Sometimes a band shifts out from under you when your back is turned. The last time I really paid attention to Krallice – on their 2009 second album Dimensional Bleedthrough (Profound Lore) – they played a style of modern, distinctly un-necro Black Metal characterised by vast, otherworldly ambience and broken, alien riffing; fiercely technical, but also rooted firmly in atmospherics and the desire to transport the listener somewhere different.
Six years later, they’ve somehow managed to shift sideways while remaining broadly in the same place. The basic components of their sound – yelped vocals, broken dissonant riffs and rapid-fire picking – are still recognisable, but used to achieve a very different effect. The transcendent, other-worldly qualities of their first two albums has been replaced by something much more mundane and earthly. Their musical links to Black Metal (always somewhat controversial among the panda-faced orthodox) are now almost completely absent, their song-writing now rooted more firmly in Noisecore, or whatever it calls itself these days. Fellow New Yorkers Pyrrhon come to mind on several occasions, but the comparison is not a favourable one – where Pyrrhon rage and howl and storm against the urban madness of modern culture, Krallice don’t seem to conjure any emotional response beyond Look How Many Different Notes I Can Play.
At its best Ygg Hurr (Independent) can coalesce into something that combines both technical complexity and savage groove, but more often than not it collapses into a swarm of dissonant riffing with very little behind it. The vocals, perfectly effective when Krallice were searching the stars for alien worlds, also seem ill-suited to the bands more compact, technical style. Where someone like Doug Moore takes his voice on a trip every bit as convoluted and challenging as the music, Krallice’s vocals just screech along regardless of what’s happening around them.
Though in every meaningful way a hugely impressive achievement, Ygg Hurr feels like a triumph of technicality over character, a band who left behind who they used to be and haven’t yet decided who they’re going to be next. The playing is, of course, absolutely beyond fault, and those seeking technicality and virtuosity for its own sake will definitely find something worth listening to, but anyone else will find it hard to shake the feeling of a wasted opportunity.
From the rather clever play on words of their name, through to the arty if thoroughly disgusting cover, there is something overtly cerebral about Cardiff technicians Intensive Square. There’s a claustrophobic intensity from the outset of debut album Anything That Moves (Black Bow); complex drum patterns leading the way for some crunching, chaotic riffs and Chris Haughey’s dry scour. A febrile sound initially in keeping with the intelligent violence of Dillinger Escape Plan or Pyrrhon, twisting rhythms create grooves and craters as deep as the earth’s core whilst syncopated flickers leave your body convulsing with an involuntary joy.
The howling leads of opener ‘The Long Man’ are accompanied in the atonal melody stakes by the enigmatically-named Barnes’ wailing sax which, far from having you running for the hills, actually augments the power and further peaks the curiosity. The Cancer Bats-meets-Jazz of the ensuing ‘Ends’ possesses a brooding, building coda which heightens the tension; whilst the viciously switching, jerking grooves of ‘Me Vs the Cables’ and ‘Rhino Fight’ will leave those of us with knee problems in utter agony. The perfect timing of the band’s time switches and staccato rhythms enhance rather than frustrate: ‘…Fight’ slowing then quickening on a sixpence, the ferocious battery and squealing sax fully invoking the fear and drama of the titanic struggle the title suggests.
The blend of hostility and progressive sensibilities brings djent kings Meshuggah to mind but there’s a more organic quality here, a natural flow which harnesses that pulsating power, letting the invention run on an extending leash rather than wholly unfettered. The strange lead patterns in the stuttering savagery of ‘Gastric Emptying’ seem completely apt. The Death/Sludge template of ‘Vegetarians’, meanwhile, its ingredients warping and morphing in attempts to break free, still snaps back to the controlling structure; Haughey’s bellow letting blood over the exhausted body of the track.
The swerving riffs of the crushing, pummelling closer ‘King’, like Grind slowed to a virtual standstill, is as nerve-wrecking as anything I’ve heard this year. Indeed, the only thing that’s utterly untethered here is the rampant verve, the vivacity coursing through this bruising, intricate set.
Quite simply this is a huge shot in the arm for progressive, extreme metal and one of the most vital releases of recent years.
I’ve got a confession to make – I’ve never really understood EPs in Metal. On paper I can see the value of a short, sample-length exploration of a band’s sound, but Metal is such a grandiose, overblown and thoroughly unsubtle discipline that it seems to demand nothing less than albums to sprawl across. Double albums. Surely forcing any band who aren’t Slayer to record less than thirty minutes of material is restricting their creativity and turning them into a boy-band?
Apparently not.
Following up their 2014’s staggering Mother Of Virtues (Relapse) – which, in a just world, would have topped a lot more Album Of The Year lists than it did – Growth Without End (Handshake Inc.) develops their distinctive blend of abstract Death Metal, Starkweather-style Hardcore and early Dillinger Escape Plan by sharpening it down to a razor-sharp point.
Perhaps the most impressive thing about Growth Without End is how it seems to squeeze all the depth and scope of Mother Of Virtues into a fraction of the running time. It lasts for under twenty minutes, but leaves you feeling like you’ve endured an album’s worth of beating. It’s as if – crude journalistic analogy alert – they’ve trimmed all of the fat from their compositions, leaving behind exactly what they need to make their point and not a second of indulgence. The economy and directness of the best Grind married to Pyrrhon’s range of influences and moods to make one of the most simultaneously focused and diverse Metal records you’ll hear this year.
Last year, vocalist Doug Moore went to lengths to discuss why the band should not be described as “freeform”, and though it was intended as a compliment to the band’s unpredictable and unconventional song-structures, Growth Without End can help you to understand why – there is not a moment on here that is not utterly deliberate and precise, rehearsed to the point of almost inhuman tightness.
Pyrrhon are – with absolutely no hyperbole – one of the most exciting Extreme Metal bands in the world right now, and Growth Without End is both the perfect next step for their existing fans and an excellent introduction for the uninitiated.
You can say what you like about Niklas Kvarforth, and many quite justifiably and quite rightly do, and his Shining project, now on their ninth release IX – Everyone, Everything, Everywhere, Ends (Season Of Mist), but he has managed to keep his music from sounding like everyone else, and actually doing something with his darkened black metal act that few others do, creating a sound and atmosphere that doesn’t just ape his predecessor, and that varies from album to album while still being identifiable. The actual success rate in terms of quality of output is a bit more hit and miss (with the common reasoning being that it is the odd numbered albums that are worth bothering with, while the even numbered releases can fail to deliver).
With the intent of Shining to cause discomfort and pain to others, and with IX being described as an album to inspire feelings and reflections of revenge and retribution, the music to hand is surprisingly (disappointingly?) safe; there are certainly no challenging moments that the likes of Deathspell Omega or Blut Aus Nord inspire, or horrific atmospheres akin to a Pyrrhon or Portal in full flow (accepting they are megalodons swimming in a very different pool).
With most of the compositions uncurling to around 7 minutes in length, the blueprint here is one that steps outside traditional Black Metal trappings and away from the cold, depressive harshness of their previous works. Opener ‘Vilja & Dröm’ kicks off with a belligerent chugging groove, and the album flits from modern aggressive Black Metal, like Dimmu Borgir minus the symphonics and theatrics, to cleaner, more Gothic moments as, much like Watain did on The Wild Hunt (Century Media), IX brings a Fields of the Nephilim swathe to the proceedings and a cowboy Western kiss to ‘Inga Broar Kvar Att Bränna’ in particular.
In terms of where IX sits in the Kvarforth canon, it’s fair to say it doesn’t rival V: Halmstad as the go to and defining release of his career, but is more of a worthwhile investment of your time than the limp Klagospalmer(both Osmose). Much like a lot of the music on display, though, it sits comfortably in the middle. If its intention is to unnerve and distress, the protagonist does much more of that away from the music, than he does with it.
KEN mode will be releasing their new album titled Success on June 16, 2015 via Season Of Mist. The album was produced by Steve Albini (Nirvana, The Pixies, ZAO). A trailer for the album can be viewed below.
Success Track Listing:
01: Blessed
02: These Tight Jeans
03: The Owl
04: I Just Liked Fire
05: Management Control
06: A Passive Disaster
07: Failing At Fun Since 1981
08: A Catalog Of Small Disappointments
09: Dead Actors
Their music video for their Christopher Mills (Rush, Interpol) directed video for “Blessed” in Toronto, ON can be viewed below.
The band has confirmed a string of upcoming tour dates:
Apr 05: Velbloud – Ceské Budejovice (CZ)
Apr 06: 007 – Praha (CZ)
Apr 08: Usine – Geneva (SW)
Apr 09: Roadburn Festival – Tilburg (NL)
Apr 10: L’Oreille Qui Traine – Rouen (FR)
Apr 11: Gaswerk – Winterthur (SW)
May 29: OTB Festival – Paris (FR)
May 31: Audio – Glasgow (UK)
Jun 01: Macbeth – London (UK)
With Fight Amp:
Jun 16: The Shop (Parts & Labour) – Toronto, ON (feat. The Great Sabatini)
Jun 17: Turbo Haus – Montreal, QC (feat. The Great Sabatini)
Jun 18: St. Vitus – Brooklyn, NY (feat. Pyrrhon, Couch Slut)
Jun 19: Kung Fu Necktie – Philadelphia, PA
Jun 20: Ace of Cups – Columbus, OH (feat. Lo-pan)
Jun 21: The Burlington – Chicago, IL
Jun 26: The Goodwill – Winnipeg, MB (feat. Pop Crimes (no Fight Amp)
Philadelphia noise rockers Fight Amputation (Fight Amp for short) will be doing a run of tour dates with KEN Mode. Tour dates are below.
FIGHT AMP Tour Dates:
*All dates with KEN Mode*
Jun 16: Parts & Labour – Toronto, ON (w/ The Great Sabatini)
Jun 17: Turbo Haus – Montreal, QC (w/ the Great Sabatini)
Jun 18: St. Vitus – Brooklyn, NY (w/ Pyrrhon & Couch Slut)
Jun 19: Kung Fu Necktie – Philadelphia, PA
Jun 20: Ace of Cups – Columbus, OH (w/ Lo-Pan)
Jun 21: The Burlington – Chicago, IL (w/ Jar’d Loose)
They are supporting their new album Constantly Off, their first new album in three year, out June 9, 2015 via Brutal Panda Records. Constantly Off was recorded in August 2014 at Gradwell House Studios in Haddon Heights, NJ with engineer Steve Poponi (Ladder Devils, Fight Amp). Stream the trailer below.
Department of Correctionshave booked an upcoming European tour supporting Pyrrhon. They are supporting their 2014 Monsters! Split with Total Fucking Destruction, C.O.A.G., Miserable Failure, UNSU and Infected Society, out now via Kaotoxin Records. Dates are posted below.
Apr 10: Cirque Electrique – FR – Paris
Apr 11: TBA – (FR)
Apr 12: Canadian Café – Tours (FR)
Apr 13: Pavillons Sauvages – Toulouse (FR)
Apr 14: Secret Place – Montpellier (FR)
Apr 15: Raymond Bar – Clermont Ferrand (FR)
Apr 16: Assomoir – St Etienne (FR)
Apr 17: Tannerie – Bourg-en-Bresse (FR)
Apr 18: Cafete – Bern (CH)
Apr 19: Epplehaus – Tûbingen (DE)
Apr 20: Inside Out – Liège (BE)
Apr 21: Unicorn – London (UK)
Apr 22: Temple of Boom – Leeds (UK)
Apr 23: Northumberland Arms – Newcastle (UK)
Apr 24: Alma Inn – Boltom (UK)
Apr 25: Tiki – Plymouth (UK)
New York experimental death metallers Pyrrhon have announced their first ever European tour, with French grinders Department of Correction as support. They will be supporting their sophomore full length The Mother Of Virtues, out now via Relapse Records. Stream their David Hall (Brutal Truth, Fuck The Facts, Today Is The Day et al) directed official music video for “Sleeper Agent” here.
PYRRHON w/ Department Of Correction:
Apr 10: Cirque Electrique – Paris (FR)
Apr 11: TBA – Poitiers (FR)
Apr 12: Canadian Café – Tours (FR)
Apr 13: Pavillons Sauvages – Toulouse (FR)
Apr 14: Secret Place – Montpellier (FR)
Apr 15: Raymond Bar – Clermont Ferrand (FR)
Apr 16: L’Assomoir – Saint Etienne (FR)
Apr 17: La Tannerie – Bourg En Bresse (FR)
Apr 18: Caffette – Bern (CH)
Apr 19: Epplehaus – Tubingen (DE)
Apr 20: Péniche Inside Out – Liege (BE)
Apr 21: Unicorn – London (UK)
Apr 22: Temples of Boom – Leeds (UK)
Apr 23: Northumberland Arms – Newcastle (UK)
Apr 24: Alma Inn – Bolton (UK)
Apr 25: Tiki Pub – Plymouth (UK)
A bit of kitchen sink album, this one – prog, power, death, bits that sound like Extreme (the band), a concept that makes Demanufacture look like a children’s story (OK, it is hardly the most developed story anyway…) and part 1 of a trilogy I’m keen to see if it can keep up with the level of this first one.
The album I wanted ‘At War With Reality’ to be, but with a metric tonne of breakdowns (or possibly beatdowns – I still get them confused) on top. Blistering with Gothenburg tinged spiky riffing, dual guitars flying, full on vocals and some good old fashioned metal aggression, Old Wave of Swedish Melodic Death Metal style. No remorse, no repent, no let up, no problem!
I have always had a very strong dislike of Opeth. Then they released an album that doesn’t sound like Opeth. Now loads who did like them, don’t, and loads who didn’t like them, do. Not normally a massive prog fan either, but this album is really good. AND somehow I’ve now started to get into the older stuff I’ve never liked before like Blackwater Park and Still Life. Weird, innit.
21, Overkill– White Devil Armory (Nuclear Blast/eOne)
Continuing their brilliant run of form that near matches their classic first 3 albums since signing for Nuclear Blast with another energetic, full-on, thrash classic. Really loving the vitality but above all the quality of the tunes. Always had a soft spot for Overkill and well chuffed they’re still flying the flag louder and harder than any other “old school” thrash band. Proud to review this one here.
Set your HM-2 pedals to kill… Really enjoyable old school Death Metal romp. Plenty of Dismember, plenty of Entombed, bit of Morbid Angel in places, and just sounds like a bunch of guys who know what they’re doing having fun with metal they love. ‘sGot big riffs. And I like Nick Holmes vocals on it, too. More cookie monster than cookie cutter and add a distinctive edge.
So, I split the two albums out and Dark Matters was in the ‘Not Quite…’ list. It took me a little while and a few listens to forgive Sky Blue for not being Epicloud. But seeing as Epicloud is probably my favourite album released in the last 10 years it was always going to be difficult. Sitting very much in the Addicted, Epicloud pop-metal end of the DTP arsenal, it can’t help but be a great, enjoyable listen. I just think he perfected it last time around, so this has a touch of diminishing returns. Still think it’s bloody good, like (hence it making the top 20).
‘im from Mastodon, ‘im from Dillinger, another ‘im from somewhere else (can’t be bothered to google it, sure someone will say below) and a Max Cavalera relegated to side-man all pulling off (tee hee) a bloody great album of riffs, grooves and big old tunes. Lovely stuff.
17, Primordial – Where Greater Men Have Fallen (Metal Blade)
The first track is possibly the greatest chest-beating Heavy Metal track of the year, resplendent (I’ve always liked that word) in its’ Bathory meets Manowar glory. After such an blinding start the album could only struggle to live up to expectations. It is bloody good though, and the last track is also amazing. Does what Primordial do, and does it well. One I reviewed, too, so you can check that out here if you like
16, Machine Head – Bloodstones & Diamonds(Nuclear Blast)
OK, still haven’t fully gotten grips with this one – it’s not long been out, there were other albums to cram in before end of year, reviews, life, all that, plus it’s a pretty long album and there’s a lot of music going on (contrary to popular belief, your average Machine Head track isn’t as bone head as many think these days), so sticking this one here. I know it’s good, I know I like it, just not lived with it enough to know how much.
Still, I know it brings the riffs, diversity, some intelligent song-writing, some really cool choral and non-metal touches, and I know I’ll like it more once I spend some time with it and the songs separate out.
15, Judas Priest– Redeemer of Souls (Epic/Columbia)
No, it’s not as heavy as Painkiller, but it does sound like a mix of everything they’ve done til now. Just lashings of good, solid, classic Priest with plenty of nods to their 70s and early 80s stuff (though no Turbo, unfortunately)
And, you know, songs and shit. Good job all round and damn fine album.
The one where they brought it all together, tying up all the threads that make up Fen and producing their best material to date with every track. A sound of a band with confidence and making a statement about who they are. More focused, more “metal” than the last and their definitive release to date.
Note this is MY albums of the year… and by that I mean favourite not “best”. The perception that most people don’t give a monkeys about post-Colony In Flames is completely overridden by the fact that they’re loads more popular now than they were then (though popularity isn’t a measure of quality etc, I know…) It’s just the undergroundzz innit.
According to itunes, this was my most listened to album of 2014, and, yep, I dig it. It doesn’t do anything particularly different, amazing, new or unexpected, but is a step up on everything post-Come Clarity, for me.
Above all I just think it has a load of good songs. And I like good songs. Even more than I like spazzy-jazzy tech metal. Much more than I like spazzy-jazzy tech metal, to be honest… I dig it. Most of you on here will scoff. The band won’t care either way. And neither will I…
Excellently crafted “serious” metal, with a great album dynamic that moves through and between post-Black Metal, UK Doom and post-metal, but doesn’t sound inconsistent or forced. I have Steve Patton of Sea Bastard to thank for bringing these to my attention. Really glad he did. I reviewed here.
This album still intimidates me. I probably could (should?) have this higher in my list, but I very rarely want to listen to it cos it’s hard work. Rewarding, but horrible hard work to listen to. Probably the most extreme, all out clusterfuck of the modern-tech “jazz” Ulcerate/Gorguts/Deathspell Omega influenced death metal albums of them all. This was the highest mark I’ve given anything in a review since I gave Insomnium‘s demo 10 back in the late 90’s (and the only time I’ve had an online slagging for giving a band a great review!). Takes death metal almost to the point of not being music any more.
Just don’t call them free-form… (which I actually didn’t… You can read what I did say here)
10, Edguy– Space Police: Defenders of the Crown (Nuclear Blast)
I really like this. It’s dumb, cheesy fun, yes, but it’s well put together, catchy – I still have a fair few of the songs and riffs bouncing around in my head – good, enjoyable entertaining rocky power metal. Cheesier than the stuff that’ll be on the board that will come out with the port at my folks an hour after Christmas dinner, and I love it for that.
Also, it has the best song Van Halen have(n’t) written for 20 years. Reviewed this one here.
Came to this late in the year as was unsure about its mammoth length (fnarr etc). Atmospheric black/death cleverly sprawling over 85 minutes, it certainly doesn’t drag, filling every one of those minutes with quality.
Was very impressed with these at Bloodstock, the discovery of the weekend for me, so couldn’t wait to check out the album particularly once you hear they’d chucked in a concept to it. Wasn’t disappointed, indeed they exceeded my expectations. Discordant and unsettling and well worth a checking if you haven’t already.
And for the record, I’ve never checked Akercocke beyond seeing them live at the LA2 as a support band 15+ years ago, so no fanboying from me.
Not much to say, other than a massive return with a massive batch of massive songs.
As I said in my review for Ghost Cult: “The Gray Chapter is a statement of intent, a mountain-strong collection of hate-anthems to stand with Slipknot’s best.
All Killer, No Filler, And then some. .5 punches hard, deep and long, undeniably their most consistent album since Iowa. Nine may have become seven, but if you’re five five five, then they’re (still) six six six. ‘.5: The Gray Chapter’ is an album of some significance.”
6, Winterfylleth – The Divination of Antiquity (Candlelight)
It’s a close run thing, but I think I love the classics of black metal more than those of death metal, yet, other than those 90’s gems, I have very little time for black metal – mainly because it tends to involve the aping of the same 5-10 albums again and again (ad infinitum). It’s not a hard and fast rule, there are bands / albums of BM nature I’ve picked up on and very much enjoyed over the last 15-20 years, and this year brought forth a couple of beasts. I’ve already mentioned Fen, but there was also this British classic that brought joy to my ears. Running a gamut (good word) of sentiments and feelings, being more human than a lot of black metal dares to be, ‘Divination…’ excels dynamically, melodically and emotionally. Distinctively Winterfylleth, this is their best yet.
The most hotly anticipated modern death metal riff-fest of the year did not disappoint in any way shape or form. Power, grooves, and, well, riffs. Riffs that came armed with big meathooks. Some cool Slipknot-y and industrial touches here and there, but this was all about great *heavy* metal. I like the overall sound on it, too, dragging them out of the “death metal” pack and making them sound more in a field of one. Which, I guess is where they now stand…
Another band I’d never been massively bowled over by in the past who impressed me this year. Something to do with the fact they actually have songs with hooks and interesting things going on in them. The album gets better as it goes on, peaking in a brilliant crescendo of ‘O Father! O Satan! O Sun!’.
Added to the music, aesthetically this album is great (cover, production, photos, the official vids as well) and can see why it’s wracked up a number of album of the year awards, including the Ghost Cult Magazine official writers AOTY.
Paul Alan Ryan spun me a couple of Revocation tunes way back at the start of the year, and I was impressed, so had my eye out for this release. Once it hit, the mix of intelligent thrash, Death (Official) and definite lashings of Mastodon in the melodies and approach all wormed its way under the brain to become one of my go to albums in the second half of the year and one that I’ll keep going to into the new year. Really good modern, technical thrash with a touch of (when they were good ‘Rust In Peace’ era) Megadeth in there too. You’ll do me.
Was late to the Mastodon game, arriving some point around 2009 and ‘The Hunter’ was their first “new” album for me. Despite loving a bit of Leviathan and a bit of Crack The Skye (but not so much Blood Mountain), for me, their simpler, rockier stuff definitely suits them and they’ve really come into their own recently as OMRTS picks things up where Hunter left them off. Just tune after tune after tune after tune with swagger and hooks galore and distinctively ‘Don. Also, they have a song called ‘Diamond In The Witch House’ which does it for me in spades.
Two in a row for Sólstafir. Hats off! Svartir Sandar romped it for me in 2011, and by golly, Iceland’s finest have only gone and bloody gotten even better! Last time around it could be argued the album went on a touch too long and the vocals weren’t quite up to the level of the rest of wares on offer (though only by a smidge), well, those minor gripes have been consigned to the bin.
Now, post-rock isn’t exactly my bag of gravy, but Sólstafir delivers atmosphere, emotion and deep feelings, while the dynamic journeys of each track on Ótta pull you along for the ride.
A beautiful, magical album. As I say, it’s not my usual bag. Scroll through my ipod and there’s little similar on there, but Sólstafir have a way of speaking to me. Truly. Deeply.
The countdown to the Official Ghost Cult Magazine Album of the Year for 2014 continues. Please consume and enjoy the results of our 2014 Writers’ Poll. We hope it will introduce you to some of the incredible works of art you may have missed that we have had the immense pleasure of listening to and writing about this year.
In our third installment we bring you albums 30 through to 21
30. CASUALTIES OF COOL – Casualties Of Cool (Pledge/HevyDevy)
“Casualties of Cool is an intriguing experiment from a man who excels in making left-field music. Go in expecting massive a prog-metal exercise will only lead to disappointment, but having an open mind will result in a rewarding experience” DAN SWINHOE 8/10 Full review here
29. ANATHEMA – Distant Satellites (KScope)
“One of our world’s most understated bands, despite the plaudits they get, Anathema have once again showcased their knack for penning both forward thinking and emotionally driven music which oozes real human character and sentimentality”. CHRIS TIPPELL 9/10 Full review here
28. DOWN – IV (Part II) (Down Records)
“When we look back on this part of their career, we will likely understand that these are less like regular EPs that other bands release, and much more like a mini-opus, in pieces. Down clearly realizes their collective vision, no matter who is in the lineup, every time”. KEITH ‘KEEFY’ CHACHKES 9.5/10 Full review here
27. VALLENFYRE – Splinters (Century Media)
“Sadistic and aggressive with endless moments of bleak reflection Splinters is a leviathan unleashed upon unsuspecting listeners and a release surely destined to grace many year end lists” ROSS BAKER 9/10 Full review here
26. AGALLOCH – “The Serpent and the Sphere” (Profound Lore)
Like a massive-antlered stag glimpsed amidst a wintry landscape, breathtaking, elusive and hard to pin down, The Serpent and the Sphere looks set to continue their elegant and ever-evolving legacy JAMES CONWAY 9/10 Full review here
25. THOU – Heathen (Gilead Media)
“A storm manifest as a piece of music, as devastating as it is awe-inspiring, Heathen is varied and compelling for the entire runtime”. TOM SAUNDERS 9/10 Full review here
24. septicflesh – Titan (Season of Mist)
“Sharp, buzzing riffs and symphonic keys, strength and brutality amongst moments of pomp and beauty, bloody entertaining and another show of form” PAUL QUINN 8.5/10 Full review here
23. PYRRHON – The Mother of Virtues (Relapse)
“The Mother Of Virtues doesn’t just challenge what is “extreme”, but calls into question whether some of what is produced is actually even music. Completely and utterly impenetrable, and exceptional with it”. STEVE TOVEY 9.5/10 Full review here
“Eyehategod continue to age like a good whiskey, seeming to improve as time goes by, but by no means losing their sting”. CHRIS TIPPELL 9/10 Full review here
21. ALCEST – Shelter (Prophecy)
“Shedding the last vestiges of metal, let-alone any lingering black metal leanings, a captivating and stunning piece of music poured straight from the heart”. JAMES CONWAY 9/10 Full review here
