There is nothing – nothing – clean about Allfather.
Not the production or tuning; not the various vocal methods; not the atmosphere or tone.Continue reading
There is nothing – nothing – clean about Allfather.
Not the production or tuning; not the various vocal methods; not the atmosphere or tone.Continue reading
For forty uncertain, eerie and downright unsettling minutes, black metal project Lamp Of Murmuur grips the listener with a sturdy hand and refuses to let go until fear, disgust and melancholy take over.
In late 2020, Foretoken warned the entire world of one thing: the Virginia Beach-based duo is on a mission to completely shake up the status quo. Three years later, Triumphs (Prosthetic Records) is proof positive the mission is so far a smashing success.
Following 2019’s Global Warning debut, Deathcore visionaries To The Grave continue their activist-minded foray with Director’s Cuts (Unique Leader Records), a forty-four-minute escapade that builds on the band’s mission to “expose a societal and environmental hell on earth,” per the press release.
The nut to crack that is Obvurt is a tough one.
On the one hand, the Quebec-based tech-death trio hold their own with bombastic, forceful drumming; chaotic, thrashy elements; and call-off-the-dogs brutal vocals. On the other hand, the majority of Triumph Beyond Adversity (Unique Leader Records) is mired in mediocrity, relying too much on formulaic tropes while falling prey to a surplus of empty space. A portion of the songs inexplicably feel out of place, though not due to the band’s inability. Instead, the record plays as the personification of a college student who boasts a 3.0 GPA while coasting through the four years without engaging in much of any extracurricular activity, content with being uncompromisingly normal.
The unmistakable pall of monochromatic fear and fright begs the question: should Dystopia A.D. have named their latest record Doomsday Bible? Instead calling it Doomsday Psalm, the album presents an anthology of horrors; a plethora of terror. The end of the physical world becomes the least of your worries.
The Chernobyl disaster rocked the then-Soviet Union in 1986. Ronald Reagan was the president. Gas was just over a dollar a gallon (Editor’s note, gas was $2.14 per gallon nationwide in 1984). Times were much different so many decades ago, which makes it all the more remarkable that epic doom metal pioneers Candlemass – who formed in 1984 – continue to wield the torch of the scene, guiding the masses and collecting newcomers along the way.
The crux of imposter syndrome is that the afflicted is tormented – haunted – by real or imagined negative feelings towards their legitimacy and ability. Be it a position of power at work or a highly regarded social standing, the notion can creep in and riddle any perceived accomplishment with doubt, uncertainty and unworthiness.
It’s been five years since Rhythm of Fear released their last album, Maze of Confusion. The crossover thrash band is back with more pummeling riffs and plenty of attitude with Fatal Horizons (MNRK Heavy) Just like any good thrash band, Rhythm of Fear targets the government, aliens and the occult in their sonic assault.
In yet another striking example of music being used as an outlet for some of life’s most traumatic misgivings, Fit For A King have returned with their seventh – and quite possibly most impactful – full-length record. The Hell We Create (Solid State) is eons more than a collection of compelling, thought-provoking metalcore.