As Los Angeles-based quartet Silver Snakes continues to evolve in order to develop a solid music identity that will impress the audience the new full length “Death And The Moon” offers a catchy blend of dark rock nuances and dancey electro/industrial beats.
“Smokedance” relies on multilayered danceable grooves that will evolve into an alt rock ensemble when guitars add some crunchy riffs and vocals focus on an easy chorus.
On “Worship” the relentless electro beats evoke darker nuances with a subterranean mood and an evident harsh industrial flair that would still work on the dance floor and benefits also from the slightly tormented filtered vocals.
“Wool” delivers a groovy mixture of contrasting gritty industrial elements courtesy of edgy electro arrangements and a melodic rock rampage as guitars and vocals work harmoniously to provide a generous dosage of catchy vibes.
On “Eclipse” you can immediately perceive a huge Nine Inch Nails influence and the experimental accents of the atmospheric layers successfully add a dramatic depth that demands a moody vocal delivery and loads of gloomy guitar tonalities.
On “Black Fire” there are some major groovy guitar riffs leading to cool acidic industrial dynamics but there is also an essential melodic core generated by dreamy almost romantic atmospheric arrangements and soft vocals.
“Gone Is Gone” focuses a lot on the electronic direction of the band with blurry atmospheres and modern electro layers that certainly create a quite somber soundscape while guitars amplify the industrial motifs with fierce stomping riffage.
The creative pathway behind “Death And The Moon” leads to a radio friendly rock attitude yet Silver Snakes also seem to feel comfortable within a darker, and definitely more interesting, sonic realm clearly inspired by familiar industrial dynamics.
Full Of Hell continue to garner attention and critical acclaim in the underground metal scene delivering a unique pulverizing blend of extreme metal subgenres with an unstoppable creative force that this time generates the obscure sonic assault of the new full length “Weeping Choir”.
“Burning Myrrh” has an asphyxiating mood as relentless guitar riffs and constant pummeling drums make you feel dizzy plus the visceral growls seem to aptly emerge from the depths of hell and acquire a dramatic delivery towards the slower finale.
It’s hard to catch your breath when the brief yet rather violent “Haunted Arches” starts to unleash sheer fury with precise ruthless drumming, abrasive guitar riffs and hellish growls following frantic rhythmic patterns.
“Aria Of Jeweled Tears” will leave you shattered gasping for air as the aggressive rhythmic structure never attempts to slow down reaching a chaotic sonic depth through the solemn march of the brutal guitar riffs.
“Armory Of Obsidian Glass” is a complex track that will definitely become a favorite featuring intense ominous vibes that add a subtle mystical flair with doom laden guitar progressions and monolithic drums while the eerie atmosphere enhances the darkened allure of the theatrical chants and the haunting vocals by Lingua Ignota accompanied by desolate guitar phrases.
With a less frenetic rhythmic core “Angels Gather Here” focuses more on hallucinogenic noise concoctions, ghastly sounds and anguished growls within a hopeless dark sonic realm bearing strong electro/industrial influences.
The inner torment of “Ygramul The Many” comes to life through savage rhythmic segments following super fast belligerent drums and such turbulent ensemble is spiced up by the unexpected jazzy dissonant tonalities.
Full Of Hell are always able to surprise the listeners on “Weeping Choir” which is definitely drenched in darkness and could be the perfect soundtrack for an imminent apocalypse representing a hostile sonic manifesto made of claustrophobic noise and menacing blackened bursts.
Texas based experimental dark metal band Dead To A Dying World has meticulously crafted a quite poignant music experience on the new effort “Elegy” which revolves around an interesting lyrical concept analyzing the end of our kind brought about by our own hubris, greed, and desire for power over one another.
“Syzygy” provides a cathartic introduction for the album as dramatic vocals evoke a profound sense of grief that lingers through the tranquil crestfallen guitar tonalities and the delightful strings.
“The Seer’s Embrace” is a monolithic track that aims to constantly showcase contrasting feelings providing a cohesive blackened rhythmic backbone that inevitably embraces the atmospheric post-metal nuances and the delightful nostalgic viola melodies that will guide the listeners through intricate contemplative soundscapes.
“Vernal Equinox” leaves behind the heavier dynamics to focus mainly on the creation of spellbinding melodic progressions that genuinely evoke an intense melancholia surrounding the marvelous vocals by the talented Jarboe.
“Of Moss And Stone” marks a splendid finale with the classical elegance and the wistful tonalities of the viola melodies accompanied by Jarboe’s emotional vocal delivery and such cathartic harmonious ensemble constantly convey bittersweet emotions and will continue to enrich the monumental harsh sonic realm where the thunderous blackened rhythmic patterns and the tormented growls inevitably express feelings of rage and desperation.
While “Elegy” certainly has some primal heavy momentum what Dead To A Dying World achieve through the calmer melodic crescendos tends to stand out evoking the powerful darkened feelings that we always long for.
Dutch dark rock band Dool impressed the audience with the debut album “Here Now, There Then” back in 2017 and while it seems we still have to wait to hear a new full length the band has released the “Love Like Blood” EP which includes a cover of the eponymous Killing Joke classic and two b-side live tracks from Rock Hard Festival.
“Love Like Blood” is a great cover choice for a band like Dool in fact this fascinating interpretation emphasizes the sultry darkened guitar harmonies with magical atmospheric nuances and the unique vocal delivery of Ryanne van Dorst renders everything passionately mysterious.
“She Goat” and “In Her Darkest Hour” sound absolutely dark and sultry on this live recording and certainly show the alluring charisma of vocalist Ryanne.
After many successful live performance it’s evident that Dool has already conquered a solid spot within the underground rock/metal scene as you can hear on the new “Love Like Blood” EP and hopefully they will release more music in the near future.
After six years New York-based avant/post-metal collective Vaura is ready to share with the world the new album “Sables” characterized by a new wave spirit enriched by a palpable experimental approach.
Overall “Espionage” channels darkwave flavors offering loads of soothing guitar melodies especially enhanced by the inner sadness expressed by the vocals even in the super catchy chorus.
“Zwischen” can sound utterly mysterious as synths here hold an essential role creating haunting multilayered atmospheric arrangements with borderline dissonant accents while vocals and guitars focus on dreamy comforting melodic lines.
On “The Ruins (Hymne)” the darkened atmospheric textures ensure a perennial melancholia and such sober feelings are matched by the emotional vocals flowing through the luminous guitar harmonies.
“Basilisk (The Infinite Corpse)” certainly has an audacious experimental edge as futuristic synths craft enigmatic ambiance tonalities that can sound utterly dark yet at times everything feels fragile like a fading memory as vocals become soft whispers.
The title track features a blend of cold guitar melodies and moody atmospheric arrangements leading to cinematic soundscapes that will often leave way to a goth influenced rhythmic crescendo.
“Sables” might not be an impactful album due to the lack of obvious heavy dynamics as Vaura deliberately choose an introspective pathway to depict darkly peaceful soundscapes inspired by multiple subgenres with a prominent goth/darkwave flair.
Founded by Alestorm frontman Christopher Bowes in 2009 Gloryhammer is based on a fantasy concept with an anthemic power metal approach that on the latest album “Legends From Beyond The Galactic Terrorvortex” takes you on a galactic journey with the glorious hero Angus McFife XIII.
“The Siege of Dunkeld (In Hoots We Trust)” begins with fancy symphonic arrangements and sumptuous choirs clearly reminiscent of many successful symphonic metal bands and certainly the whole song maintains a majestic flair with galloping guitar riffs and the consequent groovy energy necessary to face an important battle.
On “Masters of the Galaxy” the fight against the evil sorcerer continues with plenty of crunchy guitar riffs following a classic power metal style mid-tempo rhythm and this whole catchy ensemble ultimately leads to a playful sing-along chorus.
Celebrating the band’s name “Gloryhammer” is particularly pompous but that’s exactly what the fans would expect plus is full of 80’s style keyboards and steady guitar riffs creating a quite catchy rhythm spiced up by additional electro layers and smooth guitar soloing.
The mood of “Battle For Eternity” definitely matches the title as the band is ready to defend the kingdom with the ardent energy expressed by the groovy instrumental segments and the fierce vocal delivery while the opulent keyboards and the polished melodic guitars add dramatic depth.
On the grand finale “The Fires of Ancient Cosmic Destiny” Gloryhammer use all their tricks and talents to deliver a bombastic epic opus so get ready for another round of majestic symphonic arrangements enriched by some elegant classical accents, dazzling guitar melodies and massive power metal grooves obviously adorned by solemn choirs and theatrical narratives because this is a heroic tale.
It cannot be denied that “Legends From Beyond The Galactic Terrorvortex” is an entertaining album carefully crafted by Gloryhammer with evident skills but it might be truly appreciated almost exclusively by devoted lovers of cheesy power metal.
Suldusk is a new enchanting project led by Australian talented vocalist Emily Highfield and the debut album “Lunar Falls”, dedicated to the memory of late singer-songwriter Aleah Starbridge, has the power to express a multitude of emotions through melodies and words.
“Solus Ipse” gives you a glimpse of the ethereal nature of Suldusk’s chosen music pathway starting with delicate arpeggios and dreamy melodic textures yet the elegant folk elements naturally embrace the prominent darker and heavier post-metal dynamics.
On “The Elm” Emily’s bewitching vocals take the center stage with an exceptionally emotional delivery that inevitably moves the listeners surrounded by subtle atmospheric layers, graceful acoustic phrases and exquisite cello melodies.
“Aphasia” offers another round of gentle acoustic guitars while the darkened atmospheric arrangements evoke extremely somber feelings that will be further enhanced by the enigmatic distorted crescendos and the occasional tormented screams lurking in the background.
“Three Rivers” relies on the cinematic nature of the mysterious atmospheric arrangements in contrast with the celestial melodic essence embodied by the wistful vocals and the lavish acoustic passages.
“Nazaré” feels like a daydream with luminous acoustic tonalities and nostalgic vocal delivery that celebrate the beauty of nature with lovely folk flavors but also convey cathartic emotions through the intricate melodic guitar work.
The final track “Sovran Shrines” incarnates the spiritual aura of the album offering solace through warm acoustic harmonies that will evolve into a series of fierce yet utterly melancholic rhythmic patterns accompanied by raspy growls following an evident blackened post-metal approach.
With “Lunar Falls” Suldusk have created a truly immersive music journey that can sound darkly poetic with its inner blackgaze soul but can also comfort and inspire the listeners with simply magical melodic tapestries.
Iowa based psychedelic stoner/sludge metal trio Druids has the chance to reach a wider audience with the mighty guitar driven grooves and the inspired songwriting approach of the new studio effort “Monument”.
You can easily recognize familiar sludge dynamics on the album opener “New Breath” which is filled with massive guitar riffs marching steady through moody rhythmic progressions and mysterious melodic phrases that always ensure enough variety to keep the listeners interested.
Since the beginning “Mirrors Of Trigon” offers monumental doom laden guitar riffs and harsh vocals following a slower enigmatic rhythm that inevitably amplifies the darkened arcane nature of the song while the massive fuzzy sludge/stoner force ensures plenty of groovy moments.
“Shivast” hits you in the face with an overdose of extra heavy guitar riffs and bold vocals leading to some quite frantic rhythmic patterns yet maintains an inner melodic essence through the smooth progressive elements of the lead guitar work.
In the end “Monument” dwells within a compelling mystical realm and holds a solid doom essence that fully comes to life through the many colossal heavy grooves diligently and confidently created by Druids.
After many acclaimed releases there are high expectations for what Baroness has crafted on the brand new album, and final entry in the band’s canon of kaleidoscopic releases, “Gold & Grey” and despite some misfortune and line-up changes you can perceive a great band chemistry here and a strong desire to blend variegated music styles with an intricate songwriting approach rather than deliver a straightforward collection of metal songs.
“Front Toward Enemy” begins with subtle atmospheric layers that introduce a groovy instrumental ensemble featuring unrestrained guitar riffs bearing bombastic sludge elements combined with prog finesse.
“I’m Already Gone” shifts the focus to calmer melancholia infused soundscapes with loads of soulful guitar melodies accompanied by a cathartic vocal delivery that definitely channels profoundly somber emotions.
“Seasons” has an inner melodic soul but can sound absolutely fierce with the stylish prog inspired rhythmic variations and the moments of rambunctious speed courtesy of the impressive precise drumming.
The sheer melancholy of “Tourniquet” comes to life through the fragile arpeggios and will often surface again through the soothing tonalities of the guitar leads even if the chunky bass lines and the bold guitar riffs eventually become dominant in the creation of massive grooves.
“Cold Blooded Angels” conveys intense emotions with warm vocals following nostalgic guitar melodies and comforting atmospheric arrangements but will later add some vibrant heavier rhythmic progressions without sacrificing the passionate melodic ensemble.
“Broken Halo” returns to cohesive guitar driven grooves that demand to be played loud and are certainly emphasized by thunderous drum blasts nevertheless there is room for wild unexpected experimental segments with kaleidoscopic synths.
“Borderlines” is full of magical spacey rock nuances deeply influencing the terrific fuzzy guitar riffs and the evocative harmonies of the compelling solo leading to thrilling instrumental crescendos that still manifest gloomy feelings yet offer palpable bursts of positive energy.
The shoegaze inspiration and the psychedelic accents behind “Pale Sun” lead to dizzy guitar tonalities, slow burning melodies and hazy atmospheres naturally amplified by the dreamy vocal delivery and the laid back rhythmic section.
“Gold & Grey” successfully maintains sonic diversity even if all the tracks seem to be connected by an understated emotional link and besides the evident mature musicianship probably the fact that Baroness skillfully and genuinely expresses all these contrasting emotions will attract even more listeners.
Waste Of Space Orchestra is not an average band but the result of an adventurous collaboration between Finnish bands Oranssi Pazuzu and Dark Buddha Rising that comes to life on the darkly psychedelic opus “Syntheosis”.
As soon as “Void Monolith” begins you can already perceive the enigmatic force of the psychedelic themes that characterize the entire album. Intricate atmospheric layers introduce profoundly darkened guitar melodies flowing through monolithic rhythmic patterns that channel mighty doom vibes especially evident in the faster borderline chaotic segments built by powerful drumming and heavy guitar dynamics.
On “Seeker’s Reflection” the guitar driven psychedelic rock grooves take the center stage while the spacey atmospheric arrangements feel quite mystical and the primal growls contribute to amplify the obscure aspects of the instrumental passages.
The cosmic psychedelia of “Journey To The Center Of Mass” is constantly emphasized by the mysterious atmospheric aura and trippy electronic accents that could easily induce a trance state while the final part of the song becomes increasingly darker with gloomy guitar tonalities and harsh growls.
On “Wake Up The Possessor” the mystical atmospheric arrangements are definitely amplified by ethereal female vocals and psychedelic accents followed by significantly heavier rhythmic segments accompanied by hellish growls fueled by an ominous blackened momentum.
The lengthy title track showcases a complex multifaceted composition that revolves around a mind-bending blend of monumental doom tinged guitar riffs, grave melodic textures and massive mystifying electronic/drone waves that inevitably will make you feel dizzy within an endless psychedelic blackened rhythmic maze.
Waste Of Space Orchestra have created something truly unique that transcends any standard music genre as “Syntheosis” is like a work of alchemy and a visionary search for knowledge that will impress but also challenge the listeners.