This is the fourth album from German death metal band Endseeker.
Endseeker are a band that are very easy for me to like. Despite cooling on the Swedish death metal style over the years, I fail to be indifferent to Endseeker’s crushing assault. Both 2019’s The Harvest and 2021’s Mount Carcass were thoroughly enjoyable examples of the style, so will Global Worming follow in their thunderous footsteps? Continue reading “Endseeker – Global Worming (Review)”
Howling Giant are a rock band from the US and this is their second album.
I like me a bit of what Howling Giant are peddling, and Glass Future‘s 41 minutes of tuneage hits the spot nicely. Continue reading “Howling Giant – Glass Future (Review)”
Cardinals Folly are a Finnish doom metal band and this is their sixth album.
It’s always a treat to hear some new music by Cardinals Folly. Live by the Sword boasts 41 minutes of the band’s charismatic doom metal. Cardinals Folly have established themselves as a quality act over the years, so there’s nothing to do when a new release appears but to buckle up and prepare for the ride. Continue reading “Cardinals Folly – Live by the Sword (Review)”
Sepulchral Curse are a blackened death metal band from Finland and this is their second album.
Following on from 2016’s At the Onset of Extinction and 2020’s Only Ashes Remain comes the 37-minute monster that is Abhorrent Dimensions. Put simply, this new album is Sepulchral Curse’s best work so far. Continue reading “Sepulchral Curse – Abhorrent Dimensions (Review)”
This is the debut album from international death metal band Asinhell.
Impii Hora is a 39-minute love letter to Swedeath’s golden days. Asinhell clearly know the style intimately, and across these 10 tracks lay waste with their song-focused approach to death metal carnage. Continue reading “Asinhell – Impii Hora (Review)”
This is the debut album from US extreme metal band Owdwyr.
Receptor is an interesting beast. Blurring the boundaries between technical death metal, grindcore, and progressive metal, Owdwyr’s music is a riot of violence and exploratory brutality. It’s a 44-minute sophisticated wrecking ball. Continue reading “Owdwyr – Receptor (Review)”
This is the second album from Greek post-metal band Unverkalt.
How to get my attention: start a promo email by stating something is for fans of Cult of Luna & Julie Christmas and Made out of Babies. The downside of this though is that the music then has a lot to live up to. So, across the 47 minutes of material on A Lump of Death: A Chaos of Dead Lovers, do Unverkalt impress, or disappoint? Continue reading “Unverkalt – A Lump of Death: A Chaos of Dead Lovers (Review)”
This is the second album from Cult Burial, a death/black/doom metal band from the UK.
Following on from 2020’s crushing Cult Burial, Reverie of the Malignant is a 41 minute journey into a world of darkness and despair. It’s not to be missed. Continue reading “Cult Burial – Reverie of the Malignant (Review)”
This is the fifth album from Italian thrash metal band Game Over.
I find I have a low tolerance for thrash these days, much lower than I used to have. I’m not sure why, but it just doesn’t grab my attention like it once did. However, there are exceptions, and, for whatever reason, Game Over are one of them. Continue reading “Game Over – Hellframes (Review)”
This is the third album from international black metallers Asagraum.
After thoroughly enjoying 2017’s Potestas Magicum Diaboli and 2019’s Dawn of Infinite Fire, (especially the latter), Veil of Death, Ruptured is one I’ve been looking forward to. It has surpassed my expectations too, let me tell you that now. Continue reading “Asagraum – Veil of Death, Ruptured (Review)”
Wonderbox Metal 