Doubtsower is a one-man Welsh doom metal band and this is his third album.
A new Doubtsower record is always well-received. 2021’s Asphyxiation of a Seasick Soul hit hard, as did 2022’s The Endless Shadow of Despicable Power, but a little less so than its predecessor. Now comes Nothing Reduced to Everything, providing us with a new immersive journey to experience. Continue reading “Doubtsower – Nothing Reduced to Everything (Review)”
This is the third album from Lethe, a dark rock band from Switzerland/Norway.
Well, I wasn’t expecting a new album from Lethe, I must admit. 2014’s When Dreams Become Nightmares was an amazing album, one which I’ve only enjoyed more and more over the last decade (!) since it was released. Nonetheless, we are now gifted with Alienation, which brings us 45 minutes of material. Continue reading “Lethe – Alienation (Review)”
This is the second album from UK mathcore band Pupil Slicer.
With a sci-fi theme and a range of different influences, Blossom is a 46-minute journey into Pupil Slicer’s absorbingly intense world. The promo blurb states bands such as Nine Inch Nails, Deafheaven, Radiohead, and Botch as prime influences, and this should set the scene for what is a broad and compelling work. Continue reading “Pupil Slicer – Blossom (Review)”
This is the tenth album from German progressive metal band The Ocean.
After the colossally good Phanerozoic I: Palaeozoic and Phanerozoic II: Mesozoic | Cenozoic from 2018 and 2020 respectively, can The Ocean continue their run of stellar records with new outing Holocene? Continue reading “The Ocean – Holocene (Review)”
This is the debut album from Canadian experimental metal band Vvon Dogma I.
The Kvlt of Glitch contains 45 minutes of modern music that combines aspects of progressive, technical, avant-garde, industrial, and nu-metal. Elements of djent, electronica, ambient, and orchestral sounds enrich the music too, making for a very textured, unusual, and multifaceted release. Continue reading “Vvon Dogma I – The Kvlt of Glitch (Review)”
This is the fifth album from one-woman experimental black metal band Cicada the Burrower.
The follow up to 2021’s very enjoyable Corpseflower, Blight Witch Regalia brings us 31 minutes of new material from this talented artist. Although tagged as black metal, this record has moved on from that description really. Fans of the classic blackened sound are Continue reading “Cicada the Burrower – Blight Witch Regalia (Review)”
This is the debut album from Hei’An, a progressive metal band from Slovenia.
Imago is a long album. With a duration of 69 minutes there’s a lot of material here, (86 minutes with the Slovenian versions of three of the tracks included). Thankfully Hei’An’s progressive metal is wide-ranging enough that it is up to the task of filling this time nicely. Continue reading “Hei’An – Imago (Review)”
Borders are a modern metal band from the UK. This is their second album.
Borders impressed with their 2017 EP Diagnosed, which they followed up with the enjoyable Purify in 2019. Now the band are back with 31 minutes of new material on Bloom Season, and they sound bigger and more ambitious than ever. Continue reading “Borders – Bloom Season (Review)”
This is the third album from Aviana, a metalcore band from Sweden.
I really enjoyed 2019’s Epicenter, so was pleased to see Aviana return with some new material. Well, they’re back with 36 minutes of the stuff, along with a new lineup that sees only the singer returning from Epicenter, (he seems to be the main band member, as far as I can tell, with the other members remaining anonymous). Continue reading “Aviana – Corporation (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)”
Wonderbox Metal 