This is the seventh album from UK metal band Bleed from Within.
Despite being aware of Bleed from Within since they began – and I even saw them live I think many, many, many years ago in a support slot somewhere – I had never actually heard them properly before now. Zenith was a good opportunity to change this and see what I’ve been missing out on. Well, what do Bleed from Within have to offer? Continue reading “Bleed from Within – Zenith (Review)”
This is the sixth album from US doom/sludge band Rwake.
The Return of Magik contains 54 minutes of a progressive and atmospheric mix of sludge, doom, and post-metal. With three guitarists, two vocalists, and the select use of a range of instruments and ideas, Rwake have created an impressive record. Continue reading “Rwake – The Return of Magik (Review)”
This is the debut album from Australian progressive metal band Primrose Path.
The promo blurb says this is for fans of Opeth, Tesseract, Mastodon, and Gojira, which should give you a starting point for approaching the 43-minute Ruminations. Now here’s an underground gem that likely won’t stay underground for long. Continue reading “Primrose Path – Ruminations (Review)”
This is the third album from Canadian progressive metal band Anciients.
I haven’t heard Anciients since their 2013 album Heart of Oak, and it’s been a long eight years since their last release, (2016’s Voice of the Void, which I completely missed out on), so I’ve some cathing up to do. I really like their debut though, so was looking forward to the 59 minuets of Beyond the Reach of the Sun. The band have a new lineup, but they still don’t let me down. Continue reading “Anciients – Beyond the Reach of the Sun (Review)”
Cobra the Impaler are a Belgian metal band and this is their second album.
I enjoyed 2022’s Colossal Gods, so it’s great to have some new music from Cobra the Impaler. Across 52 minutes Karma Collision demonstrates that Colossal Gods was merely an appetiser, as now we have the main course. Continue reading “Cobra the Impaler – Karma Collision (Review)”
This is the debut album from UK sludge/post-metal band Urzah.
The Scorching Gaze contains 42 minutes of material delivered in a charismatic hybrid metallic style. Urzah combine elements of sludge, post-metal, progressive metal, doom, and hardcore/metalcore into an exemplar of heaviness that feels timeless. Continue reading “Urzah – The Scorching Gaze (Review)”
Dvne are a progressive post-metal band from the UK and this is their third album.
I fell hard for Dvne on their 2017 album Asheran, which they then followed up in 2021 with the critically acclaimed Etemen Ænka. Which brings us to the much-anticipated Voidkind, an album that boasts 58 minutes of new material. Continue reading “Dvne – Voidkind (Review)”
This is the third album from US progressive metallers The Gorge.
Mechanical Fiction contains 45 minutes of modern, heavy music. The Gorge are an interesting band, in that they are ostensibly a band you’d give the tags of progressive metal and technical metal too, but they also incorporate avant-garde and jazz elements into their style, as well as having an underpinning hardcore/sludge influence that’s formative. Continue reading “The Gorge – Mechanical Fiction (Review)”
Somnuri are a sludge metal band from the US. and this is their third album.
Following on from 2021’s enjoyable Nefarious Wave comes Desiderium, a 38-minute feast of multi-genre sludge metal. On this new album Somnuri showcase their evolving sound, one that heightens the heaviness and aggression, while still retaining the key aspects of who they were before. Continue reading “Somnuri – Desiderium (Review)”
This is the seventh album from US avant-garde/experimental doom band Yakuza.
Sutra is a 54-minute journey into the unexpected and the atypical. Few genre tags will do this justice, so I’ve settled on avant-garde doom, which is vague enough to be relevant, so why not. Whatever you call them, Yakuza have provided a multifaceted metal album that’s diverse and enjoyable. Continue reading “Yakuza – Sutra (Review)”
Wonderbox Metal 