes into a more metallic affair, what I’d loosely describe as post-metal, complete with chunky riffing, and bruising drumming. The heaviness is gone in a flash though as the song ends as quietly as it began.

By contrast, ‘Hypnosis’ is a full-on heavy track, albeit with plenty of tricks up its sleeve. The approach is demonstrably post-rock/post-metal that gives way to more minimalist sections where the vocals and strong beat take centre stage. As the name might suggest, this is a churning, hypnotic track that eventually opens up to deliver a subtle melody beneath layers of ethereal vocals that’s the hook for me to return for repeated listens. The song isn’t done though, as a blast of heavy djent replaces the melody, to drive the song to a conclusion, or more accurately, drive the song to some weird atmospherics which bring the song to a close.

‘Mine’ is another very different song, making it three out of three. The melodies are far more pop-like, with a much greater use of electronics creating an arresting central hook within the chorus that you can’t help but like. Again, the vocalist stands at the centre of the composition and whilst I have no problem with him, his isn’t a voice that I instantly warm to I must admit – it has taken a bit of time to achieve appreciation. The vague Oriental undertones are gorgeous, and I like the quiet/heavy/quiet structure deployed here, even if the heavy sections aren’t bulldozer heavy.

Let’s go four from four shall we? ‘Like That’ definitely provides yet another approach, with strong electronic beats that put the previous use of electronics entirely in the shade. These are the beats that kids with subwoofers in the boot blast out, striking misery to my ears. However, in the context of this song, which deviates into heavier territory here and there, including bursts of heavily-effected djent, it just about works. It isn’t their finest hour in my opinion, but it shows the way that Sleep Token are willing to experiment in any direction.

‘The Love You Want’ is the kind of song that could possibly find itself on mainstream radio, thanks to pop-friendly melodies, and beats that are incredibly modern. I like it in spite of myself and, by now, nothing on this record surprises me. There is a touch of heaviness in the final reprise of the chorus, but this is not a metal song, far from it; it’s the kind of song that could bridge many divides were it to be given a wider audience. ‘Fall For Me’, essentially just a track comprised of layers of vocals, is another compelling track, but as far from my normal fare as it’s possible to be. But a good melody will always win me over.

One of my favourite tracks from the beginning is ‘Alkaline’ mainly because it contains some of the most beautiful melodies anywhere on the album, not to mention some chunky riffing, lashings of atmosphere, and an energy that immediately attracted me.

As delicate, deep and entrancing as the songs continue to be throughout ‘This Place Will Become Your Tomb’, I do feel that the album suffers in the latter stages a little; it feels a bit like it runs out of steam, and limps to a conclusion. I’m the Man Of Much Metal, so of course I am always searching for more heaviness, but I can forego this if the music makes a strong enough impact. But in places, this is where Sleep Token fall down just a touch. It’s a record full of emotion, depth and passion – that much is incredibly clear. But, for some reason, something prevents me from connecting to it on anything more than a relatively superficial level. I know there are many fans out there who feel very differently, but I have to be honest with my reviews. ‘This Place Will Become Your Tomb’ is a very good album, but in my opinion, it falls short of greatness, despite the experimentation and the mountain of different ideas on show.

The Score of Much Metal: 79%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

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