Exmortus – Necrophony Review

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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Nuclear Power Trio – Wet Ass Plutonium Review

A big part of the DNA of your average Shred band nowadays is inspired by the “Big Dick Lick” Shredders of the 80s. The Satrianis, Gambales and Vais of the world are the usual prototypes of this sound, but even more recently, guitar nerds (myself included) have been smitten by the wave of late 70s/early 80s Japanese Fusion Guitarists, including the race car aesthetics of Cassiopeia and the more laid back attitude of faux-Brasilian Surfer Boy Masayoshi Takanaka – a favorite in the house of Goat. High Octane Sega Genesis Metal.

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Mizmor – Prosaic Review

A.L.N has until now built a fascinating tool-set of sounds with his Blackened Doom Drone project Mizmor. Albums like Cairn and Yodh stand out as unique for their ability to mix genres that one could think should be at odds with each other. Though the loss of faith has fueled these journeys, should we still place our faith in Mizmor?

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Oromet – Oromet Review

Running along to canon-ball the already big pile of Doom albums is Oromet, with their grand debut that seemingly came out of nowhere. Starting things off with a 22 minute song that sounds like an expanded version of Pallbearer’s style on their debut album Sorrow and Extinction, this band show that they are equally adapt at making such long songs. Slow motion cannon-balled.

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