Endorphins Lost are from the US and play grindcore. This is their third album.
I enjoyed Endorphins Lost’s 2018 split with Osk, and I enjoyed their 2019 album Seclusions. Their successful run continues, as now, I also enjoy Night People too. 14 tracks, 20 minutes; Night People is succinct and to the point, yet doesn’t lack in finesse or depth. Continue reading “Endorphins Lost – Night People (Review)”
This is the fifth album from German doom metallers Obelyskkh.
Ahh, finally Obelyskkh have returned to dispense mammoth-sized doom to the masses. The Providence came out in 2017, which was an age ago, and 2013’s Hymn to Pan was even further back in the mists of time. So, what do Obelyskkh have to offer in 2023? Continue reading “Obelyskkh – The Ultimate Grace of God (Review)”
Raum Kingdom are a sludge/post-metal band from Ireland and this is their second album.
I haven’t caught up with Raum Kingdom since their self-titled 2014 debut EP, so I thought it was overdue that I revisited their work. Monarch contains 43 minutes of sludgy post-metal, and reveals a band that are confident and capable in their chosen genre. Continue reading “Raum Kingdom – Monarch (Review)”
Death Engine are a French post-hardcore band and this is their third album.
2015’s Mud and 2018’s Place Noir were both impressive, enjoyable, and individual records, displaying Death Engine’s multifaceted approach to heavy music. Now, across 36 minutes, Death Engine showcase a progression in their sound, one which threatens to bring about the end of days with its intensity and negative energies. Continue reading “Death Engine – Ocean (Review)”
This is the fourth album from US industrial black/sludge metal band Invertia.
When I last caught up with Invertia it was on 2014’s Another Scheme of the Wicked, where they played industrial black metal, complete with remixes of the original tracks. Nine years or so later, the band’s music is darker and uglier, yet also laced with hooks and catchy riffs and beats. Continue reading “Invertia – Through the Black Bubble (Review)”
Axioma are a post-black/sludge metal band from the US and this is their second album.
I first met Axioma back in 2016 on their debut EP Opia, which seems like an age ago. Well, since then they haven’t been idle, and their second album Sepsis came out earlier this year. Let’s dive in. Continue reading “Axioma – Sepsis (Review)”
So here we are again. It’s December, and year end lists are flying around like shrapnel. Due to the inherent subjectivity of music it’s always interesting to see what people have made of the preceding year.
For me, I made a concerted effort to drag myself away from the depths of black metal’s always-enticing abyss to spend some more time with other genres and styles that I also love. I said something similar last year, but I feel this year I was more successful in achieving that end. Of course, I still love black metal, still listen to it constantly, and you’ll still find some great examples of the blackened arts in the list below.
2022 was a strong year for death metal for me, and I enjoyed more death metal bands in a deeper way than I have done for some time. In every year there are standout releases, but I felt this year the standard was raised throughout. Possibly I was simply more receptive to it. Either way, you’ll find more death metal-related acts, and in higher spots, in this selection than you’ll have seen in my lists for a while.
As with last year, grindcore was largely absent from my year, disappointingly, as was hardcore. Additionally, the sort of lengthy, ugly, abyssal doom that I love so much has been largely lacking too. It’s all probably out there somewhere, but I didn’t catch it.
The top two spots this year are both claimed by albums/bands/styles that I simply could not have predicted would be at the pinnacle of my list by the year’s end, (one of the bands I hadn’t even heard of in January). I hope you enjoy these excellent records even half as much as I do.
Lastly I just want to say a big thank you to any and all that might read this site. It’s only a small endeavour, and I do it purely for the love of all things METAL and to support bands that I enjoy in whatever minor way I can, but if this is you, a heartfelt thank you for enduring my scribblings.
On to it! Continue reading “Wonderbox Metal End of Year List – Best Metal of 2022”
This is the debut album from French doom band Monastr.
Crushing together crust, post-metal, and sludge into 40 minutes of scathing doom, On Your Knees is a harrowing journey into the darkness of the real world’s horrors. There’s no escape here, only the harshness of reality. Continue reading “Monastr – On Your Knees (Review)”
Onhou are a doom metal band from the Netherlands and this is their second album.
Onhou crush together sludge, doom, and post-metal into a dense ball of heaviness and mood. Containing four songs spread over 42 very moreish minutes, Monument is a record that any adherent to the cult of sludge should seek out. Continue reading “Onhou – Monument (Review)”
This is the third album from Canadian doom/sludge metal band Heron.
Featuring 37 minutes of material, Heron have produced a very tasty underground gem on Empires of Ash. Instantly engaging, despite its caustic nature, this is the sort of album that doom and sludge aficionados should hungrily devour. Continue reading “Heron – Empires of Ash (Review)”
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