SHORT BUT SWEET: GALUNDO TENVULANCE — “TENVULANCY”

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May 272022
 

 

(For his latest review, DGR decided to time-travel back into this time a year ago. What did he find?)

Yes, gaze upon the cool album art and embrace the fact that this EP hit in June of last year when we were all busy trying to brainwipe 2020 from our heads.

At last count my private review archive had 14 releases that were hitting this year that I’ve meant to keep an eye on and look at. I assure you, none of your favorite bands are in there nor is the latest and greatest underground phenom. Don’t panic, we’ll get to it eventually… maybe. But, there are a few that have been sitting here for a very long time and there’s a very mischevious part of me that just wonders ‘well what if we tackle it now in the midst of a lot of high profile releases hitting all at once?’

Japan’s mouthful of a name symphonic melodeath/deathcore project Galundo Tenvulance is one such group. Because their four-song EP Tenvulancy hit in June of last year, it’s highly likely that by the time this review runs on the site this EP could very well be *gasp* a year old. Since we’re known for being the most up to date and recent with everything, you can imagine how much this is going against the grain here. Continue reading »

DARKENED: “BLACK WINTER”

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May 252022
 

 

(We present DGR‘s review of the second album by the international death metal band Darkened, which will be released on May 27th by Edged Circle Productions.)

Truly, death metal knows no bounds and as the swede-death revivalist trend reaches critical mass so too do the bands reach further and further out. The last few years especially have seen more and more projects popping up as musicians found themselves locked inside, and much like many writers have one good book in them, so too does it seem that every musician has one real fuckin’ caveman hitting rock stupid style death metal disc laying in wait.

Darkened already have an impressive collection of music since their founding in 2018 – we ever premiered one! – and four years later are now on their second album after two EPs and a previous full-length. They cover some serious ground among them, uniting musicians out of the UK, Sweden, and Canada in the latest permutation of chainsaw guitar worship, and the group’s newest album – their sophomore release – The Black Winter seeks to add to that body pile. Continue reading »

ORIGIN: “CHAOSMOS”

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May 242022
 

(Death metal icons Origin have a new album set for release on June 3rd by Nuclear Blast and Agonia Records, and today we bring you DGR‘s review of it.)

Despite being one of the genre-forebears, Origin have always been in such a weird spot in the world of technical death metal. They’ve never been prone to follow trends within the style and since the group have such a long and storied career – over twenty years at this point – they’ve become an oddly transitory act, with one foot planted in the world of tech-death and another that has always hovered above the world of ’90s-era death metal.

Even with the breakthrough of Antithesis in 2008, Origin have remained so recognizably Origin that you can even pick out when members of the crew appear in other projects. In spite of how much of the genre has embraced technology and studio production over the years, they have also always sounded like a four-piece band. They’re one of the more straightforward tech-death groups out there, which is what makes their newest release Chaosmos such an interesting one in their discography. Continue reading »

SADIST: “FIRESCORCHED”

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May 232022
 

(We present DGR‘s review of the latest album by the long-running progressive death metal band Sadist, just released last Friday by Agonia Records.)

If nothing else over the course of Sadist‘s career, you could say that every one of their album releases have always been interesting events. What other groups out there have not only been through multiple waves of the tech-death craze but also themselves have jumped genres so many times that even to this day they’re a difficult group to pin down?

Exceedingly proud of their jazz influences and keyboard usage over the years, Sadist have always been more than a pack of incredibly talented musicians, and who else can say that their previous four releases have dealt in realms of spirituality, African mythology, horror movie soundtracks, and as close to a haunted Christmas album as you’re going to get until Make Them Die Slowly expand upon their Silent Night, Murder Night influences?

Firescorched is the newest release from the Italian prog-death crew and one that is also interesting for the massive lineup shift that took place between this album and 2018’s Spellbound, wherein the entire rhythm section wound up bowing out of the spotlight. Longtime drummer Alessio Spallarossa stepped down and prolific drummer Romain Goulon took over, but even more interesting was who the band would grab on bass — Jeroen Paul Thesseling, whom many will recognize from his time in Obscura. Continue reading »

LAMENT CITYSCAPE: “A DARKER DISCHARGE”

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May 232022
 

(This is DGR‘s review of the new album by Lament Cityscape, which was released in late April by Lifeforce Records.)

Sometimes you lack the words to truly describe what is happening within an album and sometimes the stars even align enough that it seems the band themselves have a hard time pinning down what they’re doing. It’s the genre-nerd’s true nightmare, but on top of that the issue also leads to difficulties describing why something fascinates you so much as a listener, because the usual book of terms has long since been torched.

Wyoming’s Lament Cityscape is one such group. While we’ve written about advance songs from their most recent release A Darker Discharge a handful of times, we’ve never fully delved into it. There’s reason to suspect that part of the reason is that the vocabulary may be lacking, and we might wind up just issuing forth four paragraphs of word salad.

That doesn’t mean we won’t try, but when the band themselves have seven or eight hybrid labels attached to their heavily industrial-imbued avante-garde form, you can understand that when it comes to A Darker Discharge, it may just be easier to say that this is the sort of album that is best listened to in one go – because no amount of description is going to provide a full picture of what takes place in the half-hour or so of music here. Continue reading »

HURAKAN: “VIA AETERNA”

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Apr 272022
 

(On April 15th Lacerated Enemy Records released a new album by the French band Hurakan, and DGR has given it the following review.)

Confession: I find the times when a band becomes a completely different group within the span of a few years fascinating. As if a giant, historical brainwipe happened and the group essentially had to rebuild themselves from the ground up and the only thing that remained was the name. Now, the band must define themselves again and make the name fit the band, not the band fit the name, as if to justify moving into the name of the group like a crab upgrading its shell – or in this case, insectoid font logo for an image more sharp and pointy – for something else.

French bruisers Hurakan are still a young-ish group, as we’re still at the point where a debut release only having come out five years ago doesn’t seem like that long. Yet Hurakan find themselves in an interesting position with their latest release Via Aeterna, which landed on April 13th, 2022. Subject to a pretty sizeable lineup shift in the three years between the release of 2019’s Abomination of Aurokos and their newest album, Hurakan are a different beast.

You get the sense that with the mostly single-word song titles and the single-minded focus on a more deathcore-oriented form of brutality, the Hurakan that wrote a song called “Slamming Brutal Shit” and dropped it right before the end of a sci-fi maelstrom of brutal death style album may have their eyes focused elsewhere. The question that rises with Via Aeterna, then, is just where are the band looking? Continue reading »

MISERATION: “BLACK MIRACLES AND DARK WONDERS”

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Apr 252022
 

(We present DGR‘s review of the comeback album released last Friday by the Swedish death metal band Miseration.)

It has been almost ten years since the previous Miseration album Tragedy Has Spoken. If the band had held on to their newest entry back into the death metal fray, Black Miracles And Dark Wonders, for another two months, it would’ve been a full decade. Talk about coming in just under the line of having that broadcast everywhere.

Miseration is one of a few long-running collaborations between constantly writing multi-instrumentalist Jani Stefanovic and legendary metal vocalist Christian Älvestam. Black Miracles and Dark Wonders is their fourth album; the group’s previous three were launched on a nearly every-three-year cadence before the Miseration project would find itself sidelined for nine years. In that span of time they found themselves increasingly busy, with both of them collaborating in the Solution .45 project as well – which would see two more albums added to that discography in that time. Continue reading »

SOLUS EX INFERIS: “EXOGENESIS”

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Apr 192022
 

 

(This is DGR‘s review of a new EP released on April 15th of this year by the New York-based death metal band Solus Ex Inferis.)

Sometimes you land on a new release simply because you were curious as to what a certain musician might’ve been up to at a given moment. There are absolutely other avenues to discover music, but sometimes it’s just fun to go down the internet rabbit hole and see what other projects someone might be involved in. That is what led me to the death metal group Solus Ex Inferis and their newest release Exogenesis.

Every once in a while the thought that superhuman drummer Marco Pitruzzella has contributed work to something like twenty-plus projects will cross my mind. For the past few years he’s had credits on at least two-to-four releases, with Solus Ex Inferis becoming the latest project to which he’s contributed, adding to the vast body of work for this prolific musician.

Solus Ex Inferis are also one of a recent slate of death metal projects that have truly embraced being from all over the world, with Demonic Resurrection‘s Sahil Makhija (the Demonstealer) joining the fray alongside guitarist Dave Sevenstrings for their latest EP, while also calling in help from bassist Sean Martinez of Decrepit Birth/Muldrotha as well as some guest soloists.

What this translates to is the latest EP Exogenesis hailing from all over the world in the name of bulldozer brutality. You’ll know whether the twenty-five odd minutes of Exogenesis are for you if this statement gets you excited. Continue reading »

CHOKE ME: “DEATH LIKE A SUNSET”

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Apr 182022
 

(The California fastcore band Choke Me have quickly become a favorite of DGR, and thus he has enthusiastically dived into their music again with this review of their latest release.)

Choke Me‘s releases seem to appear with the suddenness of a high-speed car collision. It wasn’t that long ago we were talking about the three-piece group’s Hauntology EP,  and prior to that it didn’t seem that long ago that we were discussing the group’s full-length debut The Cousin of Death.

Then again, given the shared ideologies between the group’s punk, grind, and ‘fastcore’ collision of sound, it doesn’t shock that the crew manning the good ship Choke Me have also embraced the rapid-fire release schedule and record length of the grind contingent as well.

We’re probably a few months out from suffocating under an avalanche of splits and single releases if the patterns hold true. April 1st saw the release of the latest music from Choke Me, seemingly forming out of a static-charged aether into one quick explosion under the name of Death Like A Sunset, and like its immediate predecessor in late 2021’s Hauntology it discharges another six songs and sub-twenty minutes worth of music. Continue reading »

DESERTED FEAR: “DOOMSDAY”

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Apr 122022
 

(Here’s DGR‘s review of the latest album by the German band Deserted Fear, which is out now via Century Media.)

I’ve spent a lot of time staring at the list of stuff I’ve recently been cycling through for listening, trying to find some sort of overarching theme. Usually you can pin it down to the predictable seasonal shifts at work or the somewhat more nebulous ebbs and flows of heavy metal releases – both of which have been solidly upended over the past few years.

What I did notice, though, was the presence of a few releases early on in the year of the kind that I usually only expect to find one or two of throughout the year. Those are the melodeath releases that seem to revolve around a big, anthemic songwriting core. Those have been a recent development as of the mid-2000s as the genre began to fling itself around more and more in search of ways to stick out amidst an increasingly crowded style – many would argue it has been a stagnated style since the metalcore scene exploded.

While many bands would stick to the tried and true, and wound up with pretty much tried and true results, others would write these big, almost arena-rock-esque ‘us vs the world’ types of songs; many mid-tempo and often about as filled with a million guitar lines and melodies, as one might expect from the big auditorium-filling style. For some reason, it seems like many bands have had this sort of release in them, and at some point they’ll default to it for an album or two, with results that can be as vast as the number of bands doing it.

Which brings us to the deceptively death metal looking March release Doomsday by Germany’s Deserted Fear, which has somehow turned out to be their take on the big pyro-launching, guitar stomp spectacle. Continue reading »

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