This is the debut album from US progressive metal band This Is the Last Time.
Acclimation features four songs, with a total duration of 31 minutes. The promo blurb mentions bands such as Cloudkicker, Meshuggah, Isis, Year of No Light, In Flames, Between the Buried and Me, Gorguts, and Pelican, so this should give you some insight into the waters that Acclimation wades in. Continue reading “This Is the Last Time – Acclimation (Review)”
Lamentations are a Singapore/US death metal band and this is their second album.
Featuring members of Tómarúm and Monotheist, Lamentations play progressive death metal, and Passion of Depression provides us with 57 minutes of exotic material to explore. Continue reading “Lamentations – Passion of Depression (Review)”
This is the debut album from international death metallers Obsidious.
Containing current and ex-members of bands such as Alkaloid and Obscura, Obsidious play a form of progressive/technical death metal that melts faces, but does so with an epic hook. Continue reading “Obsidious – Iconic (Review)”
Warforged are a death metal band from the US and this is their second album.
Warforged bring us a death metal hybrid that mixes technical, progressive, experimental, and atmospheric elements into a 46-minute ever-changing monster. Continue reading “Warforged – The Grove | Sundial (Review)”
This is the second album from Spiralist, a solo post-metal act from Portugal.
Eternal Recurrence is an interesting album that’s hard to easily pin down when it comes to genre. Post-metal is probably the most obvious tag, but then there’s also a blackened aspect to parts of it. It has a pretty blatant progressive side too, sometimes, very 70s sci-fi in feel. There are also elements of doom and industrial that can be heard in places. I’m going to stick to the post-metal appellation and be done with it, but just know that the artist behind Spiralist cares not for producing easily categorised music. Continue reading “Spiralist – Eternal Recurrence (Review)”
This is the fourth album from progressive/stoner metal band Druids.
After very much enjoying 2016’s Cycles of Mobeum, 2017’s Spirit Compass, and 2019’s Monument, I knew I wanted to check out Shadow Work as soon as it saw the light of day. Continue reading “Druids – Shadow Work (Review)”
This is the fourth album from US progressive metallers Rivers of Nihil.
The Work is a 64-minute journey into the increasingly ambitious world of Rivers of Nihil. 2018’s very well-regarded Where Only Owls Know My Name introduced more progressive elements then the previous album did, and the end result of this same evolution is showcased on The Work. Continue reading “Rivers of Nihil – The Work (Review)”
This is the third album from Burial in the Sky, a death metal band from the US.
The Consumed Self contains 58 minutes of modern technical/progressive death metal. The promo blurb says that it’s recommended for fans of Rivers of Nihil, Fallujah, Black Crown Initiate, Virvum, and Alustrium, which should let you know the sort of waters that Burial in the Sky wade in. Continue reading “Burial in the Sky – The Consumed Self (Review)”
This is the third album from US death metal band Alustrium.
Here we have 65 minutes of progressive technical death metal. Reading that statement you may be expecting a certain version of that style, but it’s likely that Alustrium will surprise; A Monument to Silence is much more melodic and emotionally resonant than many technical bands achieve or even aspire to. Continue reading “Alustrium – A Monument to Silence (Review)”
This is the second album from solo blackened metalcore act The Ember, the Ash.
Fixation is an interesting blend of symphonic black metal and breakdown-heavy metalcore. Only a few bands are playing around with blackened elements in metalcore, to varying degrees of success, so it’s always good to hear another such act throw their interpretation of this unusual subgenre into the ring. Continue reading “The Ember, the Ash – Fixation (Review)”
Wonderbox Metal 