This is the debut album from New Zealand sludge metal/rock band End Boss.
Featuring the drummer of Beastwars, They Seek My Head contains 33 minutes of sludgy heaviness that is both rough and beautiful. It also has all of the riffs. Sorry, but there’s no more left for anyone else now, End Boss have them all. Continue reading “End Boss – They Seek My Head (Review)”
March was yet another good month for metal releases. I’m aware that I pretty much say that every month, but it’s true. Dig into these albums and let me know what your favourite was last month
Continue reading “Monthly Overview – the Best of March 2022”
This is the third album from Greek blackened doom band Agnes Vein.
Deathcall actually came out at the end of 2021, but I believe it recently had a vinyl release so it seemed as good a time as any to catch up with what they’re doing these days – the last, (and only), time I have encountered them previously was on 2016’s split with Sadhus “The Smoking Community”. Continue reading “Agnes Vein – Deathcall (Review)”
This is the debut album from Swedish death/doom metallers Grand Harvest.
Here we have 51 minutes of death/doom metal, with some blackened influences thrown in for good measure. Prepare yourself in advance, as this is some Grade A stuff right here… Continue reading “Grand Harvest – Consummatum Est (Review)”
This is the third album from US black metal band Vimur.
Vimur’s music effortlessly merges vicious blackened hatred with sublime atmosphere. Raw violence and atmospheric cosmic explorations combine to form seven tracks that tear their way through the space-time continuum without a care for the consequences. Continue reading “Vimur – Transcendental Violence (Review)”
This is the second album from Australian death metallers Golgothan Remains.
I really enjoyed the ugly malevolence of Golgothan Remains’ 2018 debut Perverse Offerings to the Void. It’s now four years later, and Adorned in Ruin has finally come crashing into our lives. Has it been worth the wait? Continue reading “Golgothan Remains – Adorned in Ruin (Review)”
This is the fourth album from Swedish black metallers Bhleg.
I always enjoy it when a new Bhleg release comes along, (Draumr Ást, Solarmegin, Ödhin), so Fäghring is well-received by yours truly.
Bhleg’s atmospheric brand of folk-enriched black metal spreads Continue reading “Bhleg – Fäghring (Review)”
This is the fourth album from Finnish black metallers Aethyrick.
Another year, another Aethyrick album. Which is no bad thing, in my opinion, as so far the band have managed to keep the quality levels high enough to warrant such an output. Following on from last year’s enjoyable Apotheosis, (which itself followed 2020’s Gnosis and 2018’s Praxis), Pilgrimage contains 42 minutes of new material and sees Aethyrick continue their positive trend, albeit with some course corrections this time. Continue reading “Aethyrick – Pilgrimage (Review)”
This is the second album from Swedish black metal solo act Kvaen.
I really enjoyed 2020’s The Funeral Pyre, but never had a chance to give it a proper review, so I jumped on The Great Below as soon as it appeared. As I suspected, this is not one to miss. Continue reading “Kvaen – The Great Below (Review)”
Falls of Rauros are a black metal band from the US and this is their sixth album.
Here’s one I’ve been looking forward to, that’s for sure. Falls of Rauros’ last three albums, (2014’s Believe in No Coming Shore, 2017’s Vigilance Perennial, and 2019’s Patterns in Mythology), all showcased a band on a continual upward trajectory, with each album improving on what its predecessor offered. So, to say that Key to a Vanishing Future carried great expectations would be an understatement. Continue reading “Falls of Rauros – Key to a Vanishing Future (Review)”
Wonderbox Metal 