With a forty years career Saint Vitus are still considered the godfathers of American doom metal and in fact the latest eponymous full length aims to reconfirm such status representing the band’s classic music style with the return of vocalist Scott Reagers.
“Remains” stays true to the band’s signature doom style as guitars hold an essential role with monolithic riffs following a dramatic slow rhythm section that also allows the vivid vocal delivery and the eclectic guitar solo to stand out.
“Bloodshed” begins with enigmatic bass lines followed by powerful guitar driven grooves that feel more energetic despite the somber weight of the doom tonalities while the guitar leads always add acidic dynamics.
“12 Years In The Tomb” delivers another round of cohesive and even catchy grooves filled with doom laden guitar riffs yet everything changes with the experimental approach of the extra fuzzy guitar solo that could even make you feel dizzy.
Undoubtedly the main guitar riffs of “Hour Glass” properly symbolize the band’s doom legacy leading to heavy grooves that don’t need any special effect to grab your attention and the passionate vocals match the general crestfallen mood.
The soundscape of “Last Breath” almost feels nightmarish due to the insanely heavy & obscure nature of the monumental guitar riffs and the haunting vocals further emphasize such darker tonalities yet the massive rhythmic section will deliver some groovy moments around the spacey guitar soloing.
A band like Saint Vitus has no interest to adapt to any current trends and even after so many years the strength of their music still relies on the authentic doom metal approach that you can immediately perceive listening to this new self-titled album.
Devastating. Massive. Complex. Few albums in recent memory have been such a litmus test for these descriptors as the second full length album from Sweden’s Humanity’s Last Breath is. Abyssal is a monolith of a record that progressively gets more brutal, menacing, and downright nihilistic over the course of its running time, wholly saturated with the feeling of utter dread and impending doom. This album exists to dominate and obliterate the listener, and to that I say, mission accomplished.
What a name Humanity’s Last Breath is. One wouldn’t be blamed for assuming, without hearing a single note, that this would a non-stop blasting, double bass, slam riff, gurgle fest like so many other recent death metal albums as of late. But that couldn’t be further from the truth. Abyssal is the sound of all things extreme, borrowing elements from many sub-genres of the metal underground but seem keenly fixated on Disso-death, Black Metal, sludge, Industrial, and dare I say even dubstep. The sonic savagery found here can has much more in common with Meshuggah, Ion Dissonance, or Ulcerate rather than the current crop of technical death metal bands in the scene. No slam riffs or even a familiar verse/chorus/verse song form with an obscene amount of dissonance, topped with a double dose of groove make what HLB’s brand of brutality unlike most other releases in recent memory. I’m not even sure how to properly classify their sound aside from just…heavy. With that distinct difference in mind, it certainly makes the band more interesting, as expectations are subverted and blurred, not easily classifying HLB into some obscure sub-genre or forcing them to bend to certain elements.
First off, goddamn, these are the most down tuned axes I think I’ve ever heard. Songs like “Abyssal Mouth, “Like flies”, and “Rampant” are so low it makes me question if actual notes are even being played within the first thirty seconds. Often the guitar seems to be used almost as an effect rather than solely for note choices. But when the note choices do come in, they certainly pack a punch. The riffing from HLB mastermind, Buster Odeholm, is borderline otherworldly. The rate in which he mixes lows, highs, melodic, and dissonance all at a breakneck pace while keeping the whole thing cohesive and bowel rumbling heavy, boggles the mind. While we could argue ad nauseam whether there is such a thing as “too low”, upon first listen, the sound of the guitars was jarring to say the least, which I can only assume was the intended effect.
That said, this guitar sound is certainly in-tune (pun intended) with the title of this album because alongside the egregious use of dissonance, the combination of these elements, as well as the death growls, ominous clean singing, and torrent of blast beats, make Abyssal…. well, downright Abyssal! Moreover, the use of droning and abrasive tones throughout the record certainly adds to the overall chaos and oppressive atmosphere. At key moments these drones, and harsh high register tones really add an extra depth to the dread running throughout the record.
Of note is the vocal performance. It would have been totally acceptable for the vocals to be a non-stop barrage of low-pitched grunts and growls throughout, but instead we are treated to a unique mixture of death metal vocals, occasional screams, and even unnerving “clean” singing. The opening three tracks on Abyssal “Bursting Bowel of Tellus,” “Bone Dust,” and “Fradga” all feature all these elements in spades, including parts with an effect on the vocal track themselves, further adding to the vocal diversity. Closing track “Dodgud” uses a sort of vocal droning, almost Gregorian chant style that is downright chilling and serves as the perfect end point for the record.
There are a few instrumental tracks like “For Sorg” and “Being” that add a momentary moment of fresh air by adding an ever so slight change in pace from the constant sonic beat-down of the rest of the tracks. Even still, these instrumentals are monstrously heavy and at times fast, so much so that I found it a tad confusing as to why they were even included. The tracks are a little half developed but seem to ultimately serve as a sort of buffer since they are a bit less fatiguing than the rest of the main songs. After repeated playthroughs I found myself skipping past those, but on first listen it did help break up the album a bit.
Abyssal is some of the heaviest, ugliest, certainly most unsettling metal I’ve heard this year. While it’s unrelenting nature is a bit much in one sitting, repeated listens have proved fruitful as I’ve come to hear the depth of what HLB is trying to achieve, especially with the addition of the instrumental versions included in with the record. Even on a beautiful late summer day, listening to Abyssal makes me feel like the dark clouds of Armageddon could be just over the horizon, laying waste to all that we know and love. It’s disturbing and challenging music to be sure, but in an odd way, surprisingly addicting. I’m going to need a whole serving of Wham! after this one.
The mysterious Polish band Batushka quickly conquered attention and critical acclaim within the underground metal scene therefore since the announcement of the sophomore release “Hospodi” it has become clear that this would be one of the most anticipated albums of the year. As “Hospodi” triumphantly emerges from the depths of darkness its genesis is surrounded by a strong mysticism and inspired by Eastern Orthodox liturgical music but the major schism within the band and the consequent divided fanbase might unfortunately distract the listeners from fully comprehending the immersive essence of this album.
The monumental liturgy symbolized by “Dziewiatyj Czas” aims to conjure the album’s darkest essence through a loop of captivating melodies that will eventually evolve into a more aggressive instrumental core that certainly bears the mark of traditional black metal just like the deeply anguished growls while obviously the chanted vocals create an intense mystical aura.
“Wieczernia” still preserves the decadent mixture of abrasive blackened momentum and solemn transcendent atmosphere accompanied by Gregorian style chants but adds a generous dosage of groovy rock rhythmic dynamics that sound more accessible in the midst of faster menacing guitar riffs.
“Powieczerje” has the fervour of a spiritual experience building darkened aesthetics with an intense blend of mournful guitar melodies that can also sound quite catchy and multilayered arcane chants that naturally emphasize the expression of tormented emotions.
“Utrenia” feels more enigmatic with an overdose of occult atmospheric nuances enriched by the occasional blasts of blackened fury courtesy of merciless rhythmic twists and diabolical growls yet maintains a remarkable melodic essence that flourishes through the dramatic guitar progressions.
“Pierwyj Czas” will inevitably convey anguished feelings due to the faster and absolutely vicious rhythmic segments once again clearly inspired by old school black metal so what really makes a difference here is the sudden introspective momentum and the underlying semi religious atmospheres.
“Liturgiya” closes the arcane ceremony accentuating the funereal vibes with the doom laden weight of the imposing guitar riffs and the essential ominous chants that definitely sound like prayers for the dead lingering through the hypnotic slow burning melodies.
At this point it would make more sense to focus on the strong obscure force of “Hospodi” and put aside any drama or gossip surrounding Batushka because music always has a more important value as you will certainly notice listening carefully to this majestic new opus.
Fredrik and Mattias Norrman are really prolific musicians, after spending fifteen years in Katatonia they are currently active in October Tide, and this time their unstoppable creative force is embodied by the band TheNightTimeProject, also featuring guitarist/vocalist Alexander Backlund and drummer Jonas Sköld of Letters From The Colony, and the brand new album “Pale Season” aims to conquer your heart with an exquisite melancholic progressive rock ensemble.
Since the beginning of “Hound” you will notice how the melancholic themes are a crucial component of the whole album as gorgeous fragile guitar melodies and understated atmospheric layers create an enchanting sonic realm emphasized by the poignant soft vocals.
“Rotting Eden” maintains a profound melancholia through enticing melodic waves accompanied by a comforting heartfelt vocal delivery but picks up a vibrant energy fully expressed by the catchy guitar riffs and the occasional tormented growls.
“Final Light” features so many fascinating melodies and compelling darkened tonalities skillfully crafted by guitars and vocals following a contemplative mood that often demands a mellow tempo yet acquires extra charisma with some heavier rhythmic progressions.
The title track continues to spellbind the listeners with the sorrowful nature of the lavish melodies emphasized by another moving vocal performance and in general the shimmering guitar work naturally conveys the Scandinavian dark melancholy that we all love.
For “Signals In The Sky” the band wisely chooses Heike Langhans of Draconian as guest vocalist and her mesmerizing voice perfectly expresses profound emotions flowing gently through the gloomy doom tinged melodic phrases which here feel particularly heartbreaking surrounded by darkly elegant atmospheric arrangements.
As expected the experience and the songwriting skills of TheNightTimeProject are evident throughout “Pale Season” which also easily stands out for the cathartic emotions always generated by the ravishing melodic tapestries.
German band Valborg has mastered a sophisticated primitivism which is definitely a peculiar music style that today leads to the darkened atmospheres and raw energy of the latest effort “Zentrum”.
“Rote Augen” creates asphyxiating atmospheres through relentless drum blasts that could make you feel dizzy while the only interruption that allows you to breathe comes from the moody borderline dissonant tonalities of the guitar work.
Still dwelling in a chaotic nightmarish sonic realm “Alphakomet” has the stomping force of industrial metal with loads of gritty guitar riffs and venomous screams but guitars will also bring glimpses of hope through unusual slower passages in contrast with the fully dissonant finale.
On “Anomalie” a slower dramatic tempo favors utterly bleak atmospheric layers that surround the evident industrial energy of mighty guitar riffs in the midst of flourishing darkened melodic accents and solemn vocals.
“Nonnenstern” definitely has a less hostile approach and actually puts the spotlight on the charming gothic tonalities of the melodic guitar phrases while the vocal delivery shifts from sheer desperation to comforting melancholy.
The final track “Vakuum” stands out for the consistent weight of the doom laden guitar riffs amplified by obscure atmospheric layers that lead to a desolate soundscape until fiery industrial dynamics take over with pulsating drum blasts.
We can all agree that within the crowded metal scene Valborg’s unique sonic manifesto tends to stand out in fact the enigmatic nature and the experimental approach of “Zentrum” are bound to generate interest among those looking for innovative music.
LA-based rock trio Salem’s Bend proves to know how to put together a delicious psychedelic stoner rock ensemble on the sophomore album “Supercluster” which from beginning to end will impress you with its bewitching rock spirit.
You could never resist the cosmic energy of “Spaceduster” which will take you on a wild ride with tons of grooves featuring the right dosage of gritty stoner doom guitar riffs accompanied by seasoned rocker style vocals but there is also plenty of space to jam freely and add magical melodic accents.
“Ride The Night” pays homage to ’70s classic rock with genuine devotion and guitars acquire all those captivating retro vibes accompanied by a dense rhythmic backbone to create no frills grooves and to channel a contagious raw energy.
On “Heavenly Manna” there are some slower extremely trippy moments that make you instantly space out as guitars have a hypnotic sound that truly enhances the vintage rock vibes but the heavier rhythmic sections also feel quite memorable as guitars push on the fuzz pedal and powerful drums keep the grooves rolling.
The mood of “Thinking Evil” becomes darker and a bit mystical as an atmospheric choir introduces a series of slow burning grooves offering another overdose of catchy fuzzy guitar riffs and spacey melodies flourishing around warm laid back vocals and generating a proper hazy stoner rock mood.
“Infinite Horizon” has some fascinating occult rock vibes with mysterious slow moments but certainly gives you another chance to space out guiding you through enticing blurry melodic waves and exciting heavier rhythmic crescendos embellished by the dreamy harmonies of the guitar solo.
It sounds like Salem’s Bend are performing in the middle of the desert consequently there are many reasons why you should join them and “Supercluster” will be easily remembered for the authentic charismatic psychedelic tinged rock approach.
Haunt began as a solo project of Beastmaker frontman Trevor William Church and on the sophomore release “If Icarus Could Fly” they passionately continue to carry the torch for traditional heavy metal.
With the explosive album opener “Run And Hide” Haunt prove to be genuinely devoted to an old fashioned way to make music in fact this track is filled with memorable hooks featuring gritty guitar riffs and electrifying rhythmic patterns that stand out for the 80’s & 70’s influenced tonalities emphasized by the energetic acrobatics of the guitar soloing.
“It’s In My Hands” has an anthemic rock flair with evident retro vibes and a super catchy chorus while the guitar work has the charismatic energy necessary to impress the listeners with loads of tight riffs and flamboyant solos.
While “Ghosts” doesn’t really put aside the groovy structure it tends to favor a more melodic direction as the emotional vocal delivery and the lead guitar progressions acquire nostalgic tonalities leading to the smooth harmonies of the vibrant solo.
There’s no intention to deviate from the album’s mood so the title track offers fiery rock dynamics courtesy of a cohesive groovy rhythmic ensemble and again the guitar work confidently delivers remarkable shredding solos.
All things must come to an end so the final track “Defender” might feel a bit nostalgic but the band is ready to unleash a fair dosage of fervent guitar riffs, bold drum blasts and soaring melodic solos which as expected add some entertaining variations.
Undoubtedly the irresistible charm of “If Icarus Could Fly” comes from the overdose of thrilling guitar driven grooves and as we are currently witnessing a triumphant renaissance of classic heavy metal it’s nice to see how Haunt sincerely pay homage to such beloved genre.
Known as New Wave Of British Heavy Metal pioneers Diamond Head have inspired countless bands and their explosive music journey that started back in 1976 continues today with an excellent line up on the brand new full length “The Coffin Train”.
“Belly Of The Beast” relies on electrifying guitar driven grooves to amplify the classic heavy metal headbangers friendly approach and the consequent catchy vibes plus there are some thrilling guitar leads that will certainly grab your attention.
“The Messenger” might seem less bombastic but offers plenty of memorable rhythmic dynamics supporting the variegated & energetic guitar soloing as well as the inner heavy metal spirit of the song always emphasized by the skillful musicianship and the charismatic vocal delivery.
The title track still features many groovy moments yet gets a bit nostalgic with some calmer refined melodic crescendos and comforting vocal harmonies as vocalist Rasmus Bom Andersen tends to steal the spotlight showcasing an impressive range and a truly passionate performance.
“The Sleeper” marks another highlight of this album as contemplative guitar melodies introduce a sophisticated sonic ensemble where this time the energetic guitar riffage is enriched by the darkened melancholic allure of the majestic atmospheric arrangements and understated epic vibes.
The structure of “The Phoenix” balances the mellow tonalities of the soothing guitar melodies and the raw energy provided by the crunchy riffs following a catchy mid tempo rhythmic section embellished by the dazzling crispy guitar solos.
The album’s fascinating grand finale comes with “Until We Burn” as subtle atmospheres surround an impeccable mixture of captivating sorrowful guitar melodies and bold riffs leading to opulent epic rhythmic segments accompanied by deeply melancholic vocals.
At this point in time “The Coffin Train” might not sound innovative as the classic albums that cemented the legacy of Diamond Head but it still incarnates a powerful sonic experience that should not be overlooked.
In the underground metal scene Cleveland’s metallic hardcore band Ringworm is known for the ferocious music style that leads to the untamed rage behind the 8th studio album “Death Becomes My Voice”.
The title track sounds extremely dark and hostile focusing on a belligerent rhythmic rampage full of relentless bold guitar riffs and merciless drumblasts plus the vocals add some chaotic despair to such aggressive dynamics.
On “Acquiesce” chunky guitars add some slower incisive variations channeling a substantial thrash metal force with the right dose of sharp riffs that this time don’t require an excessive speed to make an impact.
“Dead To Me” relies on steady savage guitar riffs to build punishing rhythmic patterns maintaining a fierce darkened mood with the addition of catchy soloing while the inner fury is fully expressed by the insanely vicious screams.
On “Dying By Design” the guitar work is once again fundamental in the creation of unrestrained inflamed rhythmic segments deeply influenced by classic thrash & death metal and spontaneously reach utterly chaotic moments.
“Final Division” hits you in the face with persistent punishing guitar riffs and oppressive vibes but almost gives you time to breathe with an entertaining somber breakdown amplified by the mighty sludge tonalities of the guitar solo.
Since thirty years Ringworm are dedicated to the most brutal aspects of thrash metal & hardcore so without special effects or surprises “Death Becomes My Voice” delivers the overdose of straightforward enraged grooves that fans would expect.
Arizona based heavy metal outfit Spirit Adrift started as the solo project of multi instrumentalist Nathan Garrett and now has become a full band ready to reach another milestone with the release of the third full length “Divided By Darkness” which focuses on a more elaborate songwriting approach with evident classic metal influences.
“We Will Not Die” has an anthemic structure that aims to grab your attention instantly with explosive guitar riffs and skillful melodic leads characterized by delightful crispy tonalities so the focus here is on the creation of impactful heavy metal grooves.
The strength of the title track undoubtedly comes from the impressive guitar work that delivers loads of sharp riffs again executed in proper classic heavy metal style impeccably supported by a fiery rhythmic section as well as tasteful and often quite melancholic melodic phrases enhanced by soulful atmospheric layers.
Even if it’s not a full blown ballad “Tortured By Time” feels even more nostalgic with truly passionate vocal harmonies surrounded by stylish guitar progressions that add an elegant melodic depth and ultimately emphasize the somber emotional turmoil.
“Hear Her” is full of intense galloping guitar riffs keeping a cohesive series of memorable bold grooves that proudly carry the torch for traditional heavy metal yet sound like a variegated sonic ensemble as soaring lead guitars always add memorable licks.
The instrumental grand finale “The Way Of Return” revolves around massive cosmic melodies and epic vibes with a complex structure that still puts the spotlight on the excellent guitar work this time engaging the listeners more than ever with the hypnotic power of slow burning harmonies intensified by the delightfully psychedelic tinged atmospheric arrangements.
While Spirit Adrift certainly showcase strong 80’s/90’s metal roots at the core of “Divided By Darkness” they also work hard to ensure a compelling sonic diversity and to develop a unique identity that can sound relevant in the modern metal scene.
