Containing members of Second to Sun, Frostbitten presents us with 49 minutes of atmospheric black metal, and it does so with singular skill, talent, and delivery. Continue reading “Grima – Frostbitten (Review)”
Influenced by the 90s era of both black and death metal, The Devils contains 36 minutes of unholy new material, (or 42 if you include the bonus track, which is a rerecorded medley of two older songs). Continue reading “Belphegor – The Devils (Review)”
Mortem Solis is a 40-minute earthquake of pure death metal carnage. If you’re into the style then there’s nothing to not enjoy here, so sit back, turn up the volume, and get ready to be crushed. Continue reading “Krisiun – Mortem Solis (Review)”
The third album from Triumvir Foul brings us another 35 minutes of apocalyptic death metal horror. I always enjoy witnessing what primeval new terror the band have conjured up, (see, for example, this, this, and this), and have thoroughly enjoyed watching their development since they started. On their first new album in five years, Triumvir Foul have produced a monster capable of cementing their legacy. Continue reading “Triumvir Foul – Onslaught to Seraphim (Review)”
God’s Country is a 42-minute cry of anxiety, despair, and pain, which manifests as noise and sludge rock coalesced into nine emotive tracks. Other elements such as industrial, punk, and grunge have also made it into Chat Pile’s shapeshifting sound, resulting in a charismatic journey into impassioned desperation and energetic angst. Continue reading “Chat Pile – God’s Country (Review)”
Featuring a guitarist from Outre-Tombe, Suppuration Morphogénésiaque contains 39 minutes of filthy death metal. Sedimentum have a sound that’s dense and unforgiving. The band’s music is ugly and rotten, but underneath the surface it is well-crafted and delivered. Continue reading “Sedimentum – Suppuration Morphogénésiaque (Review)”
Following on from 2018’s Superstition, Roman Candle brings us a different band with a different sound. With ten tracks and a duration of 36 minutes, the album has less songs than Superstition, but is four minutes longer. Continue reading “Funeral Chic – Roman Candle (Review)”
Neurotopia contains eight tracks, (seven originals and a doomified Integrity cover), for a total of 50 minutes of material. False Gods play a compelling brand of doom and sludge metal that also benefits from elements of hardcore. Continue reading “False Gods – Neurotopia (Review)”
The promo blurb states that Nicholas Cage Fighter combine “ruthless hardcore, late 90s metal and death metal influences”, which sets the scene nicely for the 37 minutes of material on The Bones That Grew from Pain.
Imagine a mixture of Hatebreed, Pantera, and the groovy aspect of bands like Thy Art Is Murder and Decapitated, and you’ll have a rough idea of where Nicolas Cage Fighter are coming from. They specialise is music that takes the metallic hardcore style from the 2000s and adds in more contemporary influences.
The music is full of energy and muscular heaviness. These songs are designed for the live arena, but are well-written enough to survive outside of their natural environment. Crushing breakdowns, heavy riffs, and roared vocals are the main order of business, and Nicolas Cage Fighter know their trade well. The songs are heavy, angry, are catchier than you might expect, and are just plain fun to listen to.
I like the inclusion of ambient, melodic, and atmospheric elements into the band’s brutal sound. These are only small enhancements to the songs and only appear at select moments, but they add value nonetheless. I also really like the singer’s vocals. They’re well-performed and varied enough to hold interest.
The Bones That Grew from Pain sits nicely next to recent records by Malevolence and Cage Fight. If you are looking for an album to hit the gym to, or just something to go and break stuff to, then this is for you.
A highly recommended slab of crushing heaviness.
I really liked 2018’s The Banished Heart, but 2020’s self titled was something even more special, making it on to my end of year list. I wasn’t sure how Oceans of Slumber could top their last album, and I’m pleased that they haven’t tried to; as you may have noticed, I’ve tagged this as a progressive rock album, rather than Continue reading “Oceans of Slumber – Starlight and Ash (Review)”