For Caligula’s Horse, Charcoal Grace is a return to the kind of songwriting that attempts to develop a lot over their runtime of extended-length songs. This band is very adept at their vocal hooks, so it’s no surprise that they lean into the vocals for this newest album. This is NOT a horse of a different color. But it is prog!
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Notochord – Aegis Review
Tired of searching that progressive metal tag on Bandcamp and finding a djent in your soup? Well, here’s something metalicious for you (or is it?).
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Demoncy – Black Star Gnosis Review
A new challenger for “most boring black metal act in 2023” has entered the arena, however, and its name is Demoncy. An old school Black Metal band from the USA, Demoncy had a brief period of activity in the 1990s before vanishing for the better part of a decade until the early 2010s. Black Star Gnosis is their first outing on the modern juggernaut label of the underground, Dark Descent Records. Why won’t they reply to our asks for a victory speech?
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Nightmarer – Deformity Adrift: Reformed
The concept that the band might want to re-engineer and partially re-record such a well realized album before it is even a year old is at once intriguing and baffling. Can the deformity go even more adrift? Let’s see how well Nightmarer float with the anomalies.
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Myrkur – Spine Review
The elitist uproar about Myrkur’s debut was intense and a bit ridiculous, as even if the album is bad or not, it did manage to do enough to be called Metal. As in answer to this, Myrkur decided to prove all the naysayers right by transitioning into Folk songs on her subsequent albums. As Spine arrives, we should focus on what is important here: is Spine any good? Or is it spineless?
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Disfiguring The Goddess – The Brutal Machine Review
It is no surprise to me that an album like Disfiguring The Goddess’ newest, The Brutal Machine, has not made waves. The concoction of popular electronic music with Deathcore doesn´t really seem like the thing that the most kvlt among metal elitists would champion, even though it appears similarly extravagant. Time for some brutal reviewer machine.
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Ashbringer – We Came Here to Grieve Review
Ashbringer sound like they come from this lineage of music, a Pitchfork-approved style of Post-Black Metal made popular by bands like Deafheaven. But the material on We Came Here to Grieve features a harsher edge than the scrapbooking album cover entails, mainly carried by the vocals. Still not kvlt enough for sunscreen.
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Courtney Gains – Safe Haven Review
Gains claim to fame is mainly being a child or teen actor in the 80s, starring in noteworthy supporting roles in films such as Children of the Corn or Back to the Future. Music is, however, more of a footnote in Gains’ career as his biggest musical claim to fame is that he once played live with Jam outfit Phish. What does Gains’ have to offer and how does it connect to his prior work as an actor? Some Gains, some lose?
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Sylosis – A Sign of Things to Come Review
Metalcore was always present in Sylosis’ concoction of genres but it always tilted more towards the older Hardcore leaning bands. Opening song “Deadwood” is like an autostereogram of small amounts of Dyscarnate stomp and shouted Slipknot vocals that gradually come into focus in a Linkin Park refrain. But in the end, does it even matter? Find out in this review…
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Crypts of the Unknown: Lorn – Arrayed Claws
