Oct 242023
 

We read the lyrics for Glacier Eater‘s new album Tempest before listening to any of the music. They are well worth reading, both because they were crafted with literary flair and also because they tell a story that builds anticipation for the music.

That gripping narrative unfolds across the songs, each of which is like a chapter in a tragic saga. Through two contentious narrators, they relate the attempt of a warrior captain to lead his forces away from the life of killing they knew and to sail toward a foreign shore “at the edge of the world” where they might find peace, “a chance to make it right”.

Some in the company don’t share the captain’s optimism, and sure enough, it turns out they have sailed “into a hole of death”. Against the backdrop of a volcanic eruption they are assaulted by other warriors on the shore, whom they slaughter until forced to retreat and set sail again, only to be assaulted in a different way by the tempest for which the album is named, as if the gods themselves are exacting “a righteous vengeance” for all the killing they have done.

But even then, after the storm and the drowning of many, the protagonists’ turmoil hasn’t ended, because another ship, a hostile one, is rapidly gaining on them and cannons blaze, “another fight on our hands”. Continue reading »

Oct 242023
 

(The debut album of Chicago-based Stomach was released last Friday by Hibernation Release, and today we’re helping spread the word through the following review by Christopher Luedtke.)

As the world grows uglier so does perspective. Whatever we have gleamed or counted as a civilized society is long slipping through frail fingers. One, if so inclined, could likely trace the cracks in the collective consciousness through music alone. Things keep getting uglier, like a brain fever that never subsides. Maybe for our times things have just gotten more honest, raw, and ugly from an art perspective. It’s something to consider when listening to Stomach’s debut full-length Parasite.

The Chicago, IL duo consists of drummer/vocalist John Hoffman (Weekend Nachos, Ledge) and guitarist Adam Tomlinson (Sea of Shit, Sick/Tired), two players who are no strangers to composing raw-nerve music. Stomach, originally started by Hoffman, began as a loose version of Earth or Grief worship. Since its inception in 2020, the project has released two killer demos. However, now the project is ready to reign down holy hell with their debut full-length Parasite. Continue reading »

Oct 242023
 

(Our writer DGR tends to wait until after records have been released before reviewing them, even when he’s had them in his clutches long in advance of the release date. Today, however, he’s gotten the jump on Insomnium‘s new EP, which won’t be out (on Century Media) until November 3rd.)

Earlier this year, Insomnium unleashed a great full-length album in the form of Anno 1696. We dove very deep into the album around the time of its release, exploring its concept, guest musicians, and overall execution. We had a pretty good time with it and found that the band do well when they have a concept to dedicate themselves to, after initially seeming a little adrift musically, content to do a standard Insomnium act that didn’t push the band.

Regular, straight-shooting Insomnium is still pretty good but there’s always the worry of diminishing returns. In some ways it seems like the band themselves are aware of the times when they do settle into a groove for too long. They’ve gotten pretty good at evolving in one form or another, and Anno 1696 did well lifting the band back up and recharging them.

If there was one feeling that hung in the air a bit with Anno, it was that the album was surprisingly concise – from a group that just prior had multiple songs stretching into the seven-minute range – and wrapped up rather neatly. If, however, you were able to wrap your grubby mitts around one of the limited editions of Anno 1696 then you had access to the three songs being presented here in an addendum EP, Songs Of The Dusk. Continue reading »

Oct 232023
 

(This is DGR‘s review of the newest album by Baltimore-based Wormhole, which came out late last month on Season of Mist.)

With a new home on a new label, a new genre-approach, and a sizeable shift in the lineup, the Wormhole that is present on their late-September release Almost Human is an entirely different beast than the Wormhole that existed three years prior.

The guitar and drum positions haven’t changed, remaining solid since the days of 2020’s The Weakest Among Us, but the band are now joined by journeyman death growler Julian Kersey (Aegeaon, a few stints live for The Faceless) and bassist Basil Chiasson for a surprisingly different take on the group’s previous head-spinning hybrid of brutal death and slam. Continue reading »

Oct 232023
 

(Andy Synn hopes to ignite your interest in the new album from Philadelphia’s Witching, set for release this Friday)

It was just over three years ago that we hosted the premiere of Witching‘s first album, Vernal, describing it as:

“…a subtly proggy, occasionally doomy, but above all emotionally intense, form of Sludge reminiscent of both latter-day Ludicra and early Mastodon.”

And while that description still holds true for their debut, there’s no question that album #2 is an altogether more aggressive and incendiary piece of work.

Continue reading »

Oct 222023
 


Krieg photo by Kassandra Carmona

In a departure from what I usually do for these columns I decided not to string together a bunch of singles from forthcoming records, but instead to write about two albums, one of them a split.

Both of them are already out, so what’s the point of writing about albums you can already hear for yourselves? You might ask that question about almost everything with my name on it, because I almost never scribble review-ish words without including the music streams. Same goes for a lot of the other scribblers around here.

The idea is that the words might induce some people to check out music they weren’t aware of, or decided to pass by. I hope that will happen today. Other motivations: Writing voluntarily can be fun, even when it’s hard. And it’s just good manners to thank someone for making music that resonates in the soul or the muscles or the mush between the ears.

So, with thanks to Krieg, Dream Unending, and Worm, here we go. Continue reading »

Oct 212023
 

It’s that time of year again, when my wife and I argue about whether to get tooth-rotting treats for potential visitors on Halloween night. Her argument: We haven’t seen a trick-or-treater at our house in 20 years. My argument: But it could happen, and wouldn’t we be embarrassed having to offer something like licking peanut butter from a spoon?

Rather than let the arguments drag on I used to buy tooth-rotters on the sly and hide them, just in case. But she’d always find them and then I’d catch hell for being a moron. I guess I’ll just keep the spoon and peanut butter handy. Maybe two spoons so I can eat some first to prove it’s not poisoned.

Well, enough about familial contention. Here’s some contentious music for your Saturday. Continue reading »

Oct 202023
 

(Here’s DGR‘s review of the new Cannibal Corpse album, which is out now on Metal Blade Records.)

In all the decade-plus I’ve been writing for this site – try not to think about that too much – and metal in general, I don’t think I’ve ever taken the chance to write about a Cannibal Corpse album. With a career that has also spanned multiple decades and with a fair bit of cultural cachet to their name outside of heavy metal in general, Cannibal Corpse were long a cultural pillar before I’d even considered pursuing this as a way to distract from the outside world.

You don’t reach a point like that without having the talent to back it up though, because even if Cannibal Corpse had decided to rest on their laurels after their first few releases, you’d be hard pressed to say whether or not they’d still be as big now. The thing with Cannibal Corpse is that although they’ve been known mostly for gore-soaked lyrics, horrific artwork, and movie cameos, is the band are shockingly consistent with their output. They found a core blueprint that worked for them ages ago and have stuck close to it, guaranteeing an overall discography that is surprisingly solid – even if the actual surprises might come further and further apart nowadays. Continue reading »

Oct 192023
 

(Andy Synn presents another collection of British artists/albums he thinks you should check out)

Good afternoon kids (and kids of all ages).

Are you ready to learn?

Well, today’s edition of the “Best of British” is brought to you by the letter “T” and the number “3”.

So shut up and start paying attention. There will be a test.

Continue reading »

Oct 192023
 

(Strigoi‘s new EP is set for release by Season of Mist on November 3rd, and so it’s a good time for DGR to share his thoughts about it — which he does here.)

The trend in recent years of bands collecting all of the material that did not make it into an album’s main sequence and releasing it on an EP later is one that I’ve particularly enjoyed. There’s a variety of reasons why songs won’t make the main cut, whether it be that the band felt they didn’t quite fit, or they were set aside for various global demands – some markets often requiring extra songs, for instance – or others were jammed onto the end of an album for deluxe editions released alongside the regular albums.

Whatever the reason may be, in recent years you’ve stood a pretty good shot of those songs being just as good as the ones on the main album, so when a band is later able to compile those into an EP of some sort, then the purchase is near guaranteed.

Strigoi are the latest to hop on that particular bus with their new collection of Bathed In A Black Sun, comprising five songs that didn’t make it onto the crawling doom of Viscera last year, and now about to be released into the wild. Continue reading »