This is the second album from Canadian death metallers Egregore.
It Echoes in the Wild is brought to us by current/ex-members of Mitochondrion and Funeral Circle, and is a light-swallowing maelstrom of black/death metal horror. Egregore have a well-developed personality, and this record allows them 48 minutes to express this freely. The results are Continue reading “Egregore – It Echoes in the Wild (Review)”
This is the second album from US death metal band Haxprocess.
Beyond What Eyes Can See contains 45 minutes of music divided into four epic songs. Haxprocess play progressive death metal, although that simple appellation doesn’t really due justice to what you’ll discover here. This record is a real beast. Continue reading “Haxprocess – Beyond What Eyes Can See (Review)”
This is the debut album from Finnish death metallers Devenial Verdict.
Containing an ex-member of Hooded Menace, Ash Blind provides the listener with 44 minutes of atypical death metal. The promo blurb recommends this for fans of acts such as Ulcerate, Aeviterne, Morbid Angel, Mithras, and Blut Aus Nord, which is a good place to start from when approaching Ash Blind. To this list I’ll also add older Rivers of Nihil and Gojira. Continue reading “Devenial Verdict – Ash Blind (Review)”
This is the latest EP from Estuarine, a one-man death metal band.
I greatly enjoyed both Lucid/Entheogen and Sic Erat Scriptum, so a new EP’s worth of material is most welcome. Continue reading “Estuarine – Wisdom of Silenus (Review)”
Nyn are a technical/progressive death metal band and this is their second album.
Normally a solo project, the main-man-behind-the-band has been joined by others on this release, helping to flesh out his sound even further than previously. Continue reading “Nyn – Entropy: (of Chaos and Salt) (Review)”
The UK’s Damnation Festival is fast approaching. Saturday 5th November will see a plethora of top metal bands, large and small, take to the stage in Leeds to show off their music, and there’s a lot to be excited about.
With a whopping 4 stages and a wealth of metal talent spread across many genres and drawn from all over the globe, there’s bound to be something here to satiate even the most jaded of metal tastes. There’s a very good reason it’s my favourite UK festival and seems to only be going from strength to strength every year. Continue reading “Damnation Festival Preview”
This is the debut album from US death metal band Blood Incantation.
Blood Incantation play death metal with plenty of atmosphere and technical skill. This is a band who have gazed towards the night sky, saw the vast darkness, and pay homage to that empty malevolence via the medium of underground music that’s less restricted and more expansive than your average death metal band. Continue reading “Blood Incantation – Starspawn (Review)”
This is the second album from this Slovakian industrial death/doom band.
Now this is an interesting release.
0N0 combine the industrial, death metal and doom genres together, creating an album that has aspects of all weaved into its genes.
How to classify this? Well, extreme metal is the easy cop out, and as these things don’t ultimately matter that much, I suppose that will do. Industrial death/doom is more specific, of course, but there we are.
Think of the something like Continue reading “0N0 – Reconstruction and Synthesis (Review)”
Estuarine is a one-man band that’s currently based in Sweden. This is the second album from his project.
This is Extreme Metal that’s rooted in differing elements of Death Metal with a pinch of Black Metal to produce a concept album that deals in the subject of psychoactive substances. The first 6 tracks are regarding their modern use, while the last 4 tracks deal with their traditional usage.
The music is a mix of Progressive and Technical Death Metal with a subtle modern Black Metal influence. If you think of Extreme Metal bands such as Zyklon, Between the Buried and Me, (minus clean singing), and Mithras then you’ll have an idea of the kind of landscape that Lucid/Entheogen inhabits.
On the first half of the album the songs have a delightfully brutal method of attack that sees the Technical Death Metal aspect take the lead, with the Progressive Death Metal aspect coming second. Slower/lighter introspective parts, occasionally bordering on Post-Metal territory, add flavour and depth to the music, although the extremity is never far behind.
On the second half the roles are reversed somewhat, with the Progressive Metal aspects shifting to the fore and the Technical mayhem relegated to a close second place. It’s a subtle shift in many ways, but it is noticeable and results in songs that are longer, more expansive and a bit less brutal, (although this is relative as everything here is still highly aggressive and technical overall).
The vocals alternate between growls and screams. The growls are convincing enough, but it’s the screams that sound particularly good to me.
The recording is a good one and everything sounds solid and in your face. Sometimes the production on one-man projects can sound a bit flat or one dimensional, but this is certainly not the case here.
Although by no means perfect, this is still better than most. Ambitious, forward-thinking and brutally proficient; Lucid/Entheogen is an impressive accomplishment and anyone who has a penchant for interesting and individualistic Extreme Metal should make a beeline for it as a priority.
Really, really enjoyable and extremely highly recommended.
Favourite Track: Towards Infinite Kaleidoscopic Dimensions.
Barús are a Progressive Death Metal band from France and this is their début EP.
The music that Barús play is complex and unforgiving. This is not music for the weak.
The band’s take on Death Metal is one that combines the Technical and Progressive Death Metal sub-genres into something pretty special. There are even some hints at Post-Metal and Black Metal here and there.
The songs evoke complex reinterpretations of bands such as Gorguts, Morbid Angel, Mithras, Nile, Akercocke, etc. – bands that are not content to be constrained by the norm and reach for greater and higher. Barús now join their hallowed ranks.
The dense guitar riffs seem to layer on top of themselves and Barús’ music seems to have levels upon levels of extremity to hide itself in. For all of this though they are also aware that sometimes simpler is better, but even here there’s usually a lot going on.
Sometimes twisted melodies appear to float up out of the chaos to bring an otherworldly element to their already esoteric sound. A great deal of variation exists across these 4 tracks and each song is both self-contained and part of a greater whole.
The vocals are predominantly deep grunts but a whole load of other vocalisations are used too, from semi-clean moans to spoken word to chants and everything in between, including, briefly, actual singing.
I love it when you find a band like Barús who are willing and able to take the standard Death Metal template and experiment with it until it’s mutated into their own personal view of the genre. This EP has a personality and style of its own and these songs are involving and engaging from start.
An extremely promising beginning for Barús. This EP is a strong start to their existence and if they manage to keep up the quality levels then their début album will be fantastic. Here’s hoping.
Wonderbox Metal 