Big | Brave are a doom/drone band from Canada and this is their seventh album.
New Big | Brave, so soon after last year’s Nature Morte? I’ll take it! If you’re unfamiliar with this remarkable band, check out that record immediately, (and 2017’s Ardor), and then dive into the 40 minutes of material we get on A Chaos of Flowers. Continue reading “Big | Brave – A Chaos of Flowers (Review)”
Dvne are a progressive post-metal band from the UK and this is their third album.
I fell hard for Dvne on their 2017 album Asheran, which they then followed up in 2021 with the critically acclaimed Etemen Ænka. Which brings us to the much-anticipated Voidkind, an album that boasts 58 minutes of new material. Continue reading “Dvne – Voidkind (Review)”
This is the fifteenth album from UK doom metal band My Dying Bride.
A Mortal Binding contains 55 minutes of new music from this legendary act. My Dying Bride have returned with a doom-drenched descent into the abyssal depths of loss and despair. It’s rich in moody darkness, and resplendent with emotive colour. Balancing atmospheric immersion with aggressive melancholy, the songs are captivating examples of a band’s vision expertly rendered. Continue reading “My Dying Bride – A Mortal Binding (Review)”
Subterraen are a French sludge/post-metal band and this is their second album.
The follow up to 2020’s humungous Rotten Human Kingdom, In the Aftermath of Blight contains 37 minutes of music spread over four tracks. Continue reading “Subterraen – In the Aftermath of Blight (Review)”
This is the third album from US doom/post-metal band Aequorea.
Spread out over five engaging tracks, Departure is a 41-minute amalgamation of doom, post-metal, sludge, and blackened elements. This is my first encounter with Aequorea, but they make a good impression. Continue reading “Aequorea – Departure (Review)”
Iron Monkey are sludge metal band from the UK and this is their fourth album.
2017 now seems a very long time ago, but that was when Iron Monkey returned to spread their sonic violence with 9-13. I didn’t think we’d hear from them again after so much time, but it shows what I know, as now Spleen & Goad is here to kick us in the teeth and rearrange our internal organs. Continue reading “Iron Monkey – Spleen & Goad (Review)”
This is the fourth album from Greek doom metallers Acid Mammoth.
I enjoyed 2021’s lumbering Caravan, so was pleased when the enormous snout of Supersonic Megafauna Collision appeared on the horizon. Delivering 42 minutes of new material, Acid Mammoth double down on their personable brand of doomgroove across these six new songs. Continue reading “Acid Mammoth – Supersonic Megafauna Collision (Review)”
This is the third album from death/doom band Hamferð, who are from the Faroe Islands.
2018’s Támsins Likam is a tough album to follow. A long six years later, can Hamferð’s newest release – the 44-minute Men Guðs Hond er Sterk – match up to just how good its predecessor is? Continue reading “Hamferð – Men Guðs Hond er Sterk (Review)”
This is the sixth album from Grey Skies Fallen, a progressive/melodic doom band from the US.
Following on from 2014’s The Many Sides of Truth and 2020’s Cold Dead Lands comes Molded by Broken Hands, which contains 48 minutes of new material. Continue reading “Grey Skies Fallen – Molded by Broken Hands (Review)”
This is the third album from Isenordal, a doom metal band from the US.
Brought to us by members of Dead to a Dying World and Wilt, Requiem for Eirênê contains 56 minutes of expressive doom metal. Isenordal play a multifaceted style that combines elements of funeral doom, black metal, and neofolk. Requiem for Eirênê is an album that’s rich in evocative layers. Continue reading “Isenordal – Requiem for Eirênê (Review)”
Wonderbox Metal 