ALBUM REVIEW: Druid Lord – Relics Of The Dead


 

Mickey Mouse. Universal Studios. The Everglades. It’s a safe bet that among the first things that come to mind when everyday folk think about Florida, Death Metal wouldn’t even be as high on the list as some of those often unbelievable “Florida Man…” headlines. However, to a certain breed of humans, that particular southeastern state has been a location of serious interest since Death released their debut album back in 1987.

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ALBUM REVIEW: Big Scenic Nowhere – The Long Morrow


Culled from the same sessions that birthed the Lavender Blues EP in 2020, Big Scenic Nowhere’s second full-length expands the supergroup’s jammed out take on Desert Rock. However, The Long Morrow (Heavy Psych Sounds) sets itself apart from Vision Beyond Horizon by means of a more grounded approach. There aren’t as many songs as before and the album is about ten minutes shorter than its predecessor overall. The guest list also isn’t as loaded this time around, only featuring keyboardist Per Wilberg and The Cure/David Bowie guitarist Reeves Gabrels on the colossal title track.

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ALBUM REVIEW: Skillet – Dominion


Eleven albums deep and showing no signs of slowing down, alternative metal tour de force Skillet enter their twenty-sixth year of existence with Dominion (WMG / Atlantic), a collection of big rocking tunes, expertly polished and produced, which continues in their now trademark vein. We get the arena stompers, the WWE PPV-ready (or premium live event as they seem to now be known as) montage accompaniers, the saccharine reflective synth and strings ballad, and the chirpy up-tempo deeper cuts.

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ALBUM REVIEW – Fit For An Autopsy – Oh What The Future Holds


The levels of frustration felt by New Jersey HEAVY Metalcore merchants Fit For An Autopsy can only be guessed at, though it doesn’t take much to speculate that by the time they were heading into the studio in 2021 they were feeling pretty hard done by. With worldwide high-profile touring and festival slots planned on the back of the universally acclaimed and sound-perfecting opus The Sea Of Tragic Beasts (Nuclear Blast), instead of riding a tidal wave of riffs and show-stealing gigs, a COVID enforced grounding put the shackles on plans if not for world domination, then a serious amount of scaling up.

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ALBUM REVIEW: Magnum – The Monster Roars


 

Fifty years into their career and Birmingham hard rockers Magnum are still pumping out the hits on this, their twenty-second full length studio release. Aside from a five-year period during the nineties when the band was put on hiatus, Magnum has been rocking for longer than some of us have been alive, churning out album after quality album like clockwork every two to three years.

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ALBUM REVIEW: Wiegedood – There’s Always Blood At The End Of The Road


 

The 2020’s has seen a process of metamorphosis for the Church of Ra and its members, and an evolution of its two leading artists. First Amenra abandoned the Mass honorific after six chapters for their excellent and bruising De doorn, their first full length for Relapse. Similarly, Belgian Black Metal visionaries Wiegedood have ripped themselves from the titling convention of the De Doden Hebben Het Goed series for their fourth full-length, the ominously titled There’s Always Blood At The End Of The Road (Century Media).

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ALBUM REVIEW: Hooded Menace – The Tritonus Bell


I must admit that for as deep as my love for Doom Metal goes, I’ve always been rather picky about Death/Doom in particular. The subgenre’s dedication to atmospheric melancholy is certainly commendable, but a lot of those bands seem to lack the ear-catching melodies and riffs that drew me to this style in the first place. Hooded Menace has certainly stood out as a leading voice in recent years, but a lot of their past work has been in the “almost there” category for me as a listener. Fortunately, the band’s sixth full-length album offers hints of possible change in this regard.Continue reading


ALBUM REVIEW: Genocide Pact – Genocide Pact


The guitars are mud caked in a morass of molasses. The vocal performance is, dare I say, a clinic on how to spew the wretched filth that is old school Death Metal. The omnipresent drums never interfere but simply carve out the route for the rest to follow. Stir all that up in a cauldron with a hint of disgust and a touch of revulsion and the end result is Genocide Pact’s newest self-titled album (Relapse Records), and with it, eight tracks of nineties-era muck and grime.

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ALBUM REVIEW: Omnium Gatherum – Origin


When it comes to the ever-satisfying subgenre that is Melodic Death Metal, not enough has been – or is being – said about marquee progenitors Omnium Gatherum, sometimes relegated to the last band or two listed when stacking up the scene during reminiscences at local drinking establishments.

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