Death Comes Pale are from Denmark. This is their Death Metal début album.
This is Death Metal that carries melody well and has a good songwriting ethic.
The production is top notch and does the music justice. It’s both heavy and clear.
If you think Death Metal with a keen melodic edge and a Blackened feel in places – akin to The Black Dahlia Murder – then you’ll have the right idea of Death Comes Pale’s sound.
Deep vocals growl out from dark places and these are backed up with the screams of the damned.
The band take the time in their songs to explore their musical scenery and don’t always take the most direct route. Slower and more considered parts are included as well as lighter melodies amongst the carnage.
In fact, even though the band’s primary setting is heavy and loud, they do intersperse enough light and shade to their work; fragile melodies and more nuanced guitar work add to and enhance the overall brutality of the band. It’s interesting to hear a band like this creating a larger sound than normal and avoiding the pitfalls that would lead a lesser band into the trap of one-dimensionality.
Death Comes Pale have clearly taken their time composing these songs. They’re well-written, well-thought out tracks and good songwriting is obviously important to the band.
A really enjoyable and mature release of Death Metal. Recommended listening.
Eye of Solitude are from the UK and this is their latest EP. They play Funeral Doom Metal.
Eye of Solitude are a favourite of mine, and if you haven’t already you should definitely check out their début album Sui Caedere and their devastating follow up Canto III.
Dear Insanity is one single track lasting 51 minutes. As with the latest Inter Arma EP this is essentially a full length album rather than an EP. However, there’s no hard and fast rule for this kind of thing though. Other bands like Luna and Monolithe, for example, make similar releases and call them albums. And of course you have Reverend Bizarre’s famous “EP” Harbinger of Metal which is a whopping 73 minutes in length…
But onto Dear Insanity.
It starts off all ambient with soft and vaguely unsettling drone sounds. This lulls the listener into complacency and when the crushing guitars suddenly come thundering down on you just after 8 minutes it’s almost startling.
After this Eye of Solitude do what they do best; slow, crushing, emotive DOOOOOM! This is relentless and laden with colossal Doom riffs and vocals as deep as night.
At about the 15 minute mark we get a change, with brief respites added in to soften the mood before the misery begins once more; this time with increased atmosphere.
At 22 minutes subdued piano takes centre stage and really brings home the feelings of dejection and forlorn hopelessness. Subtle, soft, crooning vocals can also be heard at this point; like an echo of a ghost in the background. This is a very well-judged change of pace and works perfectly as a mid-album centrepiece that carries real emotional weight.
At 29 minutes the guitars are back like a long lost friend. The mood is one of solemn reflection and sorrowful realisation. The piano can still be heard playing softly alongside the tidal wave of guitars, with the two disparate instruments merging into a cohesive whole.
There’s another change at 33 minutes, with the music noticeably becoming more expansive and expressive. The atmosphere is really starting to build now, slowly and inevitably heading towards crescendo.
Another brief piano interlude happens at 36 minutes, allowing the emotional pressure to build with gentle coercion.
39 minutes in. The Doom riffs start coming on strong now and the guitars take pride of place in the ongoing avalanche of misery. This is the final stretch of the song and things are moving towards their fatal conclusion. The band start to ramp up the intensity, slowly, which brings us to the last few minutes of the song where all of the emotion has been felt, all of the despair has been used up and we’re left with a gentle feeling of hopelessness so soft that we don’t even realise how lost we all are.
I do love it when bands do work like this, and Eye of Solitude have shown that they can do it even better than most.
A colossal landmark of a release by a band who can seemingly do no wrong. Get this now.
Abysmal Dawn are a Death Metal band from the US and this is their fourth album.
No pointless intros, no messing around; Abysmal Dawn launch straight into first song Human Obsolescence with speed and bite.
Theirs is a focused assault on the senses. Their Death Metal has been honed to a sharp point over the last few albums and the band now find themselves with the perfect arsenal of weapons with which to wage war on their enemies.
The songs here are exact and tight, with melodic flourishes sharing space with heavier rhythms. Solos and leads are played with a fluid intensity whilst the roiling maelstrom of dark riffs pulse underneath the battering drums.
As can be expected of a band like this, the musicianship is excellent. Indeed, the playing on this album is a pure pleasure to listen to. Importantly though the performers allow the music to form into actual songs rather than disappearing into a technical mess for no reason other than to be able to say “look what we can play”, which is what some bands can unfortunately suffer from.
This is an excellent example of a band who are able to sound modern and cutting edge without any -core trappings or any of the more novelty features that such a band might include in their sound. This is solid, consistent Death Metal that lays waste to all around it.
This has enough brutality to satisfy fans of pure aggression but is refined enough for those that like a bit more substance with their carnage.
Obsolescence is a very strong album indeed. Check it out and get ready for your upgrade.
Decimation are from Turkey and this is their third album. They play Brutal Death Metal.
Is it wrong that I knew I was going to like this album as soon as I saw the album cover? No? That’s okay then…
This is Brutal Death Metal at its most devastatingly direct. They have a Technical Death Metal side to them but it’s the raw brutality that makes up the lion’s share of their sound. There’s something timeless and eternally gratifying about Death Metal like this. Sometimes I just can’t get enough.
If you think that a mixture of bands like Suffocation, Insision, Defeated Sanity and Nile would make for a good listen then you’d be right and Reign of Ungodly Creation is the album for you.
The songs are tight, condensed balls of ferocity and blasting destruction. They’re not interested in taking prisoners that much is clear. They rip, tear, chug, blast and flail their way through over 37 minutes of prime brutality and long, complicated song titles.
The vocalist is a guttural beast who sounds like he chews on souls for snacks. With a deep growl that’s instantly satisfying his is a voice that’s easy for any Death Metaller to get on board with.
Decimation boast a strong production that sounds like granite has come to life and started crushing cities. There’s something hard and immovable about their sound yet it’s also imbued with life and doesn’t sound stunted or lacking in energy.
Well I have thoroughly enjoyed this album. With lots of heaviness, energetic riffing and blasting mayhem what’s not to like?
Usnea are from the US and play Blackened Doom. This is their second album.
We’ve met Usnea before on their split with Ruins. This, coupled with their début album, (which is absolutely amazing, by the way), means that Random Cosmic Violence is an album that I have high expectations of indeed.
Usnea write riffs that are huge Blackened tsunami’s of tar and malevolent urges. This is Doom that’s as colossal as it is unfriendly. The Black Metal influence is still a definite part of their sound, albeit a little less closer to the surface on this release.
Multiple vocal styles of attack are present on this; from high-pitched screams, to bowel-shaking growls, to spoken word, to haunting cleans.
The interesting thing about Usnea is that their songs may be monolithic slabs of shaded darkness, but importantly they can write actual songs; the shortest track here is just over 12 minutes in length but Usnea have an exceptional ability to write songs that are catchy.
It may sound strange for a band like this, but the winding melodies really seep into your brain and it’s easy to find yourself humming along with the tunes. This was a hallmark of their début and they’ve carried this over to their second album with great aplomb.
The dark atmospheres that the band create are a pleasure to explore. Each track has its own personality, character and place on the album.
Everything about this album screams quality, longevity and depth. The songs draw you in and mesmerise. Even on first listen you know you’re dealing with a truly special album, and after multiple listens it’s confirmed; Usnea are just fucking brilliant.
What more can I say? If you like interesting, heavy music then this is essential.
Lord of Pagathorn are from Finland. This is their début album of Black Metal.
Now this is the stuff! Underground Black Metal that’s both scorching and frozen to the touch. The fires of fury and the frost of winter combine in Nekros Philia.
Lord of Pagathon have got Black Metal’s aura of frosted damnation and Hellish torment down to a fine art. The vocals scythe and scathingly burn whilst the guitars ply their dark melodics and groovy Blackness like they were born to it.
The blistering speed is offset by mid-paced malevolence and small interludes. The band successfully set the stage for their icy Black Metal and then populate it with Blackened fire and storms of razor sharp ice.
This is passionately played and delivered with real bile and venom. There’s a palpable aura of darkness and hatred emanating from these songs and you can feel the weight of Black Metal history pressing down as you listen.
Lord of Pagathorn have produced an album that documents an aural descent into the maelstrom and straight into the heart of the abyss.
Anatomy of Habit are from the US and this is their second album. They play Experimental Post-Metal/Doom.
This is music that will probably be dismissed by a lot of people as not being immediate or conventional enough. Their loss.
How to describe Anatomy of Habit ? The share a similar very individual stylistic space with bands such as Swans, Neurosis, Fantômas, Burning Witch, Skullflower, etc. This is music that’s slow, Doomy and with lots of personality.
The vocals are a large part of the personality of the band. That’s not to denigrate the music of course, as this definitely has its own flavour, but vocally we’re in territory that’s reminiscent enough of Mike Patton to be instantly recognisable and familiar but not too similar so that it sounds like a rip off or bad copy. Couple this with an Avant-Garde feeling akin to Manes/Arcturus as well as the odd harsher scream and you have a performance that puts most singers to shame.
There are two tracks here and both of them are very finely crafted examples of how you can play Post-Metal and really have your own sound. Both are over 20 minutes long.
Radiate and Recede is a Drone Doom epic that is as hypnotic as it is powerful. I really love this kind of crawling, quirky, slowness that’s repetitive enough to become engaging but dynamic enough to keep the interest. It finishes with an extended Doom workout that would do Esoteric proud before the main vocals end it totally.
Second track Then Window continues the stylistic theme developed in the first song but with a slightly different spin on it. We’re still in Doom territory but the music is slightly more colourful and upbeat in a way that’s still subtly sinister.
Taken together, Ciphers + Axioms is a very enjoyable album that allows a creative band to flex their musical muscles in a worthwhile and involving way. They really have crafted a remarkable album.
I love music that’s a bit weird, a bit different and yet still remains a bloody good listen. Anatomy of Habit fit this description perfectly. They get a big thumbs up from me. Well done!
Tharsis They are from the US and this is their latest EP. They play Hardcore.
I’ve enjoyed this band’s previous work and this short EP is no different.
This is a band who take their cues from classic early 00’s bands like Converge, Botch, Coalesce, Nora, Zao, Most Precious Blood, etc. and combine both Metal and Hardcore into destructive behemoths of pure heaviness.
Here we have 4 tracks lasting just under 9 minutes. As such, it’s short, sharp and straight to the point like a red-hot branding iron.
The first track Wicked Response kicks off with angry guitars and equally angry vocals, snarling at the world, before the blast beats come in and the band begin a full on killing spree. Angular riffs and aggressive attitude dominates proceedings.
Suitable Appellation boasts equally demented riffing and some nightmare melodies. The singer sounds thoroughly pissed and gives a generally great performance across all of these songs. A guitar solo makes its first appearance and is backed up by some chunky rhythms.
New World Vultures is the shortest track here at a minute and a half. Consequently it wastes no time in getting to the meat of the matter and it’s abrasive heaviosity from the get-go.
They end the EP with The Felling, which once again ramps up the speed and intensity. The dynamics are strong and so is the writing. Winner.
This is the third album from Decaying, who are a Death Metal band from Finland.
This is Old-School Death Metal with a solid sound and plenty of guts. Sharing stylistic space with bands like Hail of Bullets, Warlord UK and Bolt Thrower, this is War Metal in the Classic style that rampages over the landscape like a heavily armoured tank.
One to Conquer is played well and benefits from the band’s obvious experience.
The songs are straightforward tracks with Death Metal’s destructive sound and warlike spirit. It rumbles along at a satisfying speed and even finds the time to interject a couple of blasts here and there.
I particularly enjoy the band’s chugging riffs and winding melodies. Yes, the Bolt Thrower influence is strong in this regard but if you like that band you’ll like this one too.
Vocally the band are armed with a singer who deals out death with a very deep growl, Hail of Bullets-style. It sounds good.
Decaying’s War Metal will be a familiar style to many and fans of this sub-genre will find One to Conquer a capable battlefield ally.
Orion are from India and play Progressive Death Metal. This is their début EP.
If you imagine Opeth with more of a Death Metal slant then you’ll have an idea of what Orion sound like.
The band are adept at the strong melodies and captivating leads but they also know how to take it to its brutal conclusion and unleash their inner beasts.
The vocals consist of deep growling and fine-sounding cleans. The growls are perfectly serviceable but to me it’s the cleans that steal the show here. They soar effortlessly and have a tone to them that’s quite refreshing.
The band know how to play and bend their talents into creating Progressive songs that yearn to tell a story as much as they ache to set fire to things. The guitar work is enticing and the combination of aggressive music and more considered approaches makes for an enjoyable and satisfying listen.
Each of these songs is Metal to the core and the winding leads, forthright riffing and Progressive tendencies mean that this is an EP worthy of respect. There are lots of good ideas and interesting riffs here and the band produce enough variety within their self-imposed template that these 4 tracks just fly by.
Having been around since 2008 with only this and a demo to show for it, they may not be the most prolific band but let’s hope that changes soon.
Death Comes Pale are from Denmark. This is their Death Metal début album.
Wonderbox Metal 