Tag: technical death metal

Kreator – Hate Über Alles

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

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

The best albums of 2022 so far – April to June

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

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

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

On that note, here goes…

Meshuggah

Immutable

Atomic Fire Records

Genre:

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

— MoMM —

Treat

Endgame

Frontiers Music

Genre: Melodic Hard Rock

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

— MoMM —

Soledad

XIII

Independent Release

Genre: Progressive Rock/Metal

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

— MoMM —

I Am The Night

While The Gods Are Sleeping

Svart Records

Genre: Melodic Black Metal

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

— MoMM —

Evergrey

A Heartless Portrait (The Orphean Testament)

Napalm Records

Genre: Progressive Metal

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

–MoMM–

Zero Hour

Agenda 21

Frontiers Music

Genre: Progressive Metal

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

— MoMM —

Decapitated

Cancer Culture

Nuclear Blast

Genre: Death Metal

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

— MoMM —

Lord Belial

Rapture

Hammerheart Records

Genre: Black Metal

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

— MoMM —

Kreator

Hate Über Alles

Nuclear Blast

Genre: Thrash Metal

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

— MoMM —

Seventh Wonder

The Testament

Frontiers Music

Genre: Progressive Metal

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

— MoMM —

Kardashev

Liminal Rite

Metal Blade Records

Genre: Deathgaze

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

— MoMM —

Charlie Griffiths

Tiktaalika

InsideOut Music

Genre: Progressive Metal

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

— MoMM —

Exocrine

The Hybrid Suns

Unique Leader Records

Genre: Technical Progressive Death Metal

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

— MoMM —

Darkane

Inhuman Spirits

Massacre Records

Genre: Death/Thrash Metal

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

Fallen Sanctuary – Terranova

I hope you enjoyed my choices…cheers!

Exocrine – The Hybrid Suns – Album Review

Artist: Exocrine

Album Title: The Hybrid Suns

Label: Unique Leader Records

Date of Release: 17 June 2022

I come at this review as a newbie, unfamiliar with the work of Exocrine, but within a couple of spins through, I found myself wishing that this wasn’t the case. However, it isn’t the greatest surprise in the world because it is only in the last twelve-eighteen months that I have truly embraced the genre of technical death metal to the extent that I have. And when I listen to an album of this calibre, I find myself considering whether this could now be one of all-time favourite genres. ‘The Hybrid Sons’, the fifth album of Exocrine’s career is an absolute belter that plants a giant smile on my face whilst making me scratch my head, wondering how it’s even possible to play music that’s this fast and this intense at times. Much like the latest Archspire album, Exocrine simply blow my mind.

The greatest attribute of Exocrine and ‘The Hybrid Suns’, is the way that it immediately throws a punch to your face and then continues the aggressive attack with barely any let-up over the course of an intense and ferocious ensuing 36 or so minutes. All four musicians within Exocrine bring an amazing array of talent, from drummer Théo Gendron to bassist/vocalist Jordy Besse. However, it must be said that the twin guitar attack of Sylvain Octor-Perez and Nicolas La Rosa is the facet of the band that elevates ‘Hybrid Suns’ to the next level of brilliance in my opinion. Be it lightning-fast solos, flamboyant lead lines and embellishments, or just the sheer variety and quality of the riffs, every single song bursts out of the speakers with something that catches my ear, or gets my head nodding vehemently, often accompanied by a wicked grin on my ever more weather-worn face.

For such a heavy and intense affair, the amount of memorable material that features has to be commended too. ‘Hybrid Suns’ is undoubtedly a progressive/technical death metal album, but Exocrine prove that you can be technically adept and savage, whilst also offering music that is melodic, occasionally very catchy, but altogether a great deal of enjoyable fun. I therefore doff my cap in their direction.

The fun starts from the first second of opener, ‘The Hybrid Suns’, courtesy of some wonderfully bright and breezy lead guitar lines to accompany some of the fastest drumming I’ve heard this year. The sweep-picking is accented by some rich orchestration too, creating a grandiose and captivating beginning to the record. The voice of Jordy Besse is suitably caustic and nasty, delivering what I’d call a dry, higher-pitched rasp for the most part, but indulging in a deeper, more guttural tone when required. To further increase the melody though, the song introduces a chorus of sorts that reprises the orchestration and choral-like embellishments which I find incredibly effective and powerful.

But the opener is just the beginning of the ride though, with a steady stream of excellent, bruising material forming an orderly cue behind it. Coming hard on the tail of the opener, is ‘Dying Light’, another blazing track that sees drummer Théo Gendron almost lose his limbs such is the speed at which he attacks this song. There’s a little more space at times for the bass rumble cut through too, before a deceptively catchy chorus intervenes, complete with amazing lead guitar lines and a female voice to accent the growls of Besse. There’s definitely a more pronounced progressive feel to the track, but it’s no less hard-hitting of memorable as a result. If anything, it’s the equal or better than its predecessor.

To underline the wonderfully heavy and uncompromising tone of the guitars, look no further than the opening moments of ‘Horns’, a song that’s incendiary for the most part with a hint of Nile at their most extreme, especially in the twisted lead breaks. But it also allows a moment of refined quiet that’s deliciously placed.

If I had any kind of gripe with ‘The Hybrid Suns’, it’d be that a couple of tracks like ‘Watchtower’, for example, veer a little too close to deathcore for my liking. In the case of the former, this is manifested in the chosen riffs, the overall tone of the song, and moments that sound like Exocrine are dabbling with breakdowns, or chugging riffs, albeit fleetingly. But this is a minor criticism in the overall scheme of things, and not something that threatens to derail my enjoyment in any real manner to be honest.

You’ve just got to nod appreciatively at the warm jazz influences that come through within ‘Vortex Of Shadow’, or the epic nature of ‘End Of Time’, particularly in the bombastic, heavily orchestrated segments that are laced with beautifully inventive and sublime instrumentation as if you’d forgotten just how proficient these four musicians are. The ultra-melodic sequence towards the end of the song is an utter, unbridled joy to listen to as well.

If that wasn’t enough, ‘Burning Sand’ opens with a gorgeous acoustic guitar melody that’s unceremoniously smashed into a million pieces under the weight of the tech death onslaught that ensues. If my ears don’t deceive me though, a couple of the riffs borrow from the thrash arena, just to add a little something different yet again.

Add to the package some seriously cool cover artwork, and a production that is crystal clear without detracting from the sheer power and technicality of the music, and you’re staring at one hell of an album. I love the way that bands like Exocrine have managed to open my mind fully to the magnificence of technical and progressive extreme metal, because it is a genuine thrill ride when you get to listen to music that’s this intense, this intricate, and this memorable. I’ve been criticised by some for the increase in reviews of albums at the heavier, more extreme end of the metal spectrum. All I can say is that if albums of this quality are presented to me, don’t expect a reduction in these reviews any time soon. And I’m not remotely sorry either. ‘The Hybrid Suns’ by Exocrine is seriously impressive, and fully deserves its time in the spotlight. I urge you to check this out ASAP.

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

Deathwhite – Grey Everlasting

Charlie Griffiths – Tiktaalika

Seven Kingdoms – Zenith

Brutta – Brutta

White Ward – False Light

Winds Of Tragedy – As Time Drifts Away

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

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

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

Truent – Through The Vale Of Earthly Torment – Album Review

Artist: Truent

Album Title: Through The Vale Of Earthly Torment

Label: Independent Release

Date of Release: 17 June 2022

The opportunity to review a debut album and an independent release is something I always struggle to refuse, and so here I am reviewing ‘Through the Vale Of Earthly Torment’, the first full-length record to see the light of day from Truent, a progressive/technical death metal band hailing from Vancouver, Canada. As you’re no doubt aware, I’ve been developing quite the taste for prog/tech death of late, so this is another tick in the box that made a review of this album a certainty.

To add a little more background context to the review, Truent have been around for a few years now, releasing a couple of EPs in 2017 (‘Faith In The Forgotten’) and 2018 (‘To End An Ancient Way Of Life’). They are a quintet comprised of vocalist and acoustic guitarist John Roodenrys, guitarists Daniel Clark (rhythm) and Matthew Pancoust (lead/rhythm), bassist Spence McIntosh, and drummer Nic Landry. They are also not the first outfit to cite the pandemic as the catalyst for the writing and recording of this venture, expressing the fact that it was a form of escapism for them during difficult times. The result is ‘Through The Vale Of Earthly Torment’, an eight-track 32-minute affair that the band declare as being their most diverse offering to date.

The first thing that I can confirm is that the band members can all play their instruments to a high standard – to play technical death metal, that’s more of an implied expectation rather than hopeful optimism though. Nevertheless, it’s a box that can be ticked accordingly. The second comment to make is that ‘Through The Vale Of Earthly Torment’ is heavily reliant on a core of chunky and groovy riffing, rather than a barrage of impossibly fast but precise instrumentalism. Put another way, this is more of a 44-tonne articulated lorry than a helicopter gunship.

Within the material provided with the promo, there are quotes from the band stating:

“There’s a wide mix of subgenres and sounds we explore throughout the album, often within the same song. We incorporate elements of everything from tech death to thrash metal to metallic hardcore into the records core sound of groove-filled progressive death metal.”

If you listen closely, then Truent are not wrong with their assertions; there are a number of different influences on offer within this half-hour record. But, and here’s my problem with this record, it all sounds a little bit forgettable. In a day and age where the quality within this subgenre is off the scale thanks to the likes of Archspire and so forth, this kind of music needs to really sizzle in order to make a big impression on me. The music on ‘The Vale Of Earthly Torment’ is perfectly well played and there are moments that do stand out. However, I don’t get the rush of excitement listening to this album that I do with others within the genre. Ultimately, the song writing just isn’t consistently strong enough engaging enough to hold my attention and excite me.

There are some high points though, starting with ‘Scathe Of Branches’ which has a Gojira vibe mixed with maybe even an early Soilwork or Darkane accent or two, especially when the music goes a little thrashier and the vocals are slightly cleaner and more of a gritty, soaring nature than the normal guttural growls. Then there’s ‘This Verdant Coil’ which is easily the most memorable of all the songs on the album. It features some cool drumming in the early stages in particular, but it’s the groove and the ensuing melodies woven in that make the greatest impact, topped off with a nice lead guitar sound, that’s akin to an air raid siren in a manner of speaking. Of all of the songs by Truent, this is the one that I remember once the disc has finished playing.

Mind you, the acoustic intro of ‘Blood And Dust’ is short but very sweet, whilst the ensuing four-and-a-bit minutes are arguably the most technical of all the material here, a bit of a problem when it’s also the opening track. It also signals the prevalence of chugging, down-tuned djent-like guitar tones which are used throughout the record, an aspect of the music that I need to be stellar in order to really hit my sweet spot.

I realise that I sound particularly harsh towards Truent, and I guess I am. But I also want the criticism to be as constructive as possible, so that the next release from these guys knocks me sideways. They have the talent and the ability to succeed, so I really hope their sophomore release realises their potential. By that, I mean that I want to hear music that is properly memorable, and which carries more of a unique edge to it. Focus on the songs themselves, improve in that area, and maybe cut out a few of the gratuitous chugs while you’re at it. Nevertheless, I would urge fans of this style of music to take a listen to ‘Through The Vale Of Earthly Torment’ just in case I’m way off the mark here.

The Score of Much Metal: 68%

Check out my other 2022 reviews here:

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

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

Artificial Brain – Artificial Brain – Album Review

Artist: Artificial Brain

Album Title: Artificial Brain

Label: Profound Lore Records

Date of Release: 3 June 2022

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

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

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

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

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

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

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

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

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

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

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

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

Buried Realm – Buried Realm – Album Review

Artist: Buried Realm

Album Title: Buried Realm

Label: Independent Release

Date of Release: 3 June 2022

“…‘Embodiment Of The Divine’ is a great record, deservedly raising the stock of the talented Josh Dummer and Buried Realm ever higher. This is one of the best melodic death metal albums I have heard this year, just as the debut was back in 2017. By anyone’s standards, that’s an impressive run of form, one which I hope continues with album number three.”

The final words of my review of Buried Realm’s sophomore release are worth restating as album three is now upon us. Self-titled and self-released, ‘Buried Realm’ has a lot to live up to based on my comments, and those of many other metal journalists the world over. However, the mastermind behind Buried Realm and multi-instrumentalist Josh Dummer is not only talented, but he’s also ambitious, driven, and hard-working. That’s a powerful combination in anyone’s language, and so the American has as much chance as anyone.

Aside from the drums that are performed throughout this release by Heikki Saari, Dummer does everything. Guitars, bass, vocals, songwriting; the whole works. That being said, though, the fact that he is once again joined by a cast of guest musicians to sprinkle their own magic into the mix, only helps to increase the sense of expectation around this release, for me anyway. Bob Katsionis (Serious Black, ex-Firewind), Christian Münzner (Obscura, Alkaloid), Christofer Malmström (Darkane), Christopher Amott (Dark Tranquillity, ex-Arch Enemy), Dan Swanö (Edge Of Sanity, Witherscape), and Dean Arnold (Primalfrost, ex-Vital Remains) all pay a visit to the world that Dummer has created, all adding a little something extra along the way.

I would hazard a guess that Dummer’s primary instrument is almost certainly the guitar, based on the music he creates, his promo photos, and the fact that the vast majority of his chosen guests are known for their prowess with the stringed instrument of the Gods. If you are thus far unfamiliar with Buried Realm, this alone should give you an idea of what you can expect. Call it extreme metal, call it melodic death metal, call it technical death metal, call it anything you want. The bottom line is that each of these descriptors holds a certain amount of accuracy. But more importantly, however you define it, the music seriously shreds. Whether it’s in the form of a neck breaking riff, a clever lick, or a face-melting solo, not a single song goes by when Dummer and friends don’t worship at the altar of the six string.

After a relatively modest, quiet, and melodic intro in the form of ‘Entrance’, ‘Spectral Light’ explodes with real intent. Blastbeats and heavy, sharp riffs are the order of the day here, as Dummer lays down an early marker. His vocals are as caustic as previous albums, whilst a modicum of melody and groove surfaces within the verses. The chorus is reminiscent of the days when Arch Enemy could actually write a memorable song; it’s melodic and catchy, yet it remains a bruising affair with a pummelling rhythm section at its core. The speed at which some of the ensuing riffs are executed is thoroughly impressive, underlining the skill of Dummer perfectly.

Easily the fastest and most intense of all the compositions on this record surfaces in the form of ‘Poison Palace’ which, according to Dummer himself explores the topic of some people becoming dependant upon drugs and other chemical substances. I love the range of vocals used, from the higher-pitched dry approach, to the deep guttural growls which are so satisfying. This track also features one of the most arresting solos heard on this album, a whirlwind of melody and technical dexterity within the confines of one of the harshest songs on offer.

The galloping groove and effervescent lead lines not a million miles from what In Flames would deliver in their heyday create a bit of a false impression on ‘The Iron Flame’. A song about the loss of family and friends, it initially feels too exuberant. But listen more closely and the melodic sensibilities, as well as the wailing, flamboyant leads that feature heavily hide a vague note of melancholy too, a bittersweet note to what is one of my personal favourite tracks on ‘Buried Realm’. The guitar work is insane and when it finally calms at the end, the synths bathe the closing moments in a reflective sense of calm.

Speaking of synths, the introduction to ‘Witch Bones’ is dominated by them, but more of a theatrical tinkling than anything else. Enhancing the lyrical content that explores themes of human temptation towards evil, it’s a shorter, snappier composition that is no less bruising for its brevity. Those with a soft spot for the deep grorls of Dan Swanö will swoon over ‘Where The Armless Phantoms Glide’, a preposterously named song that sees the guest duet with Dummer to great effect, whilst once again, we’re treated to guitar gymnastics all over the place. Particularly enjoyable are the muscular riffs and the bold cinematic synths that come to the fore in the latter stages of the song to counteract the more sci-fi inspired sounds that also lurk within.

One of my other firm favourites however, has to be ‘Elder Gods’. As I’m always at pains to admit, I’m a sucker for melody and this song produces some of the strongest and most enjoyable on this record. The chorus to this beast is groovy and catchy which, in turn, makes it one of the most fun sounding in my eyes. My head nods, my air guitar makes an appearance, and I smile broadly as the track unfolds. The great thing about it though, is that for all the melody, the heaviness and intensity is never compromised; instead, the two elements compliment each other very well indeed.

This self-titled record then ends with a cover of ‘He’s Back (The Man Behind The Mask)’ by Alice Cooper. Whether deliberate or not, I get a hint of Children of Bodom in this track due to the chosen synth sounds. To be perfetly honest, it’s a fascinating rendition because were I not already familiar with the original, I’d not have realised it was a cover.

The only way to conclude this review is to return to the beginning and again reference my review of ‘Embodiment Of The Divine’. At the time, I expressed my hopes that the third Buried Realm album would continue an impressive run of form. As it turns out, Josh Dummer has gone one better, by creating his best body of work yet. It’s often the way that artists will self-title a record that they feel immensely proud of, and that tradition continues here. ‘Buried Realm’ is chock full of all the things you want from this entity: technicality, aggression, and melody, with plenty of guitar histrionics to top it all off. But, you also need good songs and, on that score, there are absolutely no complaints from me. In short, Buried Realm have never sounded better.

The Score of Much Metal: 92%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

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

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones – Album Review

Artist: Cosmic Putrefaction

Album Title: Crepuscular Dirge For The Blessed Ones

Label: Profound Lore Records

Date of Release: 6 May 2022

As I listen to ‘Crepuscular Dirge For The Blessed Ones’ for the umpteenth time, there is one thought that crops up again and again, namely ‘how on Earth can this be the work of just one man?’ For Cosmic Putrefaction is a solo endeavour by Italian multi-instrumentalist, Gabriele Garmaglia. This is the third full-length album of the Milanese death metal musician, and it packs such a punch, and has so much going on, that it almost beggars belief that there’s no-one else involved in creating this music.

As it turns out, Garmaglia did enlist the help of drummer Giulio Galati of Hideous Divinity fame alongside vocalist Ricardo Nioin of Verterbrae Atlantis but otherwise, everything you hear is the work of one man with a singular vision and a real drive and enthusiasm. As someone who has not delved into the world of Cosmic Putrefaction previously, I was initially unaware that ‘Crepuscular Dirge For The Blessed Ones’ offers a continuation of the concept explored within the predecessor, ‘The Horizons Towards Which Splendour Withers’. In that album, and I quote: ‘…the only survivor from an apocalyptic annihilation of a dying planet walks towards its withered horizons.’ This time around, the self-same survivor ‘ultimately finds an even more sorrowful truth at the end of his journey; one that shows the empyrean fall of man through the metaphysical world and the gods who inhabit it.’ If you are confused at this point, wait until you hear the music to accompany this fantastical story.

I say this because within the 42 minutes of music on this record, Garmaglia all but throws the kitchen sink at us. Wrapped in a core of extreme, technical death metal, we’re confronted with idea after idea that occasionally threatens to turn my brain inside out. Black metal, prog, avant-garde, and plenty more besides all combine to create a dense and intimidating listening experience. At times, if I’m honest, the sheer energy and enthusiasm does threaten to spiral a little out of control, but there remains something about it that I really like. I wasn’t sure to begin with and were it not for a couple of voices on social media urging me to give it another go, I’d not be writing this review. As it is, I listened to those voices and almost instantly, something clicked.

That ‘something’ is hard to pin down with any real clarity, but I keep coming back to the album like a moth to a flame. It’s almost as if I want to challenge myself, and submerge myself in the cacophony, so that I can better understand it and appreciate it. And the more I do, the more I hear within the dissonance, naked aggression, and seemingly disjointed tumult that sparks my interest and admiration. By now, you’ll know that I have about as much musical talent as a wardrobe, so I will let others describe the various techniques that are used throughout. I will take my tried and trusted alternative route.

As a layman, but lover of all things metal, the first track to really hammer home its excellence was ‘From Resounding Silence To The Obsidian Womb’. From the beginning, I just love the bruising, muscular guitar riffs that drive the song forward with more than a touch of twisted, lurching groove. The drumming is frenetic, the pace quick, and the vocals deep and gravelly for the most part. But what I love most is the way in which the tempo shifts on a sixpence to leave you reeling, before unleashing a heavily synth-laden sci-fi-sounding section, where the vaguest hint of melody is enough to satisfy me; normally I need more in that direction, but so good is the composition that I don’t need anything more here. The atmosphere is marvellous, whilst the inclusion of what I think are acoustic guitars buried deep in the mix, and overt clean choral vocals add a touch of elegance to an otherwise unforgiving composition.

Equally as intriguing is the immediate follow-up, ‘Amniotic Bewilderment’. In fact, this is and has been my personal favourite for quite a while now. The opening is savage, as it explodes into existence in a tirade of fast riffs and even faster drumming. It is almost impossible to discern the musicality initially but familiarity allows for a greater clarity. From there, we get what I’d class as ‘old school’ death metal groove created by irresistible guitar riffs that then morph into the closest approximation Cosmic Putrefaction will probably ever get to the definition of ‘catchy’. Again, I should want more overt melody, but the blend of prog, groove, and atmosphere within a track that is otherwise as mind-bendingly complex and dissonant as it undeniably is, does the trick perfectly on this occasion.

Elsewhere, it is hard not to be impressed by the lead guitar solo that crops up within the aggressive and spiky ‘Twisting Spirals In The Murk’, that also features some of the darkest and oppressive synth-created atmospheres, augmented by the return of the acoustic guitar to add to the unease rather than enhance the melodic presence of the track. The atmosphere created by the bold synths within the extremities of ‘Lysergic Sulfuric Waters’ are equally as interesting, captivating, and impressive.

To be perfectly honest, it’s difficult to not be impressed by a great deal of this album. Ok, so you might need a few spins to get your head around things and adjust your mindset accordingly, but once you’ve sone so and you accept the fact that this isn’t going to be a light and fluffy listen, you start to appreciate the music more and more. When you also consider the fact that this record was written and drums/vocals aside, performed by one man, the whole experience just becomes even more amazing. I urge you to take a listen to ‘Crepuscular Dirge For The Blessed Ones’ by Cosmic Putrefaction and stick with it because if you do, the rewards are plentiful, I can guarantee you of that.

The Score of Much Metal: 87%

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

Haunter – Discarnate Ails – Album Review

Artist: Haunter

Album Title: Discarnate Ails

Label: Profound Lore Records

Date of Release: 6 May 2022

Apparently, when they formed nearly a decade ago, Haunter were considered more a screamo band than anything else. This explains why the San Antonio, Texas-based quartet never made it onto my radar previously. However, based on the content of ‘Discarnate Ails’, their third full-length album, any notion that Haunter remain within the screamo scene are swiftly and mercilessly extinguished. What I’m presented with here, is something far more interesting for my tastes, because ‘Discarnate Ails’ is pure unadulterated technical, progressive death metal, with a hint of black metal nastiness for good measure. If you’re not put off by this description, I urge you to read on.

Having grabbed your attention though, I feel the need to let a little bit of air out of your tyres by addressing the one main complaint I have about this album, which is that ‘Discarnate Ails’ is simply too short. It has a run-time of just 31 minutes and 34 seconds, spread across just three songs. Three. I know all too well that I have criticised bands ad nauseum about creating albums that are far too long, and I’m also acutely aware that some of the very best albums of all time nestle around the half-hour mark. On this occasion, however, I can’t help but feel that the Americans could have offered us maybe one more track along the way. Feel free to disagree, but it’s just how I feel.

Gratifyingly however, that’s pretty much where the negatively starts and ends. And that’s because once you start listening to the music on this record, you can’t help but be impressed. And I’m impressed for a number of reasons if truth be told. In my world, there can never be too much melody, but what Haunter have managed to do here is walk a fine line between creating music that is evil, spiteful, and incredibly heavy, whilst also lacing it with just enough melody to keep those of a similar disposition to me reasonably happy. Ok, so ‘happy’ might be the wrong word in the context of a record like this, but you hopefully get my meaning.

What makes this feat all the more impressive, is that Haunter are not afraid to use dissonance and other uncomfortable techniques to heighten the sense of malevolence and violence within their compositions. The tempo and direction of the material undergoes frequent shifts, where all-out aggression is suddenly met by a calmer, more atmospheric passage, albeit equally as uncompromising, just delivered in a different manner. In fact, it’s the layers of sound, the textures, the abundance of ideas and inspiration that makes one of the biggest impacts here. You never quite know what’s coming next, but you know that whatever it is will be worth listening to. And you know that the music will literally be alive with dark, venomous atmosphere throughout. On that score, there is barely any let-up whatsoever.

Naturally, the technical abilities of the band are out of the very top drawer. Drummer Mark Cruz litters the album with blasts, incredibly fast fills, and intricate detail, whilst the guitar duo of Enrique Bonilla and Bradley Tiffin create riff after savage riff. These riffs straddle the black and death metal genres cleverly too, as they are both chunky and fast-picked depending on the sequence at hand. But, in addition, there are plenty of clever clean parts that seemingly only add to the dissonance on offer, as well as a few well-placed lead parts that add to the overall sound. This isn’t an album of ostentatious lead dexterity, but I find it just as rewarding without this facet in actual fact. Bassist Cole Tucker is the newbie of the band, joining in 2020, but he fits right in, beefing up the rhythm section, but also offering some technical dexterity of his own when the material calls upon him to do so.

And then there are the vocals that are performed by Bradley Tiffin. Sometimes within this genre, the vocals can be a bit of an afterthought, as the main focus is often the instrumentation. However, Tiffin is impressive, adding real value to the album with a varied approach that sees him screeching like a possessed demon one second, before unleashing a deep, rumbling growl the next. As with the guitar riffs, it is this clever, varied vocal delivery that helps to justify the hybrid death/black metal description applied to the band.

Given that there are only three songs, and that the album is better enjoyed as a single homogenous piece of music, it feels a little redundant to go into an individual, detailed analysis of each. However, there are moments that are definitely worth highlighting along the way. For example, I do really enjoy the way in which the album both begins and ends, namely in quiet fashion, with clean guitar notes intertwined with resonant bass accents at the start, and subtle synths at the end. In my mind, it sets the atmospheric tone of the album, as well as providing a nice symmetry to proceedings. Additionally, the more I listen to the opening composition, ‘Overgrown With The Moss’, the more I find within it in terms of subtle, insidious melody, and the more I enjoy it as a result. But then, that’s entirely true of this entire venture if truth be told.

The final piece to this impressive jigsaw is the production of the album. There are one or two occasions, as within the latter stages of the closing track, ‘Chained At The Helm Of The Eschaton’, where the snare drum becomes a bit too overpowering, but for the most part, the mix allows clarity for each instrument without ever undermining the power that the music possesses. All of this means that I have come to be thoroughly impressed with Haunter and with ‘Discarnate Ails’. It’s another great find that I’m delighted to be able to offer my thoughts about and hopefully help spread the word in a small way. Get on this record if you like progressive death/black metal; it might be a little on the short side, but it packs one hell of a punch.

The Score of Much Metal: 85%

Check out my other 2022 reviews here:

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

Dischordia – Triptych – Album Review

Artist: Dischordia

Album Title: Triptych

Label: Transcending Obscurity Records

Date of Release: 29 April 2022

Sometime, just sometimes, I will admit to being defeated by an album, or a band. It takes a lot more than it used to, that’s for sure. But it happens occasionally to this day, and will, no doubt, happen again until the day I stop listening to music. Based on the quality of music that has emanated from the Transcending Obscurity stable in the last year or so, I am left with no alternative but to take a listen to everything that they present via their promo platform. The most recent offering is for a band called Dischordia and their third full-length album entitled ‘Triptych’.

Hailing from Oklahoma in the US, Dischordia have been in operation since around 2010 and they are a trio comprised of bassist/vocalist Josh Turner, guitarist Keeno (who also offers additional vocals), and drummer Josh Fallin. It is clear that the trio know what they are trying to achieve and for a band so few in numbers, the sound they make is really quite impressive in itself. Theirs is a heavy, uncompromising, complex, and occasionally avant-garde-sounding affair, meaning that you never quite know what’s going to hit you next. The performances across the three musicians are all very commendable, and it takes great skill to be able to pull off some of the things that they do.

However, with a name like Dischordia, it will come as little surprise to learn that the band have a penchant for making music that’s dissonant and unfriendly, deliberately shunning anything that might be misconstrued as welcoming, friendly, or memorable if I’m honest. I’ve listened intently, even putting on the big headphones in the hope that something will click or at least stick. But I can’t make it happen, as much as I try to force things. At the end of the day, I need something other than complexity and downright nastiness. And, at 56 minutes in duration, there’s simply too much of it.

There will be a lot of you out there who will vehemently disagree whilst challenging my heavy metal credentials in the process. I accept that and I’m wise to it. So, for those of you who want it, I’m happy to help explain why ‘Triptych’ might be a band for you, even if they are not for me.

Well, for starters, the production of this record is very solid, ensuring that every string pluck, every twisted riff, every snare strike, and everything else in between can be heard with sufficient clarity without the sound being sterile. Despite the clarity, particularly noticeable with the fleet-footed bass playing, the music retains some grit and nastiness befitting it. And Josh Turner’s deep guttural growls are just plain nasty in a good way.

Then there’s the complete absence of any niceties like a gentle intro, as the trio immediately launch into their uncomfortable, mind-boggling attack from the first second. As such, ‘Minds Of Dust’ blasts out of nowhere with a savage yet technically adept sonic battery. The bass never stops, whilst the drumming is dextrous and accomplished, equally comfortable with belting out the blasts, or delivering something altogether more nuanced. But at no point in this track is there anything I can latch on to and actually enjoy. I admire what I am listening to, but that’s not enough to lure me back for repeated listens for fun. A vague melody, a moment of stubborn groove…nope, that ain’t happening here, and you have to respect Dischordia for sticking to their guns so intently. The closest we get to any of that is in the closing moments as the pace is deliberately slowed to a crawl.

I will concede to finding some of the more overt experimentation rather intriguing within some of the tracks, especially as I genuinely wasn’t expecting much of it. One such example would be the extremely minimalist mid-section to ‘Bodies Of Ash’ which sees a flute delivering what appears to be a rather whimsical melody over a repetitive couple of muted piano notes. But such is the way in which the two collide alongside a few other vague sounds, there’s nothing harmonious about it. Instead, almost certainly deliberately, the result is unsettling and unnerving, making me fully realise just how unhinged this music truly is.

‘Spirits Of Dirt’ is a similar beast in many respects, abandoning the heaviness early on in favour of a repetitive minimalist soundscape that incorporates numerous gentle sounds but in a way that causes a little more confusion, as well as a strange sense of twisted foreboding – it’s like the sounds that might emanate from the cot mobile of a demented baby in a horror-film. It doesn’t last as long, but it still creates a creepy feel to the song, one that’s explored throughout to a greater or lesser extent.

The flute makes a reappearance within the mammoth eight-minute ‘The Carriage’ which does offer some further respite from the dissonant cacophony that’s the favoured feeding ground of Dischordia. The pace is also a lot slower for large portions of the track, leading to a feeling that I’m being run over, very slowly, by a stinking, dirty steamroller. When all is said and done, it is probably my favourite track on ‘Triptych’, but given my general feelings towards this album, that’s not saying a lot.

However, let’s be clear on this once more – I don’t hate ‘Triptych’, and neither do I think it is a record that contains bad music. It certainly doesn’t, and as I’ve said before, if you’re a fan of deliberately ugly, heavy music, you really must check it out because it’ll probably knock your socks off. For my personal tastes though, I cannot warm to it. Dischordia have created a record in’Triptych’ that’s just a little too avant-garde, and a little too uncomfortably dissonant for me. I’ll leave the rest of you to indulge yourselves, whilst I lay in a darkened room with a cold flannel to bathe my poor head.

The Score of Much Metal: 70%

Check out my other 2022 reviews here:

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: