From time to time, a band comes along that completely blows everything else out of the water, and the last few months have been packed with incredible surprises, like Septaria (review coming soon) and this astonishing band from Iceland, simply called Múr. Their self-titled debut album is a masterpiece that demands attention. 

 The record kicks off with the epic "Eldhaf," a nine-minute journey that showcases the band's ability to craft grandiose, melodic post-metal. But it doesn’t stop there—Mur effortlessly transitions into fierce, relentless death metal, at times evoking the intensity and complexity of Gojira. 

This momentum carries through into the next track, "Frelsari," which delivers crushing riffs and hard-hitting rhythms, further redefining what we can expect from modern metal. Elsewhere, "Messa" dives into electronic elements, creating a vicious blend of Strapping Young Lad’s chaotic energy and Gojira’s precision. 

Then, "Heimsslit" sees the band returning to their post-metal moments, weaving spacious and contemplative atmospheres that add depth and contrast to the album’s already dynamic sound. 

The closing track, and personal highlight, "Holskefla" delivers more punch than an enraged bull. It begins with a subtle, melodic guitar intro, luring the listener into a false sense of calm before erupting into massive, bone-crushing riffs, played with a precise, almost militaristic rhythm that commands attention. This track alone proves Múr’s unrelenting force and musical prowess. 

 Snatched up by Century Media, Múr is an album brimming with potential—a testament to a band that’s not just making waves but destined for even greater things. Their unique blend of intensity, complexity, and sheer power is bound to elevate them to the next level in the metal scene. (8/10)

Jason Hicks

Band info: https://www.facebook.com/mur.official.band

Label info: https://www.centurymedia.com

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Black Aleph's debut album, Apsides, is a sonic journey that unfolds through layers of atmospheric weight and textural complexity. Consisting of Lachlan Dale (guitar, effects), Peter Hollo (cello, effects), and Timothy Johannsen (percussion), the Australian trio masterfully blends elements of post-metal, ambient, and experimental rock, weaving together influences from the likes of Neurosis, Godspeed You! Black Emperor, Sunn O))), and Earth.

Opening with "Descent," the track immediately sets the tone with a dark, brooding atmosphere that feels almost claustrophobic and ritualistic. The haunting combination of dissonant guitar riffs, throbbing cello lines, hypnotic beats and dark chants instantly draws the listener into a world that feels heavy and foreboding. The use of effects adds an additional layer of menace, making this track a powerful introduction to the album's thematic exploration of space, tension, and inner conflict.

However, as the album progresses, Black Aleph begins to shift gears, leaving behind the almost claustrophobic intensity of "Descent" for a more expansive and contemplative sound. The influences of Arabic music become more apparent, especially in tracks like "Ascension," where the intricate, almost hypnotic rhythms blend seamlessly with the ethereal, echoing sounds of the cello. This shift in tone creates a dynamic contrast, allowing the music to breathe and open up, transforming from moments of tension into waves of introspective calm.

This album is a bold and adventurous exploration of sound, texture, and atmosphere. The lack of traditional song structures gives Apsides a fluid, organic quality, but also a sense of unpredictability. It's a journey through sonic landscapes that feel at once alien and familiar, with every moment offering something new to discover. For fans of dark, atmospheric music with a profound emotional depth, Apsides is an essential listen. (8/10)

Jason Hicks

Band info: https://blackaleph.bandcamp.com

Label Info: https://www.artascatharsis.com

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Bearing in mind the image encapsulating this album, a slightly gothic looking skeletal (?) butterfly against a wintery tree backdrop, one could easily pass it by. Though the merest sliver of curiosity might remain. It was this modicum of interest which resulted in me hitting play. Dropping any preconceived notions, I mentally prepared for what was to follow.

"Cruel Words" commences on a post-rock note with "Mine to Break"; a cavalcade of dreamy high chords. However, if there's any track which begs to be ‘stuck with’, it's this one. The rhythm unhurriedly builds in pace accompanied by a passionate voice and an unhurried guitar. And then, abruptly, it's as if the sky falls. The passionate voice amps up in emotion and the aura is that of palpable frustration, anger, grief (draped in pitch black). In short, a fantastic opening which heightens the senses leaving one crushed though especially eager for more. I wasn’t prepared in the slightest.

The second track, "Pain is a Wasteland", smothers the still quivering psyche with a loving caress. Though there's an unmistakable menace lurking beneath the surface, a feeling that at any moment a storm will break the sun's warmth. It does, though not with the same fury the first track exhibited. This is more a slow-burn with a structure much like a nagging migraine which builds to staggering intensity. Fans of Neurosis (and the like) should have their interest perked at this juncture.

The album continues to batter the senses with the utilization (and excellent manipulation) of synth, piano, guitars and a voice overflowing with emotion and range, a combination resulting in an exquisite and definite delicate balance of calm, melancholy and the transition to its direct opposite; a heaviness, a dirge/sludge presence akin to trudging through molten lava.

Staggeringly the quality of this album remains extremely high throughout even though a few tracks dip into double digit lengths it somehow still manages to hold the listener in thrall. Standouts include the opener as well "Dead Butterflies". With a haunting aura which brings to mind Danny Boyle epics such as "Sunshine" and "28 Days Later" there's little doubt that Déha (it is at this point that I should mention this is the artists name, the genius solely responsible for this) could well place cinematic audiences on the edges of their seats if he had such the desire. The album also contains a cover; a re-envisioning of "Saturnine" by The Gathering. However, for the ultimate Déha (goosebump) experience the acoustic reprise of "Mine to Break" is a must listen.

In conclusion, if you've never heard of, or even seen, a Déha album, now is your chance. Understandably, one may have reservations upon audio bursting at the seams with synth attributes, post-rock and sludge sensibilities with an atmosphere as thick as heard here. Drop them and dive in! For the mastery contained herein is perilously close to a religious experience. (9.8/10) 

Cult

Band info: https://www.facebook.com/burningworldrecords
Label info: https://www.facebook.com/dehamusic

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Vokonis are a Swedish trio from the city of Borås, comprised of Simon Ohlsson – Guitar/Vocals, Jonte Johansson – Bass/Vocals and new(ish) drummer/percussionist Peter Ottosson. Per Wiberg of Opeth, Spiritual Beggars, Kamchatka also makes an appearance on keyboards.

Odyssey is the follow-up to 2019's acclaimed third album “Grasping Time” with artwork by Kyrre Bjurling (artist behind Vokonis' previous works Grasping Time and the reissue of Olde One Ascending). The cover alludes to the naturalistic yet mystical world evoked by the works of Roger Dean (Yes, Asia, Atomic Rooster, Uriah Heep) and thus betrays the band's intentions to delve further into prog-rock waters. This will doubtlessly whet the appetite of fans of the proggier wing of sludge/doom metal.

Odyssey starts with its shortest track 'Rebellion' at a mere 3:17 minutes with a crunching heavy metal riff that reminds one of the likes of power metal revivalists Grand Magus, there is definitely a NWOBHM vibe present here. There are also some pleasant melodic Alice In Chains' Layne Staley vocal lines courtesy of Jonte that contrast nicely with Simon's more aggressive approach. A bracing and effective opener that sets the listener up for the album to come. Second track 'Odyssey' brings to mind Oakland psych prog outfit Mondo Drag with the heavy Hammond Organ flourishes, making this a potential psych classic. 'Blackened Wings' takes us back to the conciseness of the opening track and takes a sludgier approach ala Elder who they coincidentally shared a stage with back in the pre-covid era. 'Azure' follows a similar pattern in terms of track length and style but also adds some gorgeous soloing from Simon towards the end that melds effortlessly and brilliantly with Per's Ken Hensley/Jon Lord influenced keyboard playing, all of which make for a thrilling conclusion.

'Hollow Waters' tips its hat to Lateralus/10,000 Days era Tool with strong anguished vocals reminiscent of Maynard James Keenan. The track winds back on the heavy sludge somewhat and embarks on a psychedelic journey into mysterious worlds as intonated by the aforementioned album cover. 'Odyssey' and 'Hollow Waters' may have been longer pieces but they were veritable warm-ups for album closer 'Through the Depths' which is a mammoth 12:48 minutes, an extraordinary piece that further demonstrates the band's ongoing musical maturity. For the first quarter we are met with the band's trademark brand of progressive sludge/doom before being greeted with some beautiful melancholy Blues Jamming which one would have heard from the likes of the late, great Gary Moore. This continues right through to the album's conclusion and proves true the old adage saving the best till last. Without doubt the finest track by a country mile and a perfectly epic way to conclude the album.

Going further down the progressive rabbit-hole like countrymen Opeth could have proved a risky move, thankfully it has paid off and Odyssey is brilliantly balanced between more immediate tracks and longer challenging fare that will appeal to both fans of doom/sludge and vintage prog. (8/10)

Reza Mills

Band info: https://www.facebook.com/OfficialVokonis
Label info: http://thesignrecords.com


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In so many ways Spectral Lore’s enigmatic Ayloss is the polar opposite of recurring collaborator Jacob Buczarski (Mare Cognitum). Perhaps it’s a disservice to even make this comparison, but the links are plain to see. Both acts are juggernauts of modern atmospheric black metal that have worked together multiple times, most recently on the challenging but exceptional split LP Wanders: Astrology Of The Nine, and now both have released records within only a few short weeks of each other. Despite their clear chemistry when working in tandem, their respective careers are strikingly different. Buczarski’s work has been a consistent, forward-facing development of spacey, melodic black metal. Every record builds and refines the formula of its predecessor, but ultimately the most recent iteration differs little from the first in style. Ayloss’s sound is earthier, yet more abstract. Spectral Lore albums can sound wildly different from each other, so much so that one could wonder if it’s even the same artist at the helm. And yet, amusingly, with Ετερόφωτος it is in the most experimental moments that Ayloss stumbles.

Make no mistake though, there’s a whole lot of solid black metal in the mix here in spite of its missteps. With a hefty 74-minute runtime, there’s a lot of material to sift through. It starts off well, ‘Ατραπός’ tidily stakes out much of the territory Spectral Lore mean to cover across the record. Waves of tremolo riff laden blast beats expertly give way to wonky grooves, clean breaks and post-metal builds to ultimately paint a nuanced, mystical portrait. Five more dense compositions follow that are often challenging to decipher as they dance all across the spectrum of extreme metal. ‘Apocalypse’ is a striking conceptual piece that noticeably gets louder and more chaotic over the course of its eight minutes. The music seems to audibly break apart as mechanical noise is steadily introduced until it’s just the noise itself at the end.

There is a wonderful 54-minute record in Ετερόφωτος. Bizarrely though, the six chief tracks eventually give way to ‘Terean’, a nineteen minute ball of . . . nothing? There’s some unsettling ambience going on, the kind that would suit a brooding arthouse horror film, but it does absolutely nothing for an atmospheric black metal record. It threatens to get interesting with some distant chanting sort of building up in the background near the end, but it amounts to nothing as the track eventually sputters out. An unfitting end to an otherwise great album. (7/10)

Brett Tharp

Band info: https://www.facebook.com/spectral.lorebm
Label info: http://www-i-voidhanger.com

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Norwegian noise rockers, Årabrot, have been busy. Having only just released the EP “The World Must Be Destroyed” in January, they’re back already with their new album “Norwegian Gothic”. Hardly surprising; when there are no limits to the expansiveness of your sound then multiple releases are required to encompass the sonic fallout. This time around Årabrot are bringing along an entire host of guest musicians for the ride, contributions from Lars Horntveth (Jaga Jazzist), cellist Jo Quail, Tomas Järmyr (Motorpsycho), Anders Møller (Turbonegro, Ulver) and Massimo Pupillo (Zu) are scattered throughout this hour long opus. As if that wasn’t enough, “Norwegian Gothic” was produced by the reputable Jaime Gomez Arellano, who has worked with the likes of Paradise Lost and Hexvessel to provide the best mixing and production quality available within the industry.

Ranging from Ghost/Grave Pleasures sounding hybrids to Nick Cave moodiness and avant-garde jazz, this opus is a kaleidoscopic amalgamation of every facet of the band’s sound. An audial journey through the soundscapes that they have traversed over the years, weirdly this album is Årabrot’s most accessible work to date. With the exception of a couple of spoken word filler tracks, every song on this record has a catchy, danceable beat with a strong overtone of pop musical influences apparent throughout. It’s not without heaviness, however, at its core this is still very much a rock/metal album.

A veritable melting pot of weirdness and instrumental diversity, the only minor downside to this release is the spoken word fillers – thankfully, they’re short and you won’t be missing anything worthwhile if you choose to skip over them. Another major push of the envelope for these Scandinavian experimentalists and the payoff is simply phenomenal. A genuine pleasure to listen to from start to finish, “Norwegian Gothic” is the peculiar gothic party album that 2021 didn’t know it needed. (8.0/10)

Angela Davey

Band info: https://arabrot.bandcamp.com
Label info: https://pelagic-records.com


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For someone proclaiming to be a flag-bearer for the new wave of British death-metal, Celestial Sanctuary churn out some generic and sterile old-school flavoured death-metal. 

The band's debut full-length album "Soul Diminished" now available via Church of Road and Redefining Darkness is getting a lot of attention in the underground lately and I can't really understand the hype, not that it's a really bad record per se, but in my opinion it pales in comparison to other robust releases unleashed by Venom Prison and Cryptic Shift. 

For most of the nine tracks of "Soul Diminished", fast and brutal riffs are intertwined with some uninspired and bland mid-paced riffs that owns more to crossover and hardcore rather than death-metal. Try to imagine any run of the mill groovy metal act from the 90's trying to give some leftover songs a filthy and old-school death-metal twist, there's even the occasional breakdown thrown into the equation. Few tracks deviate from this formula,  with some dull and tedious riffs that  never sound nearly as dangerous or threatening as it should be and a bare minimum of lead work.  

There are however some good moments here, "Relentless Savagery" just like the title indicates shows the four-piece distilling a vicious and ferocious death-metal and "Suffer Your Sentience" that recaptures that decadent, moribund riffing of Obituary and Asphyx. But unfortunately it is not enough to offset the negatives and in the long run "Soul Diminished" won't spearhead any resurgence of the British death-metal scene, better leave that effort to Grave Miasma, Cryptic Shift or Venom Prison, who are all doing a much better job. (5/10)

Jason Hicks

Band info: www.facebook.com/CelestialSanctuaryDeathMetal

Label info: www.redefiningdarkness.com | www.churchroadrecords.limitedrun.com

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Not to be confused with Canada's Soothsayer, or even the long since disbanded Phoenix act, this Irish quintet compose audio far removed from thrash, or so the accompanying PR materials would have us believe. The art certainly points to such; a blazing inferno, engulfing a construct of sorts, casts shadows, a lone figure walks away from the carnage as if he carries not a care in the world. Naturally thoughts race to past black-metal controversy though with the way this image is captured (on canvas) depicting zero atrocity, there’s little indication that the audio will veer into either a death or black-metal direction.

"Fringe" is the introduction to both the album and the band's style. Perilously close to six minutes this track evokes vintage Akercocke antics, of incorporating ponderously long introductions. The gothic aura shrouded in baying wolves poses quite the gamble based on the minimalistic nature (chanting, ambient nature and a dusty background narration) it boasts. As the track climaxes however, the atmosphere has built to a palpable crescendo, patience has proven to be a virtue and the second track takes the baton. For those not accustomed to such, "Outer Fringe" is more easily accessible and bears abrupt and, blazingly obvious, definitive oomph following a traditional build, naturally. A furious passion seething with frustration amidst a slew of other emotions in the vocal department, complemented by rhythms straddling the funeral and death/doom fence widen the eyes whilst the haunting nature of the finale showcases the acts apparent hypnotic prowess.

"War of the Doves", next up, literally shatters the listeners assumptions with its unpredictable arrangement. Fading dissonant rhythms are usurped by a passage of bass noodling and a voice (courtesy of Eugene S. Robinson of Oxbow) boasting the power to evoke a stunning grasp of manifested grief and anguish. The aura of the album has suddenly transformed, a driving melodious dirge reigns to whet the audience’s appetite for stomping around in a style similar to an iconic robed Candlemass front man.

Akercocke sensibilities (this time in the arrangement department) are conjured again as the album passes the midway point; infrequent black metal rhythms nestle amidst a landscape dotted with progressive themes, whispered and bellowed vocals and a surprisingly tranquil classical interlude. Although "Cities of Smoke" sports the shortest length it stands triumphant sporting galloping movement and unbridled ferocity.

The album comes to a close with a pair of tracks which easily hurdle the ten-minute mark, a fact (like a hammer to the face) which bluntly portrays the genre this album is nearest. A trio of guest vocalists (sponsoring Benediction, Poltergeist, Murder One, and Medulla Nocte) complement the last half of the album propelling its captivation to stratospheric heights.

Unpredictable and showcasing a manhandling of the juxtaposition of melody versus unrestrained passion this album demands exploration and several listens to fully grasp and completely embrace. When that point is reached however be prepared for this is likely to be all-consuming. (8.4/10)

Cult

Band info: https://facebook.com/soothsayerdoom
Label info: http://tometal.com


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Before I start, I'd like to tackle the obvious (the elephant in the room), Ildaruni are from Armenia. Now, not knowing another single act from the same geographical location (I'm sure they exist) this makes me curious indeed only more so as the accompanying art is rather nondescript, in as far as it could work for a release belonging to any number of genres.

In regards to the audio. The opener/introduction oozes with atmosphere; Gregorian chants overlaid by synth which conjures any number of fantasy RPGs. As the track progresses spoken word passages are added to the track's gratification to bring about an aura which conjures a strong likelihood that this will veer into atmospheric black-metal waters.

"Treading the Path of Cryptic Wisdom" tears from the gate with slight power-metal leanings. This feel transforms to accommodate a passage dominated by instruments one would find on any Skyclad release. Moments later rhythms encroach to replace all these thoughts in favor of uncontrollable movements. A vocal style (complemented by a chorus of sorts conjuring a Viking gathering) adds to the track's impact. Layered in a well-executed ancient/nature vibe this is a fantastic approach and physical realization to garner one's attention making that all-too important positive immediate impression.

'Beyond Unseen Gateways' progresses to display Ildaruni's probable influences. As well sporting a majestic marriage of atmosphere, pagan rhythms and riffs, fans of both Dissection and Amon Amarth will no doubt appreciate it as Ildaruni also show their adoration of melodic BM. Cresting riffs flow, minus the harsh frigid nature associated with many acts in the genre, to create an undulating soundscape evoking an almost tangible narration of age-old myth, a myriad of tales inked in Bold type by way of the frolicking foundation of melodious arrangements. "Boundless Numen- Gardens of Ardini'' is an excellent example.

Among the myriad of influences which flash across the brain the exquisite blending of styles puts me in mind of early output by Moonspell (namely "Wolfheart") although this is significantly swifter in pace there are specific passages in "Towards Subterranean Realms" to strengthen this thesis.

The final track, "Whence Ravenstone Beckons", overflows with the aforementioned darkly fantastical atmosphere (leading me to believe Elves might actually exist and are quite possibly the reason why society isn't overrun by Orcs, Trolls and Goblins), in essence a perfect pairing of melodic black-metal and pagan-metal which this release has already excelled at showcasing.

Although somewhat 'light' in tone, there are a number of instances to perk the interest of the more traditional genre fan. From clean, to spoken to spitting 'absolute fire' the commanding vocal presence of Artak Karapetyan cannot be ignored, executed with a professionalism which far surpasses his years on scene his is a throat which fronts this vehicle through waters both murky and occasionally even uplifting. Bolstered by a solid, clear, production the 'whole' is a wonder to experience provoking an appreciation any fan is sure to blissfully exhibit. (9.3/10)

Cult

Band info: https://www.facebook.com/Ildaruni
Label info: https://blacklion.nu

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It doesn't take a rocket scientist to surmise that Feculent are going to 'bring the filth'. In fact, their name (translated as "foul with impurities") and the crimson mire landscape album art points with a blazing neon sign to such. Though it remains to be heard exactly how the band will go about tackling the premise. Obviously, the name nods to a wide spectrum of styles within the extreme genre. Is this therefore goregrind, pornogrind, brutal death, audio bursting at the seams with pig squeals or something which bears a decidedly more menacing tone?

It doesn’t take long to answer the mystery. Seething with ill-intent, the album commences with a wallop, gripping the ankles of the listener to yank them from their relaxed, unsuspecting, stance towards the dirt.

Grandiose, yet utterly brutal, rhythms in a style akin to Immolation assault the listener, an unhurried yet merciless barbed wire wrapped around Neanderthal club attack, complemented by a tone which might suggest the bands origin; swampland? Perhaps Florida or Louisiana? Guess again. Feculent, ironically, are from a location which the music continues to strongly evoke. I only wonder; is it preposterous to use The Underworld and 'Down Under' as similar terms?

As the album progresses it compounds the archaic, long forgotten, imagery which the first track had successfully conjured. "Host Consumed" bears a bludgeoning motif whose intent goes hand in hand with the low growled vocal accompaniment which especially recalls Tucker-era Morbid Angel. An exquisite track caressing the pleasure sensors. But I have a feeling the album isn't through just yet!

An unmerciful rumble approach, the bending string tendencies of vintage Gorguts and occasional cascading BM riffs result in the undeniable enjoyment and irrefutable replayability of "Weaponization of the Amygdala". It isn't, however, until "A Pit of Unshakable Depths” and "Beneath the Bedlam" (both stunning standouts within an album of especial note) that another strong influence becomes slap-one-in-the-face pungent. This element? The grand malevolence which genre giants Incantation have so painstakingly trademarked in their unwavering dedication to both the genre and their craft. This palpable aura is only cemented by the suffocating, harrowing, nature (the album's final track) "The Grotesque Arena; A Perverse Spectacle" provides. In essence a stellar second half to round out an album which speaks tremendous volumes no matter its frustratingly short length.

Familiar though also meticulously crafted and nuanced Feculent offer six tracks bursting with sufficient weight and genre chops to sate those whose OSDM yearnings have become ravenous as of late.

Based on the caliber exhibited herein one should expect the bands moniker to become part of the cavernous, OSDM, death/doom lexicon in record time.(8.8/10)

Cult

Band info: https://www.facebook.com/Feculent
Label info: https://brilliantemperor.bigcartel.com


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No pretentious narrative-seeking introduction can precede a record like Interstice. The debut record from Tennessee’ newest experimental deathgrind outfit Knoll has its share of existential ponderings in the lyric department, but executes musically as a caustic, rabid twelve-track juggernaut with minimal nonsense. The Memphis underground just got a hell of a lot heavier.

A snarling blend of thundering grindcore, dirty cavern death and noxious noise, Interstice is at once straightforward and unusual. It advances with a serrated knife edge and cuts to the bone just as quickly, hissing through four furious tracks within five or six minutes. The vocals are the most immediately grabbing, a rapid dance between bulky gutturals and some of the most piercing shrieks in contemporary metal. The guitars are a happy balance between dissonant fingerwork and frill-less stompers while the drums pound away tirelessly. The bass work falls through the cracks both in terms of the mix and songcraft somewhat, unfortunately not an uncommon feature of extreme metal. Between the vocals and some of the more pummeling riffs, Venom Prison arise as an easy comparison but Knoll invest more into high tempo blasts and discordant riffing than Venom Prison’s fare.

That’s not to say that Knoll are stuck in one gear the whole time. ‘Grasp’ comes along quickly with a dual guitar harmony that intentionally clashes one against the other melodically to lead into a hellish progression of low tempo chaos. ‘Door To Moil’ and ‘Myr’ are feedback-soaked experimentations into power electronics while ‘Inherent of Life’ settles into a sludgy groove for most of its runtime. But ultimately Interstice tends to stick to fast tempos and pure, unfiltered fury throughout its short length.

Knoll seem to know what they’re about on their debut. There’s experimentation and variety, but not an over-investment into either. They’re certainly not the finished picture, but this kind of confident delivery meeting head-on with great, dynamic songwriting so early on means it’s likely to be a great one when it is.(8/10)

Brett Tharp

Band info: www.facebook.com/KnollVHS

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It begins softly, with the somber plucking of strings as many hundreds of folk records have begun before. Über den Sternen’s opening guitar line is understated and gorgeous, bolstered by subtle violins after several measures. Immediately a comparison to folk/doom legends Agalloch springs to mind, but it doesn’t last. Whereas Agalloch have always maintained an earthy human edge to their folk passages, Empyrium build layer after layer atop what could have been conventional German folk tunes until they blossom as bombastic neofolk meets heavy metal. Über den Sternen evokes nature aplenty, but compositionally this is a work of style and flourish and flair. Perhaps that’s antithetical to the purpose of folk music in some way, but when it’s done with this much aplomb no one can say it isn’t at least fun.

Thankfully, it’s more than fun. Über den Sternen is, start to finish, an album of expert, layered songwriting that never seems to fold up into a single dimension. Soft acoustic guitars effortlessly give way to apocalyptic climaxes and they to dense instrumental dances. The vocals are an operatic baritone, sometimes drifting into a husky higher pitch or even a snarly growl over the most metallic portions, but always the perfect complement to the music.

Opening cut ‘The Three Flames Sapphire’ is classic neofolk played to its fullest, but it swiftly gives way to ‘A Lucid Tower Beckons on the Hills Afar’, which spends its first half on anthemic epic metal. ‘The Oaken Throne’ is neofolk at its most cinematic and vocally driven, a track that could easily underpin a scene in many an epic fantasy flick. By the time the title track closes out the record we’re deep in a ten minute dark doom behemoth and we’re none the wiser to what should be the absurdity in such a stylistic shift. Empyrium effortlessly compose all eight tracks with a profound eclectic consistency that we can arrive at such disparate places without even noticing.

Empyrium are not newcomers and the prowess they show on Über den Sternen can only have come from a band that’s been honing their craft since the mid nineties. To be sure, it’s a far cry from the more metal-centric fare of those days, but the wild, spreading roots of their career is plain to see in these songs. This is a record that can only have been made by a band either near or at the apex of their artistry. Woe be to thee who would follow in their footsteps. (9/10)

Brett Tharp

Band info: www.facebook.com/Empyriumfans


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When faced with an album cover such as this the mind spins. The bands moniker brings to mind a vicious scene from a Salvador Dali 'feature' from the 30's (yes, the 30's!) much like the film the imagery here is stark and powerful with a slew of collaged pictures which are immediately recognizable; themes of war, poverty and beauty stand out and the intrigue only grows. Based on prior experience one might assume this to encapsulate audio of a style likened to Napalm Death, Insect Warfare or Terrorizer.

There's one way to know for certain.

Plucked from the void the style makes an instant impression. And the assumption is somewhat on point; this is bathed in Grindcore values. Featured early on "Stabbing Spiders" runs a whopping forty-seven seconds.

However, there's something else in the mix, another element which results in the audio bearing a jagged, blunt and undeniably abrasive aura with abrupt stylistic breaks (Is this the definition of Mathcore?) "Martyrs", the first track, being the earliest of indicators that this isn’t going to be an album easily defined within traditional genre boundaries.

Unpredictability is the word of the day here, as well "grueling" as this is quite the strenuous workout for the ears, especially those not familiar with the aforementioned ‘style’. Suffice it to mention that those wishing for mere chuggery, speed for the sake of speed and melody will be invited to dig deeper (as this album smothers the senses), this contains all of this though showcased in frenetic amorphous bursts as well enticing calmer passages opening the door for a myriad of other emotions to flood the psyche.

To state “Mirrors” contains complex arrangements and that the musicians involved are insanely talented is much like stating that the sky is up. Some elements, however, are less than blatantly obvious. For instance, it's difficult to decipher that Pupil Slicer are from the UK; growls, bellows and the angst dripping vocal assault boasts zero accent. More surprising still is the fact that the throat responsible belongs to Kate (Davies) whose talent is an undeniable and unprecedented force of nature (vocal gymnastics within "Collective Unconscious" will make one an instant believer) made even more impressive still by the fact that she also handles guitar duties. Shocking, is that Pupil Slicer is a three piece (outfit), as there's enough turmoil and intricate unforeseen meanderings draped in masterfully-controlled chaos in these arrangements for five.

Obviously, “Mirrors” will warrant several spins to fully digest and thoughts will tumble as to where influence derives as it does so. But when it clicks, it clicks!

As a debut this predicts a brilliant future which Prosthetic should be extremely proud of signing. Now if only this damnable Covid thing would dissipate in order that the ferocity of the band’s talent and raging wildfire on stage presence can be fully experienced. (8.1/10)

Cult

Band info: www.facebook.com/pupilslicer

 

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What's in a name?
Many acts sport a name which warrant research to sate the curiosity. "Nixil", could mean (and is translated as) several things; to refuse to accept or allow or as an exclamation or warning.

The cover art adds to the intrigue. A frustrated looking invertebrate chasing its own tail one connects with the title. However, it's the band's logo which sticks out; stark, angular and crimson bold, this isn't typical of the genre.

What about the music?
Taking into consideration how Nixil is comprised, with former/current members of Spectral Tombs, Dagger Moon, Tsepesch and Corpse Light, one would expect a varied stylistic approach. And they'd be correct in that assumption.

"Black Earth Within'' starts the album. An introduction invoking mist covered terrain rarely traversed by human feet is obliterated by a cymbal crescendo, brief melancholic chords, furious riffing and a scathing vocal assault boasting definite BM cursing-the-heavens-above qualities. As well its obvious viciousness the track meanders into doom realms, some might even say Sludge arenas. Only then to hit the nitro again when one becomes comfortable with the surprising groove. This initial audio example serves as an excellent introduction to both the album and the acts creative tendencies.

"Deaths of our own Design" commences with blazing riffs, then abruptly crawls to a snail pace accompanied by the tolling of a bell and a vocal plea, of sorts. Sludge again, is the order of the day though Avant Garde, ala Akercocke, elements (both in percussion and vocal fronts) appear as well melodies which recall earlier Paradise Lost.
"Make me the Voice" is an infectious dissonant number with a catchy chorus shot through with veins of BM pace. Three tracks in and the word 'unpredictable' is lit by night carving neon.

For those with melodious penchants the title track serves to scratch the itch. Folk elements are front and center (if I'm to be honest, I was well expecting a harp, violin or an interlude to showcase a soundbite featuring an owl or a cricket). Weaved among the arrangement also is a definite menace. Though the highlight of this standout track has to be the vocal conclusion..

Hoisting the standard for sounding most like traditional (is there even such a thing?) BM, is "May This Flame Flicker Out" (as if the title didn't give it away?) Although it too is shot through with stylistic deviances; nodding to both Heavy Metal and Blackened Speed arenas..
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“All Knots Untied” concludes with "Unimpeded by the Weight". A photo finish second place in the aforementioned standard-hoisting competition, this bears palpable ominous qualities as well a chilling vocal presence. Rhythms are varied; ritualistic cavernous to those of the type to please individuals whose wardrobes proudly feature battle vests and a variety of studded arm adornments. A fantastic conclusion to an album which although might not initially grab the attention will seep into the senses and is likely to become a highlight in frequent playlists. (8.1/10)

Cult

Band info: www.nixilnothing.com 

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Don’t know about you, but this is just what the doctor ordered, classic death metal with no frills, overflowing with catchy, cranium-crushing riffs. You can always count on Obituary for some neck-snapping, straightforward death metal and their new effort for Relapse Records, Inked In Blood, offers up plenty of crushing riffs and hooks that will surely incite some vigorous headbanging.

Inked In Blood is a strong album and as always sees Obituary masterfully combining a brutal and blasting death metal with some slower, groovy passages without ever losing the ability to crush. It’s nearly impossible to sit quietly to tunes like "Visions In My Head" and "Violence".

The album, however, isn't perfect as some of the songs get a bit samey at times, as if Trevor Peres and new boy Kenny Andrews are merely rehashing the same riffs, but still there’re enough classy tunes here to prevent Inked in Blood from turning into a tiresome experience. Plus, this beats most of today’s death metal bands who could certainly learn a thing or two about hooks from these veterans.

I reckon this is business as usual for the Florida boys and Inked In Blood doesn’t offer anything new, but they do it so well that it doesn't really matter that we've all heard it before. Accept it for what it is, just turn it up and enjoy some good, straightforward death metal, you won't be disappointed.

Band info: www.obituary.cc
Label info: www.relapse.com

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My first encounter with Winterfylleth came via their 2012 album, The Threnody of Triumph. It was basically a two ships passing in the night affair. I heard it but didn't spend any time with it. I've spent plenty of time with their newest release, The Divination of Antiquity. Much of that was just letting in sink in. Sink down, layer by layer until it found its final resting place wrapped around my soul.

As it will yours through the inescapable pleasure of ancient windswept melodies coursing through the core of Winterfylleth's signature sound. They may ring with a bleak and icy tone but a warmth comes from within countering the harsh desperation of vocalist/guitarist Chris Naughton's screams.

Paired with guitarist Mark Wood, Naughton along with bassist Nick Wallwork create sweeping vistas of moving sound. A constant buzz of energy powers scorching rhythms and glorious melodies. As befitting the tracks, drummer Simon Lucas adapts to the changing landscapes. Whether keeping time with grace (“A Careworn Heart”) or more often blasting away the concept of time with ferocity, his commitment is never in question. Although the higher the bpms go, the higher Lucas pushes the band.

The title track sets the stage for what is largely a homogenous album, not straying too far from the foundations laid down early. Carnal black metal screams – the way black metal should be screamed in this writer's humble opinion – dig their hooks in and swiftly lift the listener up and away from the chaos and selfish existence of modern life. The listener is taken to a place still full of fear but of a different and more primal sort. Swollen-heart melodies, which are the album's lifeblood, protect against the thunderous percussion which sounds like the thudding feet of a predator in full pursuit.

As visceral as the searing black metal guitars and relentless percussion can be, Winterfylleth still conjure up images of great heights, natural beauty and a deep reverence for their homeland and its past. There is pain to be felt for certain but it's a cleansing pain.

Acoustic guitar and low chanting voices enhance the album's depth and overall appeal. The chants on “Whisper of the Elements” sound like the Earth itself is talking and the serenity and peace of the mostly acoustic “The World Ahead” calms the savage beast. You can feel the exhilarating rush as you're swept through endless valleys and hills, verdant with life and lore across stretches of time. Ghastly or ghostly, the album resonates deeply within the soul. The Divination of Antiquity is a treasure of conflicting sonics. The magical confluence of the sublime and the pestilential churns with the intent of a grand design, sending the listener forth under magnificent clear skies and favourable winds.

Few black metal albums display this level of balance and depth, merging menace with melody, brutality with beauty. The leaves are changing and so are the winds. Follow them toward the glory of Winterfylleth and The Divination of Antiquity.

Matt Hinch

Band info: www.facebook.com/Winterfylleth
Label info: www.candlelightrecords.co.uk

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.

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Even as a statuette the idea of an iron-ized Ronald Reagan is fucking terrifying. Lewis Black was one who shared similar sentiments when he (jokingly) suggested America freak out other countries by voting for someone who is dead. And that dead person was the Alzheimer’s champ, former President Reagan. And while Reagan may be dead, super group Iron Reagan is very much reigning.

Those that somehow missed last year's blessed Worse Than Dead debut on A389 Records have some catching up to do. Iron Reagan is a cross over thrash/hardcore-punk band featuring vocalist Tony Foresta (Municipal Waste, No Friends), drummer Ryan Parrish (ex-Darkest Hour), Landphil Hall (Cannabis Corpse and Municipal Waste) and Mark Bronzino (ANS) on guitars, and Rob Skotis (Hellbear) on bass. It's a who's who of metal and hardcore thrown into a blender. Their second album The Tyranny of Will is a continuation of ragers and bangers that you've come to expect.

Production on The Tyranny of Will has gotten a lot tighter in the short span of a year. Though Iron Reagan has moved on to Relapse Records, their approach hasn't changed a bit. Songs come in short spurts, shredding and thrashing monstrously. Songs are thoroughly soaked in whiskey and the whole package might just be enough to make you break out in a sweat there's so much rage packed into each punch.

Songs are more distinguishable this time around too. Worse Than Dead was a great album but it wasn't without a blender effect. The album moved so fast that it was almost stumbling over itself. The Tyranny of Will his just the right marks with its balancing act of hardcore-punk and thrash metal. Pieces like the four minute finale “Four More Years” doesn't go out at lightning speed, instead slowing down for an anthem chant of “Four more years! Four more years!” sending the album out much the way it came in. Frothing but groovy.

Other tracks like “You're Kid's an Asshole” or “Glocking Out” are straight-up get-to-the-point tracks that flash by. Yet other tracks like “Miserable Failure” or “I Won't Go” are the perfect balancing, showcasing Iron Reagan in its finest hours. Flailing shredding with and storming energy that practically summon circle pits upon command.

Overall, The Tyranny of Will is a more distinguished album and an absolute blast to listen to. It kills on every level and leaves no room for boredom. Not once. There's tongue-in-cheek humor galore and plenty of social commentary in the lyrics. What's more, I can't find a single thing wrong with this album. Iron Reagan plays some of the best cross-over music you're likely to ever hear. It doesn't even manage to hit a generic note. Much like All Pigs Must Die are the modern d-beat kings, Iron Reagan are the hardcore-punk/thrash blast from the past that the scene needs; absolutely one of the best bands today. And The Tyranny of Will is one of the best albums you'll hear this year in metal, hardcore-punk or any other genre.

Christopher Luedtke

Band info: www.facebook.com/IRONREAGAN
Label info: www.relapse.com

Chris is a film reviewer for Examiner.com (good luck finding his work there) and journalist for Metal Injection (better luck finding his work there). In his spare time he video blogs and promises a second installment of the Guilty Gear Retrospective on YouTube under theOfficialChris. He also writes novels, applies for jobs, attempts to write music, eats cheap food, drinks lots of coffee, enjoys opera, worships grind, and works. He can be found posting songs and bitching about the awful V/H/S film franchise on Twitter: @CoffeeCupReview.

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Sad news, ladies and gents. Following the release of Witch Mountain's new album, Mobile of Angels, vocalist Uta Plotkin will be leaving the band. But not without some final performances leading up to the release date. Those lucky enough to catch those will certainly be in for a treat. As will the smart ones who pick up the band's latest doom opus.

Not to put too much emphasis on one particular member but Witch Mountain has risen to prominence on the vocal chords of Plotkin. South of Salem and Cauldron of the Wild saw the Portland band become a relative household name in doom circles following Plotkin joining in 2009. Mobile of Angels is no different in that it leans heavily on the power and depth of her voice. At least they're getting the most out of her as Plotkin's work here is diverse and powerful as has become to be expected.

Opener “Psycho Animundi” encapsulates much of the album's attributes. Under a steady plod Plotkin dictates the feel beyond the thickness of the doomy tone. The riffs themselves effectively reside in a sinister doom realm but there's also an alluring quality that draws the listener in with a hypnotic pulse regardless of vocals. There is a power within that hits like a brick when they drop into a riff from a pause. Dramatic effect on a musical level.

Mobile of Angels has a definite blues influence hanging over it. It shines through like a breaking dawn in both the music and vocals. The mix of heavy-footed doom and the slight twang and conflicting sorrow of blues is captivating. But it's not all downtrodden. Free-wheeling solos and uplifting guitars protect the overall tone from falling into despair.

The outright power does sort of trail off as the album progresses. “Your Corrupt Ways (Sour the Hymn)” is the bluesiest while the title track brings a psychedelic, eerie, lounge feel with choral vocals. Slithering guitars, rumbling riffs and plodding cadences weave through the fog toward the album's conclusion.

All the while Plotkin does what she does best, pulling the listener close with a sweet and sultry croon then blowing it all wide open as her voice reaches for the heavens. Each and every track bears at least one moment that is so stirring that you can’t help but close your eyes to the glory.

“The Shape Truth Takes” see Plotkin at her most operatic and sorrowful. Forlorn melodies pull the listener further down in a pool of tears. Gradually the entirety swells on determination, rising and rising with power and volume until bursting with pent up emotion. Those moments are massive in every way, and punctuate the band's prowess. The track also sends the album off in a way befitting Plotkin's moving forward. Onward and upward.

Regardless of band member situations, Mobile of Angels is a tremendous doom album. Not quite as powerful overall as many but Witch Mountain know how to work dynamics and make the most out of an undeniable vocal talent. The remaining members (Nate Carson, Rob Wrong, and Charles Thomas) have vowed to carry on with the band (as they should) but it will be a tough task indeed to replace a voice that has become synonymous with the band's identity. Best of luck to Witch Mountain, and Plotkin can be proud in knowing she left leaving nothing to be desired.

Matt Hinch

Band info: www.facebook.com/witchmountain
Label info: www.svartrecords.com

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.

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Before you get into this review, if you've never heard Pallbearer before, go listen to their stunning debut Sorrow & Extinction. When you're done crying, come on back. If you have heard S&E before, the Little Rock doom quartet's follow-up to their critically embraced debut does not suffer in the least from any sort of sophomore jinx.

In fact, Foundations of Burden may even surpass its predecessor in the eyes of many. Vocalist/guitarist Brett Campbell, bassist Joseph Rowland, guitarist Devin Holt and drummer Mark Lierly have taken the structures laid out previously and expanded on them. Foundations is even more lush, warm, massive and emotionally draining.

Pallbearer make music for themselves and with that they don't feel the need to please anyone but themselves on this latest masterpiece. (Yeah, I said it.) In doing so they display a greater diversity and depth, mixing tempos, altering vocals and utilizing the talents of producer Billy Anderson to the fullest extent.

In contrast to S&E, the vocals on the opening track, “Worlds Apart” come earlier, hitting the listener with the most emotional facet from the onset. Both Rowland and Holt harmonize with Campbell and the results are outstanding. As expected the guitars are absolutely huge, solemn and pull the listener in with heartrending melodies and soul-crushing riffs in a way only Pallbearer can. The track, as does the album, cycles through a mix of emotions, the most powerful of which being depression. The lines “darkened heart/enlightened mind/whole worlds apart/remain entwined” put that feeling into sharp focus. But where S&E was intensely morose and morbidly despairing throughout, Foundations builds on that heartbreak.

Tracks such as “Foundations” and “Watcher in the Dark” (this writer's favourite) are not nearly as sorrowful. A growling tone makes the walls shake with malice and dread. Menacing undercurrents and increased cadences add a level of dynamics only hinted at previously. Less time spent hanging your head and more time banging it. Adding to that is a sense of peace and acceptance, a steady resolve that pushes through the loneliness and desolation.

Don't be mistaken in thinking that Pallbearer have moved that far from utter misery however. “The Ghost I Used To Be” begins and ends very close to the signature sound the band stamped out on S&E. Grief, mourning, self-doubt and despair are brought to the fore by the clarity and penetrating quality of Campbell's distinctive voice. But in the song's midsection it takes on not only a speed uncharacteristic of Pallbearer but a heavy gothic undertone that reminds one of Woods of Ypres. And no disrespect for Zach Stine but this track is but one example of how Lierly has pushed the rest of the band into new territory.

The shortest and possibly most powerful track is “Ashes”. At just 3:19 and mostly just (I believe) Rowland's voice, keys and ambient guitars, it stands out but the contrast brings unparalleled gravity to the whole album.

Closing hymn “Vanished” encompasses all that Pallbearer has become. It's the longest track with twist and turns, delicate beauty amidst monstrous tone, darkness, emotion and some of the most tear-jerking vocals you'll hear in metal.

If Pallbearer broke the mold by injecting torturous amounts of melody on S&E, they've reformed it on Foundations by pushing themselves and the genre to new heights. It's everything one could ask for from a doom record and more. Gargantuan riffs, stirring melodies, varied but all-heavy tone and reflective, introspective, deep and starkly poetic lyrics enthral the listener wholly regardless of song length. There is no one in heavy music today quite like Pallbearer.

By embracing the painful side of the human condition in pouring forth their own souls they empower the listener to feel more alive in knowing that by feeling those emotions as well they genuinely care for the things that matter most in life and are not just surviving by allowing the trivial to create their happiness.

Foundations of Burden is merely the next building block in cementing their growing legacy of a band gaining status among not only doom's current elite but possibly doom's all-time elite.

Matt Hinch

Band info: www.pallbearerdoom.com
Label info: www.profoundlorerecords.com

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.

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Well here's a debut album loaded with enough old school rock n' roll balls to get the geriatrics swinging their jeans, catchy and fresh enough to interest the doubting pop industry, and yet still darkly inventive enough to tickle the underbelly of the subverts. In turn, they lovingly tug once more at those emotional threads conjured by bands like Led Zeppelin, Fleetwood Mac and Cream. The inevitable result? Blues Pills are about to shift some units with this release.

Craftily divided into sections, each offering something interesting to focus upon, the album oozes star quality. Tracks 1 through 3 offer quick-change chord structures that ripple their way along a driving underscore which harries and hurries you along. Opener "High Class Woman" has a hard, rock-punching edge about it with fierce licks and strong hooks, whilst the excellent, groove-laden "Ain't No Change" and "Jupiter", with its mind-expanding middle-eight, ride along bluesier, walls of guitar fuzz that get you deep in the gut.

Tracks 4 through 6 mark out a welcome change of pace which brings the stunning Joplin-esque vocal of Elin Larsen to the forefront. Strong without being butch, her delivery has a sweet, rasping quality, plenty of range and a fine grasp of when to stress a lyric and when not to. So whilst the flawed yet elegiac, slide guitar number "River" stands out proudest of all, sashaying along as she enunciates each vowel, it is the friskier, slow-quick-slow rhythm and cosmic power of "Black Smoke" which speaks most clearly to the heart as well as the soul. Tracks 7-9 begins the steady build back up to speed with the swing of "Devil Man" bringing some much needed fire, "Astralplane" loading up on blues, and Chubby Checker-cover "Gypsy" punching every majestic note out with joyous delight. Throughout these and into the album closer, the simple sustained sweeps of retro kingpins Graveyard (who they share a producer with) show their face placing that chronological marker upon the Swedish quartet.

Offering something old, something new, something borrowed and something blue, whatever your taste, this is an impressive debut that should, by all accounts, marry itself to your very marrow. I thought I had a cold, black heart, but suddenly I can feel the damn thing beating. I think I'm falling for Blues Pills... and hard.

John Skibeat 

Band info: www.bluespills.com
Label info: www.nuclearblast.com

John Skibeat is a self-described word monkey hampered by cravings for strong ale and stinky cheese. He continues to practice surgical dissection on most genres of music with the leftovers currently reaching publication at 'zines like Heavy Blog Is Heavy, The Line Of Best Fit or Ave Noctum. When not smacking seven bells out of various sizes of orb, he tumbles at johnskibeat, tweets @johnskibeat and blogs at, yes, you guessed it, johnskibeat.

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