Crammed full of guitar solos and Neoclassical wank, Slave to the Sword was one of the best and most-listened to albums for a High School-aged Cosmo. Now, nine years and two albums since that release, Exmortus returns fresh to Nuclear Blast with Necrophony after a couple releases on Prosthetic Records. Is this one to add to the list of Exmortus successes or does this signing to a major label signal a watered-down sound for a wider audience? Slave to the wank.
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Horrendous – Ontological Mysterium Review
Rather than being a clear evolution, Ontological Mysterium comes off as a gross mutation. The album cover preemptively states this as the three skinless faces of Horrendous’ logo have merged into something altogether darker. Red is the new black.
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Anubis Gate – Interference Review
Interference arrives after a mildly interesting covers album and six years of Anubis Gate-less space, leaving Metalligator apprehensive. Yet the new songs sees them trying some new things and puts a finger on how unique they are in the overly polished progressive metal scene. Polished, but perfect?
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Hellripper – Warlocks Grim & Withered Hags Review
Hellripper’s got a new one out, and Cosmo is hoping that he doesn’t fulfill the plight of Icarus and crash into the sea with failed expectations. There’s always a certain level of expectation going into a new album from a beloved band. Let’s hope this doesn’t cause a case of premature eblackulation.
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Hammers of Misfortune – Overtaker Review
Overtaker, true to its name, sports an aggressively overpowering sound. From the first second to the last, it uses unpredictable slithering riffs and intensity to create a chaos that is sure to repel a lot of people, whether they’re used to intense thrash albums or not. Thrashed and overtaken, this Gator lives to tell the tale.
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Crypts of the Unknown: Incubator – McGillroy the Housefly
