(Andy Synn hopes that his love for the new album from Barren Altar is in no way impermanent)
For those of you who still think my review slate recently – Cryptopsy, Deadguy, Heaven Shall Burn, etc – has been a little too “big time”, here’s something undeniably uglier and more underground courtesy of Black/Doom death-worshippers Barren Altar.
(Andy Synn encourages those of you who want a little more chaos in their lives to check out the new album from Noise Trail Immersion, set for release this Friday on I, Voidhanger Records)
I feel like I’ve been covering quite a few big – or, at least, well-known (in Metal circles at least) – bands recently, so perhaps it’s about time to switch my/our attention to a group who are a little less (in)famous?
That doesn’t mean that Noise Trail Immersion don’t already have a reputation to uphold with Tutta La Morte In Un Solo Punto, their upcoming fifth album – in fact, we’ve probably played a small role in helping raise their profile over the years – but for the wider community, including some of our readers I’m sure, this could well be their first time encountering the Italian quintet.
And what will they encounter? Nine tracks of swarming, swirling, switch-blade sharp Dissonant Black Math Metal whose main purpose seems to be to repeatedly punish and perforate your eardrums over the course of forty-three furious minutes.
(Andy Synn has a lot of history with Heaven Shall Burn, which now includes their new album, Heimat, which is set for release this coming Friday on Century Media Records)
Way back in the year 2002 a young man who would one day come to be known (in certain dark corners of the internet, at least) as Andy Synn fell in love with an album by the name of Whatever It May Take by German Metalcore icon(oclast)s Heaven Shall Burn, who would go on to have a major influence on his music tastes for the foreseeable future.
That same year he also encountered an outstanding (some might even say seminal) piece of cinema named 28 Days Later, from director Danny Boyle, which would also have a huge impact on the media he would choose to consume going forwards and set the standard for what home-grown Horror could be.
And now, here we are in 2025 with new releases from both band and director demanding our attention once more… but while one of those has proven to be a crushing disappointment, let’s hope that the other one lives up to its legacy, shall we?
(Andy Synn encourages you all to book a trip with Deadguy on their long-awaited new album)
Don’t call it a comeback!
Or… maybe do? Because if there’s one time you’re probably justified in using that word it’s when a band has a thirty year gap between albums (especially if it’s a thirty year gap between their debut and their follow-up).
The thing is, no matter how influential and iconic Fixation on a Coworker was (and still is, to be clear) there’s no getting around the fact that it has been a very long time since 1995, and during the intervening three decades between then and now the Hardcore scene has grown and expanded and evolved to such an extent that the big question actually seems to be… does the world need a new Deadguy album?
Well, here’s the thing, however you answer that question – mine would be a resounding “yes”, by the way – all that really matters is that this is the album that Deadguy themselves needed to make.
(According to our own Andy Synn, now is the perfect time to get to know Finnish quartet Sargassus)
One thing I mentioned in the intro to yesterday’s review (which you can, and should, read here) was that while we don’t always end up covering some of the bigger bands out there, sometimes we’ll do it just because we enjoy doing so.
But what I failed to mention is that there’s another benefit to occasionally covering some of the more notorious names… because if and when those articles start doing larger numbers and attracting new readers (as has been known to happen every now and again) there’s inevitably a knock-on effect that brings more eyes to the smaller and/or more underground names we usually write about.
Which is why I’ve chosen to follow up my Cryptopsy coverage with some words about the recently-released debut album from Progressive/Melodic Black/Death Metal quartet Sargassus.
(Andy Synn is here to feed your insatiable hunger for more Cryptopsy whose new album is out Friday)
It’s generally understood, by our regular readers at least, that we tend to favour covering smaller, up-and-coming, or less well-exposed bands whenever and wherever we can, largely because – at our level, at least – those are the bands who will benefit the most from our coverage.
That doesn’t mean we won’t cover bigger bands or more notorious names when the opportunity presents itself to do so… it’s just that, after a band reaches a certain level of popularity (or notoriety) it’s easy for our voice to just get lost in the storm of acclaim (or criticism) that tends to follow most releases of a certain magnitude.
Case in point – do Cryptopsy really need us to review their new album? Well, they’re currently on the cover of Decibel which suggests that a) no, they really don’t, and b) the movers and shakers in the industry might finally be coming around to the fact that the band are (still) kind of a big deal.
But just because a band doesn’t need our help doesn’t mean we don’t want to write about them, and to be quite honest I’ve been itching to put my thoughts about An Insatiable Violence down on paper (or, at least, on the internet) for you all to read for quite some time.
(Andy Synn returns to nature with the new album from Returning, out 20 June)
Ah, “numinous”… referring to something that arouses or engenders a spiritual or religious experience… what a perfect name for the new album from Returning.
If you’re not familiar with the band, the duo’s previous album (2023’s Severance) introduced us to their moody, mesmeric blend of earthen Black Metal and ethereal ambience, resulting in a haunting, often hypnotic, sound situated somewhere between the visceral vibrancy of Wolves In The Throne Room and the shadowy shimmer of Treha Sektori, with a dash of the mournful melancholy of early Agalloch on the side.
And while I’m not suggesting that the duo have found god – if anything, the divinity they’re seeking to commune with is that of nature itself – there’s certainly a sense of religious awe, if not ecstasy, to their new album.
(Andy Synn highlights three more homegrown heroes who represent the Best of British)
There is, as I have long been telling you, such a wealth of variety and talent in the UK scene right now that it’s impossible for anyone – even someone as handsome, intelligent, and… above all else… modest as I am – to cover it all.
Still, that’s never stopped me trying, which is why today I’m presenting a killer combo of doomy introspection, aggro intensity, and iconoclastic blackened belligerence courtesy of Cwfen, Desolated, and Trivax.
(Andy Synn investigates what form the new album from Sweden’s Obstruktion will take)
As has already been pretty well documented (if you’ve been paying attention, at least) I’m not a huge Thrash guy these days.
Don’t get me wrong, I acknowledge the seminal importance of the style – it does, after all, form the foundation of so much of what we listen to – and still have a lot of love for the classics (and will always have time for Kreator).
But, these days at least, it’s only when it gets mixed up in other styles – Death Thrash, Blackened Thrash, and especially the thrashier side of Hardcore – that it really gets my proverbial motor running.
And the new album from Obstruktion, which smashes a bunch of hefty Death and Thrash influences into the group’s central Hardcore sound, definitely ticks all the right boxes for me.
(Andy Synn takes yet another look back at what May had to offer us)
For anyone keeping count… yes, this is the third edition of “Things You May Have Missed” that I’ve done in a week, which is a testament to just how much stuff I missed last month while I was busy shirking my blogging responsibilities.
Hell, the truth is there’s more than enough artists/albums left over on the proverbial cutting-room floor – Escarnium and Eschaton, Orphaned and Obsidian Tongue, Morgu and Mayon, etc – to make up at least one more of these articles too (if only I had the time).