Category: Doom Metal

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

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

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

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

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

Drift Into Black – Earthtorn – Album Review

Artist: Dift Into Black

Album Title: Earthtorn

Label: Black Lion Records

Date of Release: 20 May 2022

When I reviewed the previous album by Drift Into Black, ‘Patterns Of Light’, I remarked that it was the fourth release in as many years, suggesting that here was an impressively prolific entity. Almost exactly a year later, I am able to report that they have returned to deliver their fifth full-length album in five years. It’s all the more impressive when you remember that Drift Into Black is essentially a one-man band. New Jersey-based multi-instrumentalist Craig Rossi is the heart and soul of this ‘band’, responsible for the vast majority of the song writing as well as guitar duties, vocals, keyboards, and lap steel. For ‘Earthtorn’, Rossi has called upon the talents of bassist Paul LaPlaca and drummer Klemen Markelj, but this remains Rossi’s baby without doubt.

There has been a symmetry between this record and the last in terms of my opinion towards them. On both occasions, I have found myself initially sceptical and quite dismissive of the material, only to be gradually coerced into a much more positive opinion with repeated listens over a period of time.

This pattern does not, however, extend to the music itself because, for my money, ‘Earthtorn’ is quite a bit different to its predecessor in some ways. Whereas ‘Patterns Of Light’ was heavily influenced by the death/doom metal genres, with some Gothic accents and some nice melody, ‘Earthtorn’ feels like it is a much more varied beast, with plenty more influences and ideas at play across the album. There is a marked reduction in out-and-out death/doom material, allowing greater room for experimentation with progressive ideas, as well as a smattering of music that draws heavily from ambient climes. For those that like their metal more extreme, it’s worth noting that there are still some sections where crunching riffs and growls dominate; these elements are still very much a part of the aural tapestry. It’s just that they have been reduced to a degree.

It’s hardly surprising that the music on ‘Earthtorn’ is more varied than previous efforts, because this is a concept album, and the variety helps to tell the story that accompanies the music. Apparently, ‘Earthtorn’ views the destruction of humankind through the eyes of an alien sent to planet Earth to analyse the inhabitants whilst depleting the planet of our natural resources. Naturally, there’s a love story intertwined, but it is ultimately a tragic tale that allows the central figure to explore numerous emotions along the way.

The album begins with a dark, cinematic piece, rife with soundbites on key periods in more recent human history, before Markelj makes his presence immediately felt on ‘It Fell From The Sky’ thanks to numerous expansive fills to accent the clean vocals and slow-paced heavy riffs of Rossi. The ubiquitous growls don’t make an appearance until the 90 second mark, by which time we’re already acutely aware of a slightly different approach on ‘Earthtorn’. I rather like the track, which is most definitely a grower having almost been dismissed as distinctly average on a first spin. As it continues, Rossi introduces some bold, prog-sounding keyboard tones to what still remains one of the more overt doom metal compositions on the record.

It is at this early stage that the much-improved production becomes very evident. It was the Achilles heel of ‘Patterns Of Light’ but here, there’s a much greater clarity in the mix. It still isn’t world beating, but it’s vastly better than the sound afforded the previous record. If there was any doubt about this, it is expunged by ‘The March To Oblivion’, one of the best tracks on ‘Earthtorn’ from my point of view. The blend of growls and clean vocals from Rossi works very well within what is both a heavier track, but also a highly melodic one, with a rather insidious chorus that gets under the skin just when you least expect it.

‘Angel Of Doom’ features female vocals alongside Rossi’s clean tones, which help to accentuate the greater Gothic element. The keys flit between Goth atmosphere and 70s prog sounds to create an intriguing dichotomy, especially when the Paul LaPlaca and Klemen Markelj let loose towards the end in a calculated blast of thunderous intent.

In a massive change of pace, ‘Ghost On The Shore’ is a two-minute instrumental interlude dominated by bold synth sounds, followed by ‘The Ups And The Downs’ which begins in delicate ambient style complete with the sounds of birds twittering for good measure. Even when the pace and intensity picks up, it is still dominated by strong progressive rock leanings with keys high up in the mix, whilst the final couple of minutes is pure ambient territory, accented by sci-fi-like keys and lead guitar solos over the gentle strumming of clean guitars.

The My Dying Bride influences are clear within ‘Weight Of Two Worlds’ thanks to the slow pace and the solemn lone violin embellishing the melancholy atmosphere, before a series of bruising riffs take hold. But even then, the clean voice of Rossi and more prominent synth tones add a different flavour to the largely doom-heavy composition, despite an extended foray into ambient territory in the centre of the song. To round things off, both ‘Left To The Burning Sun’ and ‘On Borrowed Time’ feature some beautiful melodies that mean that the album ends very much on a high. In the case of the latter, the piano accents are really beautiful in particular.

Once again, Rossi and Drift Into Black have managed to pull me around to their way of thinking after a very slow start. With time, focus, and a willingness to let the music do its thing, I have been able to better understand the hours’ worth of material on ‘Earthtorn’ and enjoy large swathes of it. I still think that there are some rough edges here and there that could be worked on, such as some of the dual guitar melodies that don’t always sound on point, and some braver editing at times. However, taking all of this into account, when comparing this latest offering with the last, ‘Earthtorn’ shows a big improvement in terms of the production, the song writing, and the greater willingness to experiment. I count that as a success and so Drift In Black should be applauded for the fruits of their labours here.

The Score of Much Metal: 83%

Check out my other 2022 reviews here:

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

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

Scitalis – Doomed Before Time -Album Review

Artist: Scitalis

Album Title: Doomed Before Time

Label: Vendetta Records

Date of Release: 13 May 2022

It’s always a pleasure to review debut albums, especially if they are good, because I enjoy being able to help a little with the much-needed exposure. Plus, there’s always a little buzz of extra excitement when it’s a new band that impresses, because of the potential for a new, untapped resource to enter the fray. The band in question here, are Scitalis, an enigmatic black metal entity hailing from Umeå in Sweden who bring us ‘Doomed Before Time’. A trio, all we know about Scitalis is that they were formed in 2020, and are comprised of vocalist/bassist A., guitarist S., and drummer J. Covered as they are in corpse paint in the tradition of the genre, it is impossible to discern any more from the press photos either. Not that their identities matter of course, because I’m here to speak about the music.

Prior to releasing this full-length, Scitalis did release an EP, ‘Awakening’, last year that passed me by. Apparently, it was well-received, so that’s nice. But I come to this review completely in the dark aside from the sparce information in the accompanying press release. Mind you, that’s a rather apt position in which to find myself because when it comes to the music, Scitalis’ brand of black metal is equally dark. See what I did there? Seamless…with a segue like that, it’s almost as if I know what I’m doing.

I’ll quit the jokes now, because a light, jovial attitude to this review feels entirely incongruous. ‘Doomed Before Time’ is indeed a very dark, serious affair, that harnesses a cold, malevolent atmosphere from start to finish. The album is, by and large, conducted at a pretty brisk pace, meaning that much of the material is led by the obligatory blast beats and fast-picked staccato riffs. However, I like the fact that Scitalis are not afraid to play around with the tempo within some of the compositions, thus creating a greater sense of atmosphere as well as a feeling of unease and drama when the music is allowed to be slower. And even when we’re being hammered by the frantic, naked aggression, much of the time, the songs convey a majestic quality, created largely through the guitar work from S.

As the album’s title might suggest, I detect a smidgen of doom within some of the tracks as a result, predominantly in the latter stages, from the title track onwards. And importantly for me and many others no doubt, the trio understand the need to inject some measure of melody into their offering. It isn’t overdone, or the kind that lends proceedings an epic, triumphant edge; instead, the melody is tentative, understated, and very much in keeping with the darkness of the album as a whole. Nevertheless, it is something that I’m delighted to hear in what might otherwise have been a relentless icy dirge of a record.

The album as a whole is pretty consistent; if you like one track, there’s a fair chance that you’ll like them all. That said, I do have a couple or three favourites within the eight on offer, starting with ‘Serpent’. It wastes no time in inflicting a barrage of blast beats and sharp, icy riffs on the listener, before the raspy, tortured, higher-pitched growls add a bleak countenance to the already frost affair. For just about every moment of this five-minute song, it maintains a fast pace but, as I alluded to earlier, the subtle melodic interplay, as well as brief respite of speed engenders the composition with an almost majestic edge. It’s nasty and spiteful, but it is also elegant. And when the striking lead guitar lines come in at the death, it’s the striking icing on the cake.

The initial moments of ‘Seen By Blind Eyes’ are slower, and more deliberate to counteract the frenetic nature of what’s largely gone on before. It isn’t long before the pace quickens and the blasts return, but there’s a much keener melodic edge to this song overall. I’d not call the song welcoming, because it is still laced with malevolence, but it is easily the catchiest piece on the record.

The same cannot be said for the title track, but it is certainly one of the most interesting tracks thanks to its overtly doom-infused intro, that leads into a lumbering, mid-paced stomp, much slower than anything else offered by Scitalis up until this point. Even when the drums up the ante, the guitars stubbornly refuse to join in, ensuring that the more sedate pace continues, slowing even further at points to emphasise the doom metal influences to great effect. Being slightly longer, Scitalis are able to take their time in building up the powerful, dramatic atmospheres. Again, the lead guitars are used sparingly so that when they appear, their impact is that much stronger than they would otherwise be, striking a sweet dagger of dark melody into the heart of the listener.

Closer ‘Beneath’ is the longest song on the entire album and begins in hypnotic fashion, with the guitar delivering a repetitive, slightly dissonant lead line. This monotonous quality is both uncomfortable and strangely compelling, especially when juxtaposed with a more pronounced, and elegant melody. Again, the pace threatens to be swift, but is generally more of a mid-tempo, with the trio even experimenting with stark minimalism towards the end.

I am absolutely certain that ‘Doomed Before Time’ will create a few waves in black metal circles for a number of reasons. The songwriting is strong for starters, whilst the production is powerful and strong but organic-sounding and definitely not polished or pristine. The performances from the trio are tight and professional, and finally, the combination of atmosphere and aggression is well balanced. I have enjoyed listening to ‘Doomed Before Time’, the debut full-length from Sweden’s Scitalis and, if you have a soft spot for quality black metal, then I strongly suggest that you need to take a listen, because I firmly believe you’ll be impressed too.

The Score of Much Metal: 84%

Check out my other 2022 reviews here:

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

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

Postcards From New Zealand – Burn, Witch, Burn – Album Review

Artist: Postcards From New Zealand

Album Title: Burn, Witch, Burn

Label: Independent Release

Date of Release: 15 April 2022

I knew literally nothing about Postcards From New Zealand (PFNZ) coming into this review. And, truth be told, despite undertaking as much research as I was reasonably able to do, I still know sod all about them. Apparently, that’s entirely deliberate on the part of the band, but it does make it impossible for us reviewers to regale you with sexy facts about the artist to provide context and to show off about our knowledge. Damn you.

But importantly, when looking through my inbox of promos, the name stood out. For a start, New Zealand is at the very top of my bucket list of destinations. Having clicked on the email, I was then further interested by the dark cover artwork. Reading on, it became clear that here was a band that wanted to stretch, to experiment, to challenge. Apparently, ‘Burn, Witch, Burn’ is the first part of a trilogy, and it seeks to open the door to new experimentation from PFNZ, incorporating elements of black metal, doom, sludge, and whatever else they wish to throw at us.

Of the thematic content of this record, the press release offers the following:

“’Burn, Witch, Burn’ explores humanity’s hatred, how it grows out of fear for the unknown that leads to acts of destruction even against one’s own kind. Focusing on discrimination towards women but also of women and men turning against each other in through the spread of hatred.”

It’s a very laudable topic upon which to focus, but with song titles like ‘Soccer Mum’, ‘Holy Bazongas’, and ‘Who’s Wearing Pants’, I have to wonder how serious this group of musicians is, or whether the songs are so named to be deliberately provocative.

To be perfectly honest, it doesn’t matter all that much because the music on his album is damn-near unlistenable. The main reason for this is the production. I’m certain that the sound on this album is absolutely deliberate, but for my tastes, it’s awful. Muddy, distant, and ugly, it means that various instruments are missing in action at times, albeit not always the bass which is unusual. The vocals are nasty, venomous, and guttural, not dissimilar to some grindcore bands, but when they come in, the rest of the music threatens to be overrun, retreating for cover somewhere in the back of the speakers, cowering.

Admittedly, the half-hour or so of music does try its hand at covering a multitude of extreme metal styles but having spent as much time with it as I could bear, I have to say that this is really not the kind of music that I like. I love heavy, spiteful, and spikey music, but I need something else to run alongside it. Here, there’s nothing but spite; we have dissonance, we have vitriol, we have cold and impenetrable, but there’s not even a single nod to anything approaching groove, or melody, even if the latter were to be twisted and evil.

The opener, ‘Who’s Wearing Pants’ comes out of the bowels of hell in a flurry of black metal intensity, but you can barely hear any of the nuances within the music such is the muddiness of the mix. It’s intense and threatening, but it isn’t much else. It only lasts for 88 seconds, but every one of those seconds sounds much the same to me.

‘On A Silver Plate’ is better, in that it is at a slower, more lumbering tempo, allowing a little more musicality to seep through. What you can hear is dissonant and unfriendly, but ironically, I like it better than the opener and much of what follows. ‘Pill Fight’ lurches uncomfortably in an odd time signature, complete with weird, muffled sounds and pinched harmonics to increase the aural discomfort.

I would try to write more about ‘Burn, Witch, Burn’, but it’d just be a blow-by-blow description of why I don’t like it. And that helps no-one. Instead, in a concerted effort to end this review on a constructive note, I’ll suggest that Postcards From New Zealand have crafted a record that will test even the most masochistic of metal fans. If that sounds like a challenge, then go for it, and take a listen. In fact, I urge you to do just that. It may be that you like this music a lot more than I do or, at the very least, are able to appreciate what this anonymous group of musicians have tried to create here. For me though, it’s a no, I’m afraid.

The Score of Much Metal: 55%

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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

Darkher – The Buried Storm – Album Review

Artist: Darkher

Album Title: The Buried Storm

Label: Prophecy Productions

Date of Release: 15 April 2022

It’s another previously unknown artist that comes under the spotlight in this review, namely UK-based Jayn Maiven who goes by the name of Darkher. Originally conceived as a solo project a decade ago, this sophomore release, ‘The Buried Storm’, sees Darkher now as a duo, with the vocalist, guitarist and bassist being joined full-time by drummer Christopher Smith. Not only that, but this record boasts the inclusion of a decent cast of guest musicians to add their talents to the compositions that have been created from the mind of the main protagonist. The guests include cellists Arianna Mahsayeh, Melanie Chaplin, and Ludwig Swärd, violinist Lambert Segura, and Daniel Land who contributes additional guitars on one track. In addition, both Land and Swärd are credited with background vocals.

Having known none of the above until a couple of weeks ago, I decided to give this record a listen because everything about it intrigued me. From the incredibly evocative cover artwork to the promo material’s description of ‘dark folk doom’, I just felt compelled to take a listen. I wasn’t sure what I’d hear, but I was up for finding out. As it turns out, the material that finds its way onto ‘The Buried Storm’ is as intriguing as I was expecting. Admittedly, bearing in mind the inclusion of the word ‘doom’ in the description, the music isn’t as heavy as I was expecting, but that’s by no way a criticism.

Instead, my ears are assaulted by a much gentler sound for large periods, or at least that’s the impression I got on a superficial level at the beginning. Listen more closely, however, and it becomes far more apparent that Darkher’s music cannot be dismissed as light, fluffy, and whimsical. Yes, there are moments within the forty-one minutes or so that could be given this appraisal, but there’s a far more menacing and brooding vein that runs through the music. I’d probably say that ‘darkly cinematic’ would be a reasonably fair description.

The opening track, ‘Sirens Nocturne’ begins softly and delicately, with the ethereal, soothing voice of Darkher on top of a simple soundscape, ever-increasing in intensity and understated menace. On the one hand, the sounds of the strings could be seen as an enrichment of the composition but, when coupled with that dark undertone and the way the strings are presented, there’s a dark and foreboding feel that runs alongside an unmistakeable poignancy.

The transition into ‘Lowly Weep’ is almost seamless, but within moments, the folk elements can be heard within the deep, resonant strings that sing alongside the fragile vocals. The beat that enters almost imperceptibly, has a rhythmic, almost tribal feel, before disappearing along with all but the most minimalist of sounds. It’s the calm before the storm though, as the first foray into doom territory appears, albeit in understated fashion. Strangely melodic and beautiful, I love the slow unfurling of this track, which shows the breadth of Darkher’s compositional prowess in the process.

It has to be said, at this juncture, that ‘The Buried Storm’ is a remarkably consistent and alluring beast in whatever guise the music finds itself. ‘Unbound’ is a reasonably brief but beautiful piece of work, but that’s a description that could be applied to so much of the material here. ‘Where The Devil Waits’ for example, sees the delicate poignancy of acoustic guitars add to the haunting cinematic tones of the song’s framework, whilst the vocals are some of the most forcefully delivered overall. The deep sounds of the cello are a fabulously rich and resonant touch too.

Even when things get more disturbing in tone, as is the case with ‘Love’s Sudden Death’, the slow, plodding menace has a touch of delicacy and the poetic about it. The result is a slightly disturbing listen, but a beguiling one, with an undeniably hypnotic quality as well.

Without doubt though, my favourite composition has to be the near eight-minute ‘Immortals’. From the beginning, the melodies strike a chord with me, speaking to my very soul it feels. It’s a simple melody, but the best always are. And they are accented with aplomb by touching lyrics delivered with such understated passion from Maiven herself. For fully half of the song, I am held captivated and then, at the midway point, the heaviness begins to build, led by a simple but effective beat from drummer Smith. The cinematic nature of the soundtrack swells but despite threatening to erupt, never quite does. And that intensity and threat that never materialises somehow makes the experience even more powerful. Whilst I’d have loved an explosion towards the death, I can understand why this wasn’t in the gameplan and actually respect Darkher’s personal vision all the more as a result.

‘The Buried Storm’ is, when I think about it, one of those albums that delights and intrigues in equal measure. It isn’t generally the kind of music I will gravitate towards. However, what makes it so interesting and powerful, is the purity of it. There are sections that are heavy and intense, but for the most part, the strength of the music lies in the way that it is so insidiously intense; the darkness of the music, the unpredictability, and the very human volatility that it possesses. And yet, all the while, Darkher keeps things in check and never let it spill over or get the better of them. In a way, it is this that makes the music all the more daunting, and so captivating. I’m impressed and if you have a listen, I’m sure you will be impressed too.

The Score of Much Metal: 86%

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

Et Moriemur – Tamashii No Yama – Album Review

Artist: Et Moriemur

Album Title: Tamashii No Yama

Label: Transcending Obscurity Records

Date of Release: 8 April 2022

For the first time in 2022, I have hit upon that most intriguing and frustrating of conundrums: how do I review an album that I know isn’t that good, or isn’t as good as it clearly could have been but that I like in spite of my numerous misgivings? Every so often I’m presented with just such an album, and I do what I always do, namely procrastinate. That’s why I’ve had access to this promo for literally ages, but am only now able to commit to putting my thoughts into words on my website.

Et Moriemur are a Czech metal band that are loosely described as ‘atmospheric doom/black metal’, with ‘Tamashii No Yama’ the title of this, their fourth full length album. And, from the outset, I found myself intrigued by the record. For starters, I am a sucker for traditional Japanese music, and it’s a country that I’d like to visit one day, as I’m fascinated by the history and traditions. So, with artwork clearly inspired by the land of the rising sun, as well as all seven tracks bearing Japanese-inspired titles, I was keen to hear what Et Moriemur had created here. My eagerness only ramped up further when it because clear that ‘Tamashii No Yama’ features a cast of guests who add to the potential variety of the material with violins, harps, cellos, and the Shakuhachi, a traditional Japanese instrument similar to a flute but made of bamboo.

On the one hand, for various reasons, ‘Tamashii No Yama’ is a real let-down for me. For a start, the production is not great, with the sound very uneven, and a lack of separation that leads to a muddy mess in places, especially when the music is at its heaviest. The poor sound robs the material of its real power, a power that this music could so easily have had with a stronger production. Karel ‘Kabrio’ Kovářík’s bass is missing in action for much of the record, whilst the guitars of Aleš Vilingr and Honza Tlačil carry less threat or muscle than they really should.

What I also find disappointing, is the lack of genuine commitment when it comes to the Japanese themes. Yes, the Shakahuchi makes an appearance at times throughout the forty-minute record, but these appearances could have been vastly increased. Regardless though, at its heart, ‘Tamashii No Yama’ simply doesn’t sound that Japanese. Instead, this is most definitely a European death/doom metal record, of that there is no doubt. It’s more reminiscent in many ways to the likes of Negura Bunget and other Eastern European artists than anything else.

I should hate this record then, and award it a measly score as a result. I should. But I can’t. And that’s because, for all its shortcomings, I enjoy listening to large amounts of the record, I really do.

Take the opening composition, ‘Hameda’ as the first example. This is about as far removed from doom metal, death metal, or any other kind of metal for that matter. It is ostensibly a piano-led instrumental courtesy of Zdeněk Nevělík that could have been plucked from a film score, such is its beauty. The precise plucked melodies of an acoustic guitar only add to the beauty of this fragile track, that’s eventually joined by cello, viola and violin and the Shakahuchi to add that touch of Japanese to it. Forget everything else for a second, this is a stunning piece of music that genuinely moves me.

The opener then segues into ‘Sagami’ which continues with the melodies of its predecessor but unleashes the full force of the more metallic instrumentation. It could be even more powerful, but again, just revel in the gorgeous, simple, and effective melodies. Over the top, we get Nevělík’s raspy growls that are breathy, and tortured, suiting the music pretty well in my opinion.

From there, ‘Oshima’ pretty much abandons any pretence of Japanese musical influence, preferring to lurch along at a slow, lumbering pace that’s the first time we get to hear something approximating doom metal. The growls are deeper, the guitars heavier and meatier, and there’s a death metal flavour to the track. The drums of Michal ‘Datel’ Rak are a little too thin and far back in the mix too, so they don’t quite thump with the authority that they should. However, as the layers are built, and the melodies are increased, it’s hard not to smile in spite of myself. I can’t help it, but I like it.

‘Nagoya’ features a bold intro, full of different sounds and then darts off into a more Gothic baroque direction complete with harpsichord-like sounds and all-encompassing layers of choir vocals. The slightly off-key piano notes give the song a strange yet compelling avant-garde feel, before rich melody is inserted into the final third of the track to nice effect.

‘Otsuki’, the penultimate track, starts off with some of the most aggressive and confrontational material on the entire album, albeit it remains held in check and lacking in genuine oomph due to the production. Nevertheless, for the first three minutes, the tone is foreboding, dark, and sinister, with faster drumming, and harsher riffing. There’s a deliberately discordant lead solo break that’s pure death metal and that signals a dramatic shift in the song. Out goes the extreme metal, and in comes the most beguiling melody again led by the piano but with multi-layers of instrumentation within it, including a sedate drumbeat. Again, I can’t help it, but this melodic section really speaks to me, and I love it.

The cynical amongst us, and I’d be one of those normally, might declare that the final track, ‘Takamagahara’ is the result of Et Moriemur realising that they’d not created enough music by this point. It stretches over thirteen minutes and yes, it could do with some trimming. However, I can’t help but fall for its charms, for it has many. The way the song builds from humble beginnings, all the while delivering a simple, but super melody, is thoroughly enjoyable as far as I’m concerned. The multitude of instrumentation used throughout cannot be understated, and whilst Nevělík’s rasp gets a little much at times, he offers plenty of other sounds, from a hushed spoken-word delivery, to deep, bestial grunts. All the while, the threat of more melody is never far away, and so it proves to my delight. I know that there are flaws in this music, but flaws be damned, I really like large swathes of this monster composition that’s part doom metal, part Gothic atmosphere, part death/black metal, part Sigh-like avant-garde, part minimalist atmospherics, and a smattering of Japanese influence.

It’s the melodic nature of the music that overcomes everything else for me and saves an album that should be ordinarily disregarded. The melodies speak to me, they resonate with me, they move me, and they work their magic. I have succumbed to the power of the melody, to the point where I find myself overlooking the poor production, the lack of overt Japanese influence that I’d hoped to hear, and the occasional clunky nature of some of the transitions within the songs. I keep coming back to several of the tracks on ‘Tamashii No Yama’, continually being left in wonderment by the melodies contained therein. They may not be overly complex, but they are memorable and surprisingly profound. I can’t explain it, but I dislike and love Et Moriemur’s ‘Tamashii No Yama’ in equal measure.

The Score of Much Metal: 89%

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

Denali – Denali – EP Review

Artist: Denali

Album Title: Denali EP

Label: Independent Release

Date of Release: 1 April 2022

I always get excited when I’m presented with a new band about which I previously knew nothing, and which impresses me. It is even more exciting when the entity is almost completely unknown, and the material you’re listening to would appear to be the first that they have unleashed on the world. It feels like I’ve uncovered a secret and, because I like the music, I become very impatient to publish my thoughts, a bit like I get at Christmas and birthdays when I’m itching to give out presents to see people’s reactions.

The band in question go by the name of Denali, and according to the email I received from them directly, they’re based in Hertfordshire in England. The idea for this band came from guitarist James McGrenery in the summer of 2020 and since then, he has recruited Countless Skies duo Ross King (vocals) and Nathan Robshaw (drums) alongside guitarist Adam C Taylor (Everest Queen) and Cerberus Unchained’s Simon Marston on bass. If I’m being completely honest, it’s the Countless Skies connection that led me to check out this EP more quickly than I otherwise might, but I’m certainly glad I did, because this self-titled release shows genuine promise as well as being a great listen in its own right.

The quintet themselves recommend their music for fans of My Dying Bride, Katatonia, Swallow The Sun and October Tide, describing themselves as “a melodic death-doom metal band which seeks to weave dark narratives into a musical tapestry that balances soul haunting melody and crushing heaviness, to wrap the listener in a cocoon of palpable sorrow.” If it wasn’t for the fact that there’s a decent amount of truth in this, such a description would normally have me laughing hard. As it is, I’m hard-pressed to disagree too much.

The three-track EP has a run-time of nearly half an hour, so adding tis to the description above, you already know what to expect to a certain extent. But what Denali don’t do, is disappoint. It all begins with ‘Catafalque’, the longest of the compositions that extends into double figures, and the opening is ominous, dark, and cinematic. It’s all blown away in an instant by an enormous riff that threatens to shake the foundations of my house. Aided by powerful drumming and solemn orchestration, it is a strong opening statement, but one that disappears almost as soon as it arrives to be replaced by a quiet introspective passage, led by the sounds of a delicate guitar melody and aided nicely by a rich bass. The heaviness does return and it once again thunders with alarming inexorability, slow-paced and churning. Whilst the production might not be as clear as I’d hope, with the cymbals being a little too loud and the guitar leads too quiet for my tastes, you can’t help but fall in love with the gloriously dirty and heavy guitar tones, the elegant melodies that are woven into the fabric of the track, and the deep growls, already familiar to Countless Skies fans. Like any good death doom band, there is plenty of variety across the song, with the tempo shifts, increases in orchestration, sombre guitar leads melodies, quiet passages, and moments of bruising brutality. It all culminates in a thoroughly absorbing listen.

‘Beneath The Waves’ follows, opening with the sounds of waves lapping against the shore. From there, as with the opener, the heaviness lays waste to the quiet beginning, but it does so with style and skill, as the music is both elegantly melodic, mournful, and vaguely progressive in construction, with riffs and notes not quite going where you initially expect. I get frequent shivers and chills as I listen to this song, because it’s so beautiful. Again, what Denali do so well is mix things up, meaning that there is a nice sense of drama along the way, with nine minutes racing past in a flash. I adore the groovy, chunky riffs that emerge at the heart of the song, only to descend into full-on death metal attack. Of the three, this is my favourite track, but it’s like choosing between the first three Metallica albums – an impossible task.

This hugely impressive EP is closed out by ‘Deathless’, which just sees a continuation of the high quality that has gone before it. The bass guitar really comes to the fore within the quieter sections on this song, whilst there’s a darker feel to the synths and atmospheres – It’s less melancholy, and more ominous, enhanced by some unforgiving guitar riffs that again threaten to tear down the Mansion Of Much Metal.

I’m so genuinely psyched about this discovery because I see greatness in their future. Their chosen genre can be an unforgiving one, but what I hear on this self-titled debut EP leads me to believe that Denali could see themselves rubbing shoulders in the not-too-distant future with those bands that have influenced them to this point. Now it’s time to build on this release and show the death/doom world what they can do with a full-length record. I won’t be the only eager one to hear what comes next, I can assure you of that.

The Score of Much Metal: 90%

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

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.”

— 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.”

— 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.”

— 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…”

— 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. “

— 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. “

— 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. “

— 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.”

— MoMM —

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. “

— 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.”

— 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.”

— 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.”

— 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…”

— 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.”