This is the fifth album from US death metal band Fallujah.
Fallujah have a storied list of releases at this point, (The Flesh Prevails, Dreamless, Undying Light, Empyrean), all worth getting your teeth into. After the slight dip in quality that was Undying Light, Fallujah returned very strong with Empyrean. All of which means I have been interested to see what the 42-minute Xenotaph brings us this time around. Continue reading “Fallujah – Xenotaph (Review)”
This is the third album from US death metal band Vale of Pnath.
Between the Worlds of Life and Death is a blackened death metal extravaganza, boasting 38 minutes of face-melting material. On their new album Vale of Pnath are vying for the modern extreme metal crown. Continue reading “Vale of Pnath – Between the Worlds of Life and Death (Review)”
This is the debut album from US extreme metal band Owdwyr.
Receptor is an interesting beast. Blurring the boundaries between technical death metal, grindcore, and progressive metal, Owdwyr’s music is a riot of violence and exploratory brutality. It’s a 44-minute sophisticated wrecking ball. Continue reading “Owdwyr – Receptor (Review)”
Entheos are a progressive death metal band from the US and this is their third album.
Entheos play a technical and progressive form of modern death metal. Time Will Take Us All offers 40 minutes of complexity and intricate delivery. This is then melded with the melodic strands of modern death metal as well as the Continue reading “Entheos – Time Will Take Us All (Review)”
This is the fifth album from US death metal band Fallujah.
Following on from 2019’s Undying Light, Fallujah once again return, with a new lineup and a new 52 minutes of material. Empyrean follows on more from 2016’s Dreamless than it does Undying Light, as well as incorporating a few elements from the band’s earlier work, including some minor deathcore dynamics. Continue reading “Fallujah – Empyrean (Review)”
This is the second album from US extreme metal band Kardashev.
Kardashev have an unusual sound that consists of a mixture of shoegaze and deathcore, to which elements of black, progressive, atmospheric, and post-metal have been added. This is then all rolled into an atypical contemporary package that lasts 60 minutes. Post-deathcore, maybe? Either that, or deathgaze, as the band style themselves.
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 debut album from Ominous Ruin, a death metal band from the US.
Featuring an ex-member of Inanimate Existence and session drums from the drummer of Fallujah, Amidst Voices That Echo in Stone contains 45 minutes of brutal technical death metal. Continue reading “Ominous Ruin – Amidst Voices That Echo in Stone (Review)”
This is the third album from US death metallers Abiotic.
Abiotic play modern death metal that takes influence from the technical and progressive strains of the style, as well as from some elements of deathcore. The promo blurb states that Ikiagi is for fans of bands such as Continue reading “Abiotic – Ikigai (Review)”
Growth are an Australian death metal band and this is their debut album.
This is essentially modern progressive death metal, but with a distinctly personal slant. That’s a bit too simplistic a description though. The promo blurb mentions bands such as Opeth, Gorguts, Black Crown Initiate, and Fallujah, and I can see why. To Continue reading “Growth – The Smothering Arms of Mercy (Review)”
Wonderbox Metal 