This is the debut album from Hiroe, a post-rock/post-metal band from the US.
Wield is a 48-minute instrumental album that combines elements of doom, progressive rock, post-metal, and shoegaze into a compelling post-rock framework. Hiroe are skilled worldbuilders, and their debut album is a strong one. Continue reading “Hiroe – Wield (Review)”
This is the ninth album from Canadian death metallers Cryptopsy.
A new Cryptopsy release is always an event to be celebrated. Less than two years after 2023’s very enjoyable As Gomorrah Burns, the band are now back with the 34-minute powerhouse that is An Insatiable Violence. Continue reading “Cryptopsy – An Insatiable Violence (Review)”
Malevolence are a metalcore band from the UK and this is their fourth album.
2022’s Malicious Intent was a solid mix of groove metal and metalcore, so I was interested where Malevolence would take their sound and increased popularity for the 43-minute Where Only the Truth Is Spoken. Continue reading “Malevolence – Where Only the Truth Is Spoken (Review)”
This is the debut album from Italian blackened death metal band Patristic.
Brought to us by current/ex-members of Frostmoon Eclipse, Hideous Divinity, Hour of Penance, and Liber Null, Catechesis contains 41 minutes of intensity and violent moodbuilding. Continue reading “Patristic – Catechesis (Review)”
AVKRVST are a Norwegian progressive rock/metal band and this is their second album.
Following on from 2023’s The Approbation, AVKRVST have now returned with the 45-minute Waving at the Sky. The band have taken the sound that their debut album embraced and individualised it further, making for a confident step forward, and an enjoyable record to boot. Continue reading “AVKRVST – Waving at the Sky (Review)”
This is the second album from UK extreme metallers Outergods.
Outergods play a hybrid style that mixes black, death, and grind influences into a 45-minute record of brutal intensity. The band’s Bandcamp page recommends this for At The Gates, Anaal Nathrakh, Morbid Angel, Hate Eternal, and Strapping Young Lad, which should give you a good starting point for Dethroned & Devoured. Continue reading “Outergods – Dethroned & Devoured (Review)”
This is the third album by Russian grindcore band Byonoisegenerator.
Jazzgrind, eh? Okay, I’ll bite. Subnormal Dives brings together, as advertised, the worlds of grindcore and jazz. It’s aggressive and dense, and Byonoisegenerator make a splash with the 23-minute free form savagery that is Subnormal Dives. Continue reading “Byonoisegenerator – Subnormal Dives (Review)”
This is the fifth album from US death metal band Fallujah.
Fallujah have a storied list of releases at this point, (The Flesh Prevails, Dreamless, Undying Light, Empyrean), all worth getting your teeth into. After the slight dip in quality that was Undying Light, Fallujah returned very strong with Empyrean. All of which means I have been interested to see what the 42-minute Xenotaph brings us this time around. Continue reading “Fallujah – Xenotaph (Review)”
This is the fourth album from Slovakian black metal band Aeon Winds.
An Ode to the Mountains contains 60 minutes, (with bonus track), of symphonic black metal. Aeon Winds play in the older style, recalling bands such as Aquilus, Emperor, Limbonic Art, and Midnight Odyssey. Continue reading “Aeon Winds – An Ode to the Mountains (Review)”
Goya are a doom metal band from the US and this is their fourth album.
It’s been a long time since 2017’s Harvester of Bongloads, so it’s great to finally have a new album from Goya. The band’s previous album was stronger than most in the realms of doom metal, so expectations are high for the 40-minute In the Dawn of November. Continue reading “Goya – In the Dawn of November (Review)”
Wonderbox Metal 