This is the latest EP from UK metallers Red Method.
Vol 1: As in Life contains 29 minutes of material. Red Method blend nu-metal, metalcore, and industrial elements into their metallic cocktail, (as well as a smattering of occasional deathcore and djent), manifesting as a sound that’s nicely dark and heavy. Continue reading “Red Method – Vol 1: As in Life (Review)”
This is the debut album from US black metal band Astral Alchemy.
Weaving Chilling Magical Dreamworlds unleashes 39 minutes of multifaceted black metal on the world. Astral Alchemy revel in the creation of an alluring mix of the ancient and the modern, leading to a record that captures the strengths from both remarkably well. Continue reading “Astral Alchemy – Weaving Chilling Magical Dreamworlds (Review)”
This is the third album from German progressive/post-metal band Monosphere.
Amnesia contains 42 minutes of music that sits somewhere between progressive and post-metal. The promo blurb references Cult of Luna and The Ocean, which should act as a decent starting point for the Monosphere sound, albeit one that doesn’t tell the whole story. Continue reading “Monosphere – Amnesia (Review)”
This is the fifth album from Swedish metal band Orbit Culture.
I enjoyed 2020’s Nija, 2021’s Shaman, and 2023’s, Descent, so Death Above Life is well-received. If you’re unfamiliar with Orbit Culture, check these previous releases out if you’re a fan of bands such as Gojira, In Flames, Lamb of God, Meshuggah, Metallica, Slipknot, Soilwork, Static-X, Sylosis, Thy Art Is Murder, and Trivium. Continue reading “Orbit Culture – Death Above Life (Review)”
This is the sixth album from US deathcore band Signs of the Swarm.
From 2017’s The Disfigurement of Existence to 2019’s Vital Deprivation, to 2021’s Absolvere to 2023’s Amongst the Low & Empty, Signs of the Swarm have been reliably pumping out solid deathcore material for fans of the style to lap up. Which brings us nicely to this year’s To Rid Myself of Truth; 40 minutes of new material, and another dependably good slab of heaviness. Continue reading “Signs of the Swarm – To Rid Myself of Truth (Review)”
Vildhjarta are a Swedish progressive metal band and this is their third album.
Following on from 2021’s Måsstaden Under Vatten, Vildhjarta have returned with the 59-minute + Där Skogen Sjunger Under Evighetens Granar +. As much as I liked its predecessor, I like this one better. Continue reading “Vildhjarta – + Där Skogen Sjunger Under Evighetens Granar + (Review)”
This is the debut album from Estonian modern metallers Pridian.
Venetian Dark is a 44-minute contemporary metal album that ably showcases Pridian’s skillset. The band’s music is an amalgam of metalcore, nu-metal, djent, and progressive metal. Think a mix of acts such as Meshuggah, Tesseract, Mnemic, Spiritbox, Gojira, and Make Them Suffer, as a rough starting point. Continue reading “Pridian – Venetian Dark (Review)”
This is the fourth album from Distant, a deathcore band from the Netherlands.
I always enjoy catching up with Distant. Their brand of downtempo deathcore heaviness has always stood out as better than the norm, (check out Tyrannotophia, Dawn of Corruption, Dusk of Anguish, and Heritage), so I knew I had to check out Tsukuyomi: The Origin. Continue reading “Distant – Tsukuyomi: The Origin (Review)”
This is the second album from Belgian progressive metal band Hippotraktor.
Stasis contains 47 minutes of material that combines elements of the technical, groove, djent, and post-metal styles into a contemporary progressive metal framework that’s asborbing. Continue reading “Hippotraktor – Stasis (Review)”
Four Stroke Baron are a progressive metal band from the US and this is their fourth album.
This is my first encounter with Four Stroke Baron, but it’s a very favourable one. Containing 41 minutes of material, Data Diamond is packed to the hilt with multifaceted content. Strap in, it’s going to be a wild one. Continue reading “Four Stroke Baron – Data Diamond (Review)”
Wonderbox Metal 