This is the follow up to 2017’s Infidèle(s), which I enjoyed a great deal. Clocking in at 41 minutes, this is on the shorter side for a Celeste album, and Assassine(s) finds the band focused and sharp. Continue reading “Celeste – Assassine(s) (Review)”
Blending elements of melodic, doom, and Gothic metal into a melancholic whole, Flames of Perdition is a mournful feast of emotive metallic delights. Bands such as Continue reading “Dawn of Solace – Flames of Perdition (Review)”
Wonderbox Metal gets sent a lot of new music, (which is great), but there’s no way that everything can get covered unfortunately, (which is not so great). This new column hopes to redress this balance, if only slightly, by taking a look at a handful of releases that a record label has recently sent out that might have otherwise slipped through the cracks.
Have you heard of Dying Victims Productions? They deal mostly with traditional heavy metal, and the label is home to a number of great bands and great albums, (Witchseeker are just one such example). The below three releases all see the light of day on January 28th 2022, so I thought it’s a great to catch up with some of the label’s latest output. Continue reading “Label Roundup: Dying Victims Productions – Tension, Tangent, & Vicious Knights (Reviews)”
Although I’d ideally love to be able to conduct hard-hitting, in-depth interviews, who has the time these days? In lieu of this, I’ve thrown together the below question template, hopefully to gather some interesting and informative results, without taking up too much of anyone’s time.
Introduce yourself – who are you and what do you do?
My name is Evan, and I sing and play rhythm guitar for Wilderun. I am also sort of the main songwriter for the band, although it is a very collaborative process. I simply provide the skeletons of the songs, and the rest of the band helps arrange and colour them to make them what they are now. Continue reading “Standard Interrogation Techniques: Five Questions for Wilderun (Interview)”
I last heard The Last Ten Seconds of Life on their 2016 album The Violent Sound, which was an enjoyable excursion into rowdy metal waters. On their latest album the band have taken a slight step back with their their hybrid sound; it’s still part-deathcore, part nu-metal, part hardcore, and Continue reading “The Last Ten Seconds of Life – The Last Ten Seconds of Life (Review)”
This is the follow up to 2017’s Outsider, giving us 32 minutes of raucous, energetic hardcore. Continue reading “Comeback Kid – Heavy Steps (Review)”
Following on from 2018’s Grotesque Offerings, Relics of the Dead contains 41 minutes of new material. These new songs pick up where Grotesque Offerings left off. They’re heavy slabs of death/doom, dripping with macabre atmosphere and slow terror. Continue reading “Druid Lord – Relics of the Dead (Review)”
Brought to us by the guitarist/vocalist of Warning, (along with an array of guests, including a member of Worm Ouroboros), Perfect Light contains 68 minutes of skilfully-crafted music that is simply stunning. Continue reading “40 Watt Sun – Perfect Light (Review)”
I’ve been an avid follower of Abyssus’ work for many years, (see here, here, here, here, and here), and their output never fails to put a smile on my face. Which is why it’s great to have a new album from the band. Seven tracks, 33 minutes; Abyssus bring their old-school death metal sound to the masses once more, and it’s damn good fun. Continue reading “Abyssus – Death Revival (Review)”
Battle Beast play a symphonic mix of heavy and power metal, and they do so with skill and character. I haven’t caught up with Battle Beast since 2017’s enjoyable Bringer of Pain, so Circus of Doom seemed a good time to check in with their brand of stadium metal once more. Continue reading “Battle Beast – Circus of Doom (Review)”