We seem to be out of the summer siesta and bands from all manner of spires and catacombs are poking their heads out to show off what they’ve been working while you were at the beach.
Amenspear – All My Gods Are Dying
Genre: Experimental black metal
Subjective rating: 3.5/5
Objective rating: 3/5
This is absolutely, in essence, black metal, but jump in at the “wrong” part of a given song, and you might be led astray. The mood is very much out of a hopelessly grey and rainy day, the production is spartan and the riff and vocal approach mostly matches the subgenre expectations. But you get individual tracks leaning into sludge, rock, doom and even a bit of old school death metal. It all ties inn quite well, making for a refreshingly varied style. A few fairly repetitive and low-impact tracks detract a bit from the experience, but overall I’m excited to see this project mature further.
Ashen – Leave The Flesh Behind
Genre: Death metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
Ashen is an Australian band that, rather refreshingly, doesn’t lean decisively neither backwards nor forwards in their chosen style of death metal, yet still manage to deliver something impactful. This thing oozes “ancient evil”, dipping into both that old school mire of malevolence as well as smashing its way out of the cave with monstrous, club-wielding force. It’s not “brutal” or “technical”, but certainly assaults you with a towering sound that’s both bulky and spiky in all the right places. Apart from the doomsday atmosphere, the groove is the real standout quality on the record, as the guitars work beautifully with the rhythms to prowl from one pulverizing riff section to the next. I imagine this will be a treat to experience live.
Highlight: “Leave the Flesh Behind”
Blackbriar – A Thousand Little Deaths
Genre: Symphonic/gothic metal
Subjective rating: 4.5/5
Objective rating: 4/5
Whelp, I guess I’m a goth now, ’cause this stuff just instantly struck a chord with me. Not being familiar with the band, I went in with customary low expectations considering the genre, but had pretty much all of my prejudices swept away and drowned like scattered castaways in a stormy ocean. Basically, this is dark folk tales performed by angelic vocals and set to gorgeous, dramatically somber melodies, then added heavy riffs to increase the impact. The weakest part of the album, just to get that out of the way, is the rhythm approach, which is very clearly not prioritized, and you get pretty much exactly the same tempos throughout. It’s not badly performed, just not very engaging. I could also have wished for bigger contrasts between the ethereal, piano-led trickles to the majestic highs of orchestra-boosted drama, but then the band doesn’t seem interested in tapping in to any of the more extreme metal traits. The melodies truly make up for this slight lack of dynamism though, and while the tone and songwriting style doesn’t change notably from song to song, the lyrical and melodic contents do an excellent job to instill identity and memorable flair.
Highlights: “The Fossilized Widow” and “I Buried Us”
Burning Witches – Inquisition
Genre: Heavy metal
Subjective rating: 3.5/5
Objective rating: 4/5
I didn’t think the world of 2023’s “The Dark Tower”, but on this latest release, Burning Witches manage to make more of a splash. The key seems to be buying fully into the over-the-top theatrics of their power metal influences, while keeping the instrumental approach tight and fairly aggressive, with a strutting bravado to the rhythms and a thrash-like, threatening tone to the riffs. The vocals walk this tightrope between the epic and badass with what sounds like well-honed understanding, and strike a good balance between force, attitude and melody. There’s a general handful of fun highlights on the album, but also a few that don’t really contribute much other than pushing the runtime closer to 50 minutes. Apart from this, it’s a release that affirms the band as an outstanding contributor to the classic heavy metal revival.
Highlights: “The Spell of the Skull” and “Mirror, Mirror”
Corridoré – Abandon
Genre: Atmospheric doom/black metal
Subjective rating: 3/5
Objective rating: 4/5
A meld of dark feelings, both silken and abrasive in texture, into a monumental and moving sound that borrows from doom, black metal and atmospheric rock. There are aspects to this blend that I simply can’t get to work for me personally, chief of which are parts of the vocal style and the more trope-y instrumental elements of black metal being used to add ugliness and harshness to expressions of anguish and despair. Some of the melody-driven atmospheric sections can also get a good bit too introspective and a bit repetitive for my taste, but they are offset by parts that contain haunting beauty. The album is a mostly slow affair, but varies greatly in intensity. The feeling you’re left with is that of an extensive sonic realm that you could probably keep exploring forever, if you’ve got the mind to stay constantly immersed in mild depression.
Highlight: “Like Moths” and “This Great Divide”
Deftones – Private Music
Genre: Alternative/progressive metal
Subjective rating: 4.5/5
Objective rating: 4.5/5
Wouldn’t it be nice to be able to review a new album by a band of such status as Deftones as if it was their first (this is their tenth), not taking into account expectations linked to previous styles and achievements? Well guess what, you’re pretty much getting that here, ’cause Deftones is just one of those bands that never really “clicked” with me, and so I’ve spent very little time with their material. But even an outsider like me can tell that you’re getting a very complete experience with “private music”. You get hard-hitting grooves and hardcore-like aggression, and it’s juxtaposed with dreamy, contemplative atmosphere, rhythm and melody tangents, a tone that travels between deeply psychedelic and fluffy calm, and mood that goes from ecstatic elation to sadness and anxiety, and several other places beyond that. And yet, despite its wide-reaching branches, the trunk that is the band’s signature sound effortlessly carries it all, leaving you with no doubt that all of it belongs. It’s certainly on the serene side overall, but never feels complacent, which keeps it from getting dull. Some real though and talent went into this, and what feels like just the right amount of ideas.
Highlights: “my mind is a mountain” and “ecdysis
Desaster – Kill All Idols
Genre: Black/thrash metal
Subjective rating: 3/5
Objective rating: 3.5/5
German veterans Desaster are back with their 10th full-length since debuting back in 1996. They play a ragged, ominous version of primitive black metal with strong thrash elements, and also a few from speed- and traditional heavy metal. The latest album has its ups and downs, and in the end doesn’t strike me as their finest work, feeling slightly directionless and with several tracks either taking too long to get to the point or over-relying on old tricks. That being said, it’s far from toothless, and strikes out with rebellious energy at pleasingly frequent intervals.
Feuerschwanz – Knightclub
Genre: Power metal
Subjective rating: 2/5
Objective rating: 3/5
This will be more like a mention than an actual review, cause those inclined to consume this kind of stuff will hardly get hung up on my opinion. Entirely predictable with overblown bombast, stupidly simple riffs and recycled melodies, it is by no means meant to be taken even the least bit seriously, and is all about the catchy-factor and sing-along choruses, which it definitely delivers in spades.
Innumerable Forms – Pain Effulgence
Genre: Death/doom metal
Subjective rating: 4/5
Objective rating: 4/5
Usually death doom conjures up mental images like being trapped in musty underground caverns lit by a faint, ghostly glow, with terrifying rumbles echoing along the dripping walls. While the tone of this album certainly is sinister enough, and there’s a decent amount of oppressive atmosphere to deal with, I get the feeling that this is more about the music than it is about painting a vivid soundscape. Innumerable Forms’ latest falls pretty decisively on the death metal side. Even though it’s slow and patient for extended stretches, it seems almost constantly eager to burst out into chugs and dive-bombing solos, and has a well-rounded production that brings out the best of each instrument. Despite its changing temperament, the mood stays very consistent, bringing the very essence of doom – hopelessness and the sense of crushing weight – like a black, low-hanging cloud cover. It does rely on a few, recognizable OSDM-tropes every now and then, but if you sit down and take it in you will quickly come to realize just how ominously alive this thing is.
Highlights: “Blotted Inside” and “Ressentiment”
Jack The Joker – The Devil To Pay In The Backlands
Genre: Progressive metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
This is Brazilian prog metal in the vein of Leprous, just a bit more freaky, and (these days) significantly more heavy, not too far from Haken in that regard. Compared to the latter band, these guys prioritize instrumental acrobatics over melodic flow on this album, so it’s not one to seek out for a cohesive, satisfyingly conceptual experience. It’s got a good deal of that Devin Townsend playfulness, although they have a ways to go before reaching that level of songwriting and instrumental proficiency. That being said, they do a lot of things right, and clearly strive to push boundaries. Not that it really surprises as a prog album, but both vocals and instruments tug at the reins and poke at the limits of their capabilities. It results in a few weaker moments, but also quite a few impressive ones, and they showcase a great aptitude for mixing exploratory melody with youthful heaviness.
Highlight: “Denied”
Mob Rules – Rise Of The Ruler
Genre: Power/heavy metal
Subjective rating: 3.5/5
Objective rating: 3/5
This is some fine German power metal, managing a highly entertaining balance between epic melody and classic 80s metal riffage. It’s not overdone, and both the vocals and instruments sound great. Even with a retro feel, it comes off as modern and vital. The main issue is simply the lack of originality, but if you’re just out for rousing ear candy your should definitely give this one a spin.
Panzerchrist – Maleficium, Pt. 2
Genre: Blackened death metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
Panzerchrist is a Danish band playing snarling, tar-drenched, spiny death metal. They obviously have a bit of a war gimmick goin on, but this is less prevalent on the second chapter of the two-part “Maleficium” album, which delves into witchery and dark myth. And, to their credit, this is evident in the musical choices on the album as well as the lyrical ones. Outside of the imposing riff charges, there’s graveyard atmosphere and a sinister tone, with vocals alternating between hissing whispers and dry snarls. The transitions between downtempo, spooky sections to full-on death metal assaults can be a bit jarring at times, but overall the balance between the two works well, and the overall feeling is that of them complementing each other. Once you get what it’s about it doesn’t offer the biggest surprises, but also doesn’t let off the gas pedal.
Highlight: “Harmbidder”
Signs Of The Swarm – To Rid Myself Of Truth
Genre: Deathcore
Subjective rating: 3/5
Objective rating: 3.5/5
If you’re familiar with the antics of modern, technical deathcore, then despite the violent sonic assault that this album is, there’s nothing on here to shock you. Wet, throaty vocals, hyperactive, demolishing rhythms and brutal-styled guitars, this is unmistakably deathcore, but also leaning into Cattle Decaptitation-styled death metal. What I’m strangely missing on this release is a good, rumbly low end. The bass is definitely audible, but not filling out the sound the way I would have expected. It leaves the punches a little low on mass. They’re definitely working on pushing boundaries in terms of technicality, and it’s objectively really quite impressive, but not unique.
Steegmoord – Mandatory
Genre: Progressive/groove metal
Subjective rating: 3/5
Objective rating: 2.5/5
Instrumental prog that really digs its groove riffs. The rhythms morph to the mood, and never really get out of hand. It sounds like it was created first and foremost with the guitar playing in mind, even though the drums are just a tad too distinct in the mix. It’s not a very fleshed out sound, more like a demonstration, but it’s got enough drive to keep your interest throughout.
White Mantis – Arrows At The Sun
Genre: Thrash metal
Subjective rating: 3/5
Objective rating: 3/5
Here’s some oddball thrash for you. I would call some of the vocal- and melodic transition choices on here questionable, but it brings that weird-unique factor that makes the whole thing stand out. It’s got plenty of galloping riffs and lightning solos, but also a good deal of atmosphere, giving it a conceptual dimension and allowing your mind to go to work on visualizing its little realm.
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 