Fit for an Autopsy are a deathcore band from the US and this is their sixth album.
Both 2017’s The Great Collapse and 2019’s The Sea of Tragic Beasts demonstrated Fit for an Autopsy‘s superiority when it comes to deathcore. The band are just doing better things with the style than most other ostensibly similar bands out there. With that in mind, expectations were high for Oh What the Future Holds. Continue reading “Fit for an Autopsy – Oh What the Future Holds (Review)”
This is the latest EP from US solo blackened doom band Mizmor, or מזמור.
This new 29-minute EP contains just two big tracks. The release combines blackened doom with drone and ambient, resulting in tortured dark landscapes that are paradoxically not without beauty or light. Continue reading “Mizmor (מזמור) – Wit’s End (Review)”
This is the debut album from Australian post-black metallers Oar.
Oar’s brand of post-black metal is expressive and dark. There is a sizeable doom influence, which is great to hear and works really well in the band’s blackened context. Elements of blackgaze and hardcore can also be heard, and these succeed in broadening the palette with which Oar paint their soundscapes. Continue reading “Oar – The Blood You Crave (Review)”
This is the latest EP from Akelei, a doom metal band from The Netherlands.
Although billed as an EP, and despite the fact that there’s only three tracks here, this is actually a 37-minute release – longer than some albums. This is the the band’s first release in 11 years, and I really hope they don’t leave it as long as that until the next one comes out, as this is exceptional. Continue reading “Akelei – Een Van Ons (Review)”
This is the latest EP from French death metallers Barús.
I enjoyed 2015’s self-titled EP, as well as 2018’s Drowned, so when it appeared Fanges was always destined for my playlists. Although billed as an EP, there’s actually an album’s worth of material for some bands here – 34-minutes spread out over two large tracks. Barús play atmospheric death metal with progressive and dissonant elements, and on Fanges they range wider and more freely than they have done before. Continue reading “Barús – Fanges (Review)”
This is the second album from Mütterlein, a one-woman experimental band from France.
After being really struck by the quality of Mütterlein’s split with Limbes from earlier in the year, I was looking forward to getting to grips with what Bring Down the Flags had to offer. Continue reading “Mütterlein – Bring Down the Flags (Review)”
Yes, it’s that time of year again! 2021 gave us some very, very good metal, and I feel honoured to have been able to have listened to as much of it as I have done. There are some notable absences, (for me at least), from the below list, but there’s just not enough time or space for everything, dammit!
2020 was a very blackened year for me; I listened to a lot of black metal, and the list for that year reflected that. At the start of 2021 I decided I’d consciously try to ensure I cast my net a bit wider again, reconnecting more deeply with some of many other styles of metal that I enjoy. 2021’s list reflects this. However, I’ve still ended up with much more of a black metal presence in the list than I was initially expecting. What can I say? I’m a sucker for all of the myriad blackened flavours of the style. However, there’s also a lot of other stuff here that I hope you’ll dig into and enjoy too. I felt that there was a notable absence of grindcore in 2021, as well as some of the more extreme styles of doom. What do you think?
I hope you enjoy perusing some of my favourite records from this year, and I hope you find something new to tickle your fancy. What’s your number one this year? Continue reading “Wonderbox Metal End of Year List – Best Metal of 2021”
Phenocryst are a Portuguese death metal band and this is their debut EP.
This 23-minute EP erupts with the sort of underground death metal that impresses on first listen and then simply gets better on subsequent ones. Continue reading “Phenocryst – Explosions (Review)”
Charnel Altar are an Australian blackened death metal band and this is their debut album.
Charnel Altar’s 47-minute debut album reeks of horrific misery and grim nightmare. The music combines doom, death, and black metal into a hideously twisted mass of guitars, bass, and drums. It’s blackened death/doom of a sort, only not what that appellation might initially conjure; Abatement of the Sun is bred from far older and darker stock, with an old-school underground feel that’s as infectious as it is authentically nasty. Continue reading “Charnel Altar – Abatement of the Sun (Review)”
Anatomy of Habit are from the US and this is their third album. They play experimental doom/post-metal.
2014’s Ciphers + Axioms seems like it came out a very long time ago, which I suppose it actually did. Now we have a follow up, however; Even If It Takes a Lifetime offers the listener a journey into sound that’s rich and textured. Continue reading “Anatomy of Habit – Even If It Takes a Lifetime (Review)”
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