This is the twelfth album from US metal band Today Is the Day.
Following on from 2014’s Animal Mother and 2020’s No Good to Anyone, comes the 47-minute Never Give In. Today Is the Day are fascinating, unique, and unpredictable, which makes every release something special. I’ve been looking forward to digging into this one, whatever it might hold. Continue reading “Today Is the Day – Never Give In (Review)”
This is the twelfth album from French one-man black metal band Esoctrilihum.
It’s always a pleasure to get a new Esoctrilihum release. If you’re familiar with the artist’s past work, (such as 2018’s Pandaemorthium (Forbidden Formulas to Awaken the Blind Sovereigns of Nothingness), 2021’s Dy’th Requiem for the Serpent Telepath, 2022’s Consecration of the Spiritüs Flesh, 2023’s Astraal Constellations of the Majickal Zodiac, or 2024’s Döth-Dernyàlh), you’ll know that you never quite know quite what to expect from this prolific and idiosyncratic artist. What does the 87-minute Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm have in store for us? Continue reading “Esoctrilihum – Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm (Review)”
This is the eleventh album from US experimental band Kayo Dot.
The tag experimental is frequently not a very useful one, but then Kayo Dot aren’t a band that invite easy categorisation. Every Rock, Every Half-Truth under Reason contains 66 minutes of music, and a range of styles and influences have gone into its creation. Continue reading “Kayo Dot – Every Rock, Every Half-Truth under Reason (Review)”
This is the second album from Gaahls Wyrd, an avant-garde/dark metal band from Norway.
I really liked both 2019’s Gastir – Ghosts Invited and 2021’s The Humming Mountain, so the 42-minute Braiding the Stories is gratefully received. This is not music to be casually experienced, but an experience to be explored at length. Continue reading “Gaahls Wyrd – Braiding the Stories (Review)”
Decline of the I are a French post-black metal band and this is their fifth album.
Ahh, I do so enjoy a new Decline of the I album. Every album I seem to like more and more too. 2015’s Rebellion, 2018’s Escape, and especially 2021’s Johannes, were all very good records, and I’d recommend them all. Which brings us to Wilhelm, and the 48 minutes of new material it has to offer us. Continue reading “Decline of the I – Wilhelm (Review)”
This is the second album from Indian avant-garde metal band Serpents of Pakhangba.
Air and Fire is an ambitious album, in more ways than one. Across 54 minutes you’ll find a wealth of creativity and ideas, all delivered with skilled performances and detailed songwriting. Serpents of Pakhangba are resolutely not your average band. Continue reading “Serpents of Pakhangba – Air and Fire (Review)”
This is the sixth album from Finland’s black metallers Oranssi Pazuzu.
Since discovering Oranssi Pazuzu on 2016’s Värähtelijä they have been a band that easily stood out for me. Mestarin Kynsi followed in 2020, another album that took an expansive, creative vision for blackened music and explored it with engaging results. Which brings us to Muuntautuja, the band’s shortest album at 42 minutes in duration. What scintillatingly expressive sights and sounds does it has to offer? Continue reading “Oranssi Pazuzu – Muuntautuja (Review)”
This is the fourth album from Insect Ark, an experimental doom band from Germany.
An album consisting of members of Swans and Khanate? Yep, colour me interested. Taking in doom, avant-garde, psychedelic, noise, drone, and Gothic influences, Raw Blood Singing is an expansive work of darkness and beauty. Continue reading “Insect Ark – Raw Blood Singing (Review)”
This is the debut album from US post-metal band Guhts.
Guhts play post-metal that benefits from avant-garde, sludge, doom, and shoegaze elements that allow the band to build and sustain compelling musical vistas over time. It’s all about emotion and atmosphere with Guhts, and across 46 minutes Regeneration is soaked to the core with feeling. Continue reading “Guhts – Regeneration (Review)”
This is a split between Lotus Thief and Forlesen. Both are US bands and both share members.
Lotus Thief open the split with In Perdition, a 12-minute song. I’m not familiar with the band, and I soon regret that immensely. Continue reading “Lotus Thief/Forlesen – Split (Review)”
Wonderbox Metal 