Featuring six tracks of monstrous death metal spread across 54 minutes, Gutvoid’s ambition is clear. Durance of Lightless Horizons is a grand slab of expressive extreme metal, and is definitely worth spending the time to explore. Let’s dig in. Continue reading “Gutvoid – Durance of Lightless Horizons (Review)”
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)”
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 eighth album from Revocation, a US death metal band.
I really enjoyed 2018’s The Outer Ones, (as well as its predecessor Great Is Our Sin), so have been looking forward to this one. Whereas The Outer Ones saw the band wading further into death metal waters, does Netherheaven see them retreating to safer depths? Continue reading “Revocation – Netherheaven (Review)”
An Abstract Illusion play an electronically enriched form of atmospheric death metal, replete with black and progressive metal elements. Woe is a 60-minute journey into the band’s accomplished realm. Continue reading “An Abstract Illusion – Woe (Review)”
I listened to and enjoyed 2020’s Perspicacity far more than I expected to, so when Irkalla appeared I was keen to explore it. Two things struck me about the band’s new release before I’d even pressed play – the first was the difference in length, (Irkalla‘s 41 minutes/8 tracks vs Perspicacity‘s 59 minutes/13 tracks), and the second was the significant lineup changes, including a new Continue reading “Aronious – Irkalla (Review)”
Wonderbox Metal gets sent a lot of new music, (which is great), but there’s no way that everything can get covered unfortunately, (which is not so great). This column hopes to redress this balance, if only slightly, by taking a look at a handful of releases that a record label has recently sent out that might have otherwise slipped through the cracks.
In this edition of this column we’ll take a look at Swedish label Grind to Death Records. It’s not a label I’m familiar with, so how better to get a good look at what they do than this? Besides, how could I resist a grindcore album about beavers… Continue reading “Label Roundup: Grind to Death Records – Belarus Beaver, Eldprov, & Beyond the Catacombs (Reviews)”
Ascetic Reflection contains 40 minutes of warped death metal. As a rough outline of the band’s sound, take a base of Morbid Angel and then add in elements of bands like Gorguts, Artificial Brain, and Ulcerate. Then know that that these lazy comparisons do nothing to prepare you for the journey that Ascetic reflection offers. Continue reading “Altars – Ascetic Reflection (Review)”
Across 28 minutes the artist behind this band delivers his vision for extreme metal – a complex and layered avant-garde assault on the senses. Blending the technical and progressive strains of black and death metal into an experimental extreme metal framework, Throes of Death from the Dreamed Nihilism is a jarring and unfriendly piece of work, that nonetheless rewards connoisseurs of esoteric underground extremity. Continue reading “Bekor Qilish – Throes of Death from the Dreamed Nihilism (Review)”
Exocrine have a good reputation around these parts, (see 2018’s Molten Giant and 2020’s Maelstrom), so I’m pleased to say that on new platter The Hybrid Suns the band have done nothing to tarnish this. Quite the opposite, in fact. Continue reading “Exocrine – The Hybrid Suns (Review)”