Nearly everything seems to have been touched by darkness this week, with some embracing it, some toning it down, and some twisting it in unexpected ways.
As The World Dies – Nebula
Genre: Progressive death metal
Subjective rating: 3/5
Objective rating: 3/5
A melodic, yet classically brutal variant of progressive death metal that alternates between doom tempo and lurches into groove-heavy, crushing riffs. An uneven production and slightly unclear concept let them down.
Aversed – Erasure Of Color
Genre: Progressive gothic metal/hardcore
Subjective rating: 3/5
Objective rating: 3/5
A hardcore-harsh, progressive foray into extreme gothic metal and metalcore, with a few groove metal tendencies to go with it. It’s not, as you might expect, an overly dramatic thing, prioritizing direct riffs and aggressive rhythms. Some of the melodies work well, and some a lot less.
Bloodywood – Nu Delhi
Genre: Nu/industrial metal
Subjective rating: 3/5
Objective rating: 2.5/5
While successfully infusing a hip-hop heavy nu metal project with traditional Indian folk elements is a grand ideas, and a laudable effort to bring fresh and local flavor into the metal mainstream, the key execution of the music on this album is nothing special. Over-accessible, simple rhythms with radio-pop leanings, and heaviness lifted directly from the modern metal/metalcore formula book.
Cradle Of Filth – The Screaming Of The Valkyries
Genre: Symphonic black/gothic metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
Get into a mindset for some over-the-top evil theater, cause it’s time for more blasphemous, catchy, vampiric Filth. Although I’m by no means an expert on the band, this time around they seem to have picked up a bit on the current classic metal revival, cause there’s a bunch of speed- and heavy metal leaning riffs and solos in here, neatly nestled in between the expected drama and symphonic blackness. Dani still does his “gale howling around the house corner” screech, which I absolutely cannot stand, but that’s a personal taste thing. This thing feels alive and eager, a clear indication that the band members still enjoy what they’re doing, and it’s an infectious saying. That’s not to say that they aren’t playing it fairly safe though, cause there are certainly songs and sections that feel more by-the-numbers. But it’s a healthy and solid release that manages to surprise every now and then.
Highlight: “To Live Deliciously”
Dissocia – To Lift The Veil
Genre: Progressive metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
This is the kind of prog metal where you just have to dive in head first and hope for the best. It’s all consuming, in that it’s intricate, at times ferociously aggressive, and also dream-inducingly atmospheric. The vocals and instrumentation both manage several different iterations of, and in between, clean and harsh, and does so very proficiently. It’s a mildly blackened affair, with a lot of the melodic elements performed with a synthwave approach, making for a sound that exists in a twilight area between deeper darkness and a realm of swirling, vibrant impressions. It’s suitably wild and unpredictable, but not chaotic. There’s a current pulling you through, pausing and accelerating at carefully considered moments. At times you might find your mind wandering as the music is more methodical or aloof than it is captivating. But as a “serious” dark, modern and spacey prog effort, it manages to stand out, courtesy of great songwriting.
Highlight: “Samsara”
Drudkh – Shadow Play
Genre: Atmospheric black metal
Subjective rating: 3.5/5
Objective rating: 4/5
We’re exploring a tapestry made up of a hundred different shades of sorrow on Drudkh’s latest full-length. It’s not a drab thing, or one-dimensional, even, but the sonic landscape we’re roaming seems to have sprung from a place where this feeling of sadness dominates all others. Technically, this is rock solid, traditional black metal with raspy, raw vocals and lots and lots of blast beats. It’s pleasing in its faithfulness to the classic expression, but in this instance more a tool for delivering the dark vision behind the album. I get my fill of solemnness a little bit before the conclusion, but for black metal connoisseurs it should present as a coherent, refined and complete statement.
Highlights: “The Exile” and “April”
Embrional – Inherited Tendencies For Self-Destruction
Genre: Death metal
Subjective rating: 3/5
Objective rating: 3/5
A rhythmically rigid, riff-centric death metal album with growled vocals and a Slayer-ish tendency for evil grooves. It never really becomes anything more than the sum of its parts, and isn’t performed flawlessly, but is a pleasingly energetic and forceful outpouring of slightly blackened brutality.
Euphrosyne – Morus
Genre: Black/doom/alternative metal
Subjective rating: 3/5
Objective rating: 3.5/5
A modern reimagining of black- and doom metal guided by dark emotion and a sense of effective drama. The tone doesn’t change much but it transitions quickly from long stretches of ambience or calm, clean melody, to flourishes of bleak aggression. The production is rich, making for a dynamic sound, but might be a bit polished for some. Perhaps a bit too self-indulgent at times, it shows great promise for walking its own direction in the world of dark metal.
Gates To Hell – Death Comes To All
Genre: Metalcore/death metal
Subjective rating: 3/5
Objective rating: 3.5/5
Part of me just wants to call this deathcore, because it’s made up of all the elements that should constitute that subgenre, namely hardcore, metalcore and death metal. And yet, it combines in a way that simply brings to mind all these elements as separate influences all at once. It’s harsh and stompy, chunchy and brutally heavy, and extremely rigid and methodical in terms of rhythms. It does all this exceptionally well on a detail level, but at least for me, when melding it all together, it sounds recipe-bound and a bit joyless. Doesn’t mean you can’t seriously bang your head to it though.
Hidden Intent – Terrorform
Genre: Thrash/groove metal
Subjective rating: 3/5
Objective rating: 3/5
These Australian thrashers build on their brand of aggressive, mid-tempo metal with heavy grooves and a tendency for melodic tangents. It makes for more variation than normally expected from a thrash record, but in this case it’s also pretty unfocused and uneven. When it hits though, it hits hard.
Imperial Triumphant – Goldstar
Genre: Experimental/avant-garde black metal
Subjective rating: 4/5
Objective rating: 4.5/5
Will this be the release where I finally “get” Imperial Triumphant? Well, I think I can at least finally grasp the contours of what makes their concept work so well for so many. It’s the sound of a particular brand of madness, or at least a very interesting interpretation of this madness made sonic manifest. But do I “get” it, as in I’m completely sold and now count myself as a fan? No. It’s still too much on the side of “clash of sounds”, as an offshoot from the sphere of what most consider to be music. It is art, and it is inspired, well-crafted and on-brand art at that. And for the most part, I understand what they’re getting at, and admire the insane level of commitment and clarity of vision it takes to achieve this kind of an expression, which, for all I know might be completely effortless for them. Everything works on this album, from the tasteful album art through the instrumental precision to all the little ambient details that play in the background. I’m generally not very good with experimental metal, but this band is certainly providing the incentive to try and get better acquainted.
Highlights: “Lexington Delirium” and “Industry of Misery”
Katla – Scandinavian Pain
Genre: Sludge/doom metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
This is a coarse, sludge-heavy, and slightly odd doom metal project from Denmark. Most of the time it’s completely zoned in on being a colossal, snarling beast of heavy riffs and light-culling tone. And then they go “Hey! Here’s a six and a half minute spoken-word story accompanied by some gently acoustic tunes.” And then it’s back to the punishment. If this sounds like your kind of weirdness, then rest assured you’re in for quality all the way through. It’s got the directness of hardcore, with black metal bitterness and an understanding for how to expand the sound with a bit of subtle atmosphere.
Highlight: “Taurus”
Nattverd – Tidloes Naadesloes
Genre: Black metal
Subjective rating: 3/5
Objective rating: 3.5/5
Aggressive-yet-traditional Norwegian black metal, from a band that got started quite late. They don’t try to “revive” the classic 90s sound in all the gimmicky ways that a lot of contemporary bands do. Even though many of the expected elements are in place, they have a sense for rhythmic variation, and a taste for tremolo-led melody that breathes a bit of life into the old formula, and shows that they’re in it to make it their own thing.
SpiritWorld – Helldorado
Genre: Hardcore/thrash metal
Subjective rating: 4/5
Objective rating: 4/5
As you listen to Spirit World’s brand of metallic hardcore, you might think to yourself, how hard can it be to make direct, catchy riffs like this? But then the saying goes – if it was easy, everyone would do it. On “Helldorado”, the guys lean even further into the western vibes that, to a certain degree, also guided their efforts on the last two releases. I’m pretty sure that on reviewing 2022’s “DEATHWESTERN”, I requested that the wild west theme be more prevalent, and generally speaking I’ve had my wish fulfilled. There are several tracks on here that divert completely from the metal path and serve up what I can only describe as country punk. What I was actually hoping for was for this musical flavor to be a bit more elegantly woven into their heavy tracks, which are still mostly gong-ho Slayer-riffed bangers. I feel kind of stupid for complaining, cause I really dig it, but I still think there’s a ways to go before the concept is fully realized. Still, awesome stuff.
Highlights: “Western Stars & The Apocalypse” and “Waiting on the Reaper”
Throne – That Who Sat Upon Him, Was Death
Genre: Death/black metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
Blackened death metal usually works best in a crushing, mid-tempo iteration with lots of unpleasant atmosphere, but this gang is successfully putting a more contemporary, technical spin on it. Based on modern brutal death metal, it delivers a precise, hammering assault of drums and riffs like weaponized hellfire. The tone is in large part what saves it from becoming too clinical. The guitars are ripping, and there is actual, evil energy at play. Also, the song structures don’t just take you down the expected path of ping-snares and slamming breakdowns, While I wouldn’t describe them as super dynamic, the songs usually explore a few different rhythmic avenues on their way, and for the most part there’s a drive like a predatory hunger that mercilessly pulls you along.
Highlight: “Blasphemous Perversion”
Tower – Let There Be Dark
Genre: Heavy metal
Subjective rating: 4/5
Objective rating: 4/5
Keep feeding me doom-flavored heavy metal, and I’ll generally be happy, although sometimes the bands tend to lean a bit too heavily on the superficial elements of the two styles. This is not an issue on the latest release by Tower. The powerful vocals perfectly balance extravagance with a tasteful solemnness, and even though the instruments are plenty playful, there’s a hint of melancholy attached to the melodies that prevent it all from sounding flippant. What might be the most impressive part of the album is that the band manages to craft slow, ballad-like tunes that are, if anything, even more captivating than the high-energy, galloping, solo-tastic tracks. As a result, while I could have wished for a bit more umph from the production, this is a super dynamic, engaging listen that delivers a great balance between classic, guitar-driven fun and straight-faced, on-theme commitment.
Highlights: “Book of the Hidden” and “Let There Be Dark”
Wythersake – At War With Their Divinity
Genre: Symphonic black/death metal
Subjective rating: 3/5
Objective rating: 3/5
A grandiose-yet-aggressive blackened death metal project that delivers a precise and direct, if not a bit heavy-handed variation on the typical solemn-evil sound. The production robs it of some detail and force, although it amplifies the slight leaning towards classic black metal. It’s got groove and melody, but dishes it out with restraint, preventing it from sounding too tame.
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 