This is the second album from UK doomgaze band Sugar Horse.
The Grand Scheme of Things contains an hour of idiosyncratic and expressive music. The style overall can be thought of as doomgaze, although it has a variety of ingredients, including indie, shoegaze, sludge, doom, drone, and post-rock/metal. Continue reading “Sugar Horse – The Grand Scheme of Things (Review)”
This is the fourth album from Portuguese doom band Sinistro.
I enjoyed 2018’s Sangue Cássia, and when I saw Vértice appear I assumed I’d missed out on a couple of albums between the two. Apparently not, as this is Sinistro’s first new recorded output since then. They are back now though, and have a new bassist and singer in tow as well. Continue reading “Sinistro – Vértice (Review)”
This is the second album from US death metal band Maul.
I confess I had unreasonably high expectations for this one going in. I really enjoyed 2022’s Seraphic Punishment, in that deeply satisfying way that only quality death metal can give you. Now that the 39 minutes of In the Jaws of Bereavement has arrived with the force of a gigantic hammer, have my expectations been met? Continue reading “Maul – In the Jaws of Bereavement (Review)”
This is the second album from UK metal band Lowen.
Do Not Go to War with the Demons of Mazandaran contains 37 minutes of progressive metal. The promo blurb describes Lowen as “Crushing progressive doom steeped in the history of the ancient middle-east and the empty vistas of space.”, which is a great introduction to the band’s work, although I’d argue that the doom aspect of the music is not a huge one. Continue reading “Lowen – Do Not Go to War with the Demons of Mazandaran (Review)”
Blue Heron are a heavy rock band from the US and this is their second album.
Ever since first encountering Blue Heron in 2021 on their debut release Black Blood of the Earth/A Sunken Place I’ve been partial to the band’s earthy brand of stoner rock. They capitalised on this early success in 2022 with their first album Ephemeral, and then the following year released a split with High Desert Queen which I particularly liked. All of which brings us to Everything Fades, and its 39 minutes of new material. Continue reading “Blue Heron – Everything Fades (Review)”
This is the seventh album from UK doom metal band Alunah.
Alunah seem to be on an upward trajectory. From 2017’s Solennial to 2019’s Violet Hour to 2022’s Strange Machine, there doesn’t seem to be any stopping the band. Strange Machine I loved in particular. This makes Fever Dream hotly anticipated over here, although bittersweet, as apparently it’s to be the last album featuring the band’s excellent singer Siân Greenaway, which is a huge shame. Continue reading “Alunah – Fever Dream (Review)”
This is a split release between two Spanish death metal bands, Jade and Sanctuarium.
I do enjoy a good split. It’s an opportunity to check out new/old bands doing something outside of a full length, and I’ve found more than a few gems over the years by checking out such releases. Continue reading “Jade/Sanctuarium – The Sempiternal Wound – Split (Review)”
Winterfylleth are a UK black metal band and this is their eighth album.
The Imperious Horizon is the 58-minute follow up to 2020’s The Reckoning Dawn. With a new guitarist in tow, (from Necronautical), how does Winterfylleth’s atmospheric black metal sound in 2024? Continue reading “Winterfylleth – The Imperious Horizon (Review)”
This is the sixth album from US progressive metallers Oceans of Slumber.
After releasing two very well-received albums of progressive metal in 2018’s The Banished Heart and 2020’s self titled album, Oceans of Slumber surprised many by adopting more of a hard rock approach on 2022’s Starlight and Ash. Although ultimately I naturally prefer their heavier more metallic material, it was still an accomplished album worthy of anyone’s time. With new record Where Gods Fear to Speak now on the horizon, what do Oceans of Slumber bring us in 2024? Let’s find out. Continue reading “Oceans of Slumber – Where Gods Fear to Speak (Review)”
This is the latest EP from US death metallers Father Befouled.
I last caught up with Father Befouled on 2017’s Desolate Gods. Since then the band have released an EP, a live album, a split, and another album in 2022 called Crowned in Veneficium, none of which I heard at the time, unfortunately. This streak of missed opportunities to let the band crush me with their blasphemous brand of death metal ends now, with the 26-minute Immaculate Pain. Continue reading “Father Befouled – Immaculate Pain (Review)”
Wonderbox Metal 