Here come the heavy hitters! The underground takes a bit of a rest this week, although not completely, to allow space for a good handful of well-established names.
-(16)- – Guides For The Misguided
Genre: Sludge metal
Subjective rating: 4/5
Objective rating: 3.5/5
It’s the return of the heavy riff machine that is -(16)-, and on this one I feel like they’re stretching sludge as far towards stoner as can be achieved without actually starting to cross over. Don’t get me wrong, this is still a coarse, roaring, bone-rattling sound with a threatening tone, but damn are you getting your fill of groove on this one. Many of the riffs are Metallica-level catchy and the lead guitar gets into some seriously tantalizing escapades. The choruses are strong and at best easily memorable, sending the replay value skyrocketing. The production seems cleaner and bigger than on 2022’s “Into Dust”, which gives the album a stronger hard rock alibi, but, decisively, it never really descends/ascends into what most people would call “fun”. I would say that the overall melodic feel is much closer to doom than stoner, and the raspy harsh vocals radiate spite. Overall I don’t think it’s the most creative thing they’ve ever done, but still delivers beyond expectations.
Highlights: “After All” and “Blood Atonement Blues”
Berlial – Nourishing The Disaster To Come
Genre: Atmospheric black metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
Here’s some French black metal that, perhaps unsurprisingly, seems intent on carving out a path of its own. There are (dungeon) synth elements heavily embedded in the melody and ambience, and outside its wall-of-sound assaults of harshness, you get sections of spacey, even dreamy prog-ish rock. The overall tone is one of unease, but it’s not so permeating that it overshadows the band’s eagerness for Enslaved-like deviations into different rhythmic- and melodic territories. A few of the songs are, strictly speaking, a bit longer than I think they needed to be, but is it really a conceptual black metal record without at least one 10+ minute track? Some moments, though, are nothing short of gripping, so it’s well worth your time.
Highlight: “Ivresse de la finitude”
Dream Theater – Parasomnia
Genre: Progressive metal
Subjective rating: 3.5/5
Objective rating: 4/5
Ah yes, in a time when we get sceptic-defying reunions such as that of Guns ‘n Roses, Rage Against the Machine, Oasis and, although briefly, Black Sabbath, Mike Portnoy rejoining Dream Theater was perhaps not the most unbelievable, but definitely one of the most welcome. A bit like Mikael Åkerfeldt reuniting with his harsh vocal technique. Anyway, about the album. Perhaps as a biproduct of the reunion, (at least that’s what I’m guessing fans will agree on), this is a very consistent album, particularly in regards to tone. As a relative outsider to Dream Theater’s discography, I’m tempted to compare the album’s spooky feel to that of a much, much smaller band, namely Doctor Smoke, particularly on their 2021 release “Dreamers And The Dead”, which I highly recommend. What “Parasomnia” is though, is heavy. Not all the way through, but certainly in moments. Aside from that however, I find myself mildly underwhelmed in terms of how “progressive” the album is. Yes, it’s definitely well-composed, melodic, brilliantly technical prog metal, but is it challenging? Exploratory? Inventive. Not really. It does sound fantastic though.
Highlights: “The Shadow Man Incident” and “Dead Asleep”
Ereb Altor – Hälsingemörker
Genre: Folk/melodic black metal
Subjective rating: 3/5
Objective rating: 3.5/5
Epic, yet moderately restrained blackened folk metal from Sweden. Of course, in their circles of appreciation, Ereb Altor will hardly be an unknown. This is a sound that easily pokes out of the deepest underground and unites black- and folk metal fans in front of the stage at summer festivals. A few of the songs on here are fairly run-of-the-mill, and the vocals don’t always work for me, but there is force, will, and genuine darkness hiding in the recesses.
Jinjer – Duél
Genre: Progressive/groove metal
Subjective rating: 4.5/5
Objective rating: 4/5
The type of progressive approach that relies almost entirely on staccato djent-rhythms will always interest me less than those built around clever melody lines, mercurial grooves and temperamental mood swings. Both sides are strongly represented on Jinjer’s newest offering, so I guess everyone should be happy? Of course, you can’t please everyone, and if you’re already decided that this band isn’t for you, I highly doubt that “Duél” will win you over. But for me, the balance between the harshly mechanical, startlingly aggressive, jaw-droppingly dexterous and brilliantly melodic is so pleasingly struck on here that I find my enthusiasm steadily growing as well as regularly peaking throughout the duration. Sure, there is a bit of filler, and sure, it’s not a huge stylistic leap, but it delivers on so many levels.
Highlights: “Fast Draw” and “Duél”.
Noctambulist – Noctambulist II: De Droom
Genre: Avant-garde black metal
Subjective rating: 2/5
Objective rating: 3/5
Usually I’m a big fan of contrasts in music, particularly when it comes to the progressive and melodic spheres of the metal realm. Juxtaposing the ugliness of black metal with the beautiful and serene is not a new idea, and is sometimes executed to great effect, but this one is a miss in my book. Some of the melodies are simply too naïve, too good-natured, too whimsically dreamy, breaking the illusion of the black metal side being genuinely bleak. The craftmanship is still laudable though,
Obscura – A Sonication
Genre: Technical/melodic death metal
Subjective rating: 3/5
Objective rating: 3.5/5
Setting aside the controversy surrounding this release (although it should be mentioned that two former band members have brought forth allegations of plagiarism), Obscura strikes their well-established balance between hustle-technicality, vivid melody and catchy riffs once again. Everything is in place to please fans of the band, but standing on the outside I find myself gradually losing interest as it progresses, the lingering impression being that of a recipe repeating itself again and again.
Open Kasket – Trials Of Failure
Genre: Hardcore/death metal
Subjective rating: 3/5
Objective rating: 3/5
Chug, CHUG, chug, CHUG, CHUG, on goes the chug train. This is a snapping bear-crocodile hybrid on steroids that attacks you in erratic bursts, then chomps down breakdown-style when it gets a hold of you. Which is often. Very, very often.
Pathogenic – Crowned In Corpses
Genre: Technical death metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
This is aggressive, riff-centric tech death with a thrash streak. Razor-sharp and precise, but with a healthy dose of that Revocation-style scorching ferocity. It has a melodic side as well, closer related to melodeath than the typical tech death note assault. You get a bit of breakdown-prone deathcore as well, but nothing that leaves a defining impression. There are lots of elements throughout that bring to mind signature traits of other bands, and as a total package, the album doesn’t significantly stand out among its peers. But this could change dramatically with a more coherent sense of direction and identity. The playing is solid, enthusiastic and entertaining, with several clear highlights and lots of potential. If you care less about uniqueness, there is much to enjoy on here.
Highlight: “The New Rot”
Phrenelith – Ashen Womb
Genre: Death metal
Subjective rating: 3.5/5
Objective rating: 4/5
Imagine being trapped in a gloomy cave system and this unholy cacophony of rumbling drums and monstrous growls emerges from the deep, hinting at a terrible subterranean vastness caked in filth and littered with dusty remains. The rest of the sound sort of perfectly expresses the utter dread you would feel as, no matter which direction you take, the noises keep coming closer and sounding hungrier. For those not already familiar with the band, yes, you guessed it, this is cavernous, evil old school death metal all the way. It’s so unified in style and tone that it feels like a manifest entity, hurling at you your own fear, revulsion and hate. If you’re looking for crisp, groove-laden riffs, you won’t find that here. If you’re looking for utter malice and oppressive atmosphere, look no further.
Highlights: “Lithopaedion” and “Stagnated Blood”
Saber – Lost In Flames
Genre: Heavy metal
Subjective rating: 2.5/5
Objective rating: 2.5/5
Sleaze-backed heavy metal with some vigorous solo work and melodies that bring to mind 80s cult adventure films. Unfortunately, the vocals don’t harmonize too well with the instruments, and several of the choruses fall flat.
Saor – Amidst The Ruins
Genre: Atmospheric folk/black metal
Subjective rating: 3.5/5
Objective rating: 4/5
Moving away from the grandiose, vital and more urgent sound of 2022’s “Origins”, Saor returns to a more melancholic, atmospheric black metal-leaning approach. Sweeping, sorrowful, bagpipe-led melodies carry the songs across the visions of Scottish highlands that will undoubtedly form in your mind. It’s beautiful, at times purely blissful, evocative and immersive, if not a tad monotonous. That’s not to say that it doesn’t reach peaks of epic heaviness or offer rushes of snarling aggression, but comparatively these moments take a back seat. Having been exposed to the far more dynamic “Origins” I can’t help but be a bit disappointed, but that is, at least partially, a question of taste.
Highlight: “Amidst the Ruins” and “Glen of Sorrow”
Unreqvited – A Pathway To The Moon
Genre: Symphonic/ambient black metal
Subjective rating: 3/5
Objective rating: 3.5/5
Unreqvited will immerse you in serene melody and cosmic ambience that elevates into richly produced surges of symphonic black metal force. There is a lot of emotion at play on here, and when it goes clean, it really is squeaky, silky clean. To me it’s borderline sappy, although I recognize the purpose behind it, and how it ties into the blissfully sad nature of the atmosphere. It really is gorgeous to listen to, but you do have to accept long interludes of non-progression and songs that either build very slowly, or seemingly don’t build at all.
As always, if you think I’m completely off on an observation, unfairly dissed your favorite band, or need to give an album another shot, why not pop a comment down below?
The Metal Dispatch 