Just when you thought things had finally returned to normal after the pandemic, up pop Victorius to make you question your own sanity. Returning with their sixth full-length studio album (or second since going full dino-ninja bonkers) the five German nutters with a Gloryhammer sense of humour and an instant autocorrect for a name thrust Dinosaur Warfare Pt. 2 – The Great Ninja War (Napalm Records) onto an unsuspecting (Jurassic) world.Continue reading
Satyricon & Munch (Napalm Records) is the coming together of two icons of Oslo, Norway – the visuals of artist Edvard Munch inform a new piece of music by black metal veterans Satyricon. With the music inspired by — and presented as part of — a new exhibition at Oslo’s MUNCH museum, this 56-minute recording of new material exists also independent of its visual counterpart. If expecting a full-on black metal album, approach with caution; for those ready for an atmospheric, instrumental journey, this dark trip may be worthy of your time.
Good story telling is key to engaging a listener. Everygrey captures the listener with both words and music with their newest album A Heartless Portrait (The Orphean Testament) (Napalm Records). The lyrics tell a coherent story that is augmented by the composition; both what is played and in the silence in between. The album runs like a play; it has a first, second, and third act clearly delineated. There is rising action, a climax, falling action, and a denouement; a tragedy in 10 parts. Everygrey’s A Heartless Portrait (The Orphean Testament) creates an impression of being an open love letter to Vittorio de Sica.
If you’re looking for a metal album about pirates this summer that you can listen to guilt free (what? I meant now that we’re all mature enough to not worry about calling things like this a guilty pleasure… honest guv!), you need look no further than Visions of Atlantis’ eighth full-length album, the rather bluntly and descriptively titled Pirates (Napalm Records).
In the new “post-covid” era I have been hearing some awesome cuts coming from all kinds of artists. It makes me wonder how many took advantage of the downtime to hone skills and really dig into some songwriting.
It’s hard to believe – especially for some of us Of A Certain Age – that this year sees the fortieth anniversary of legendary German thrashers Destruction. Frontman Marcel “Schmier” Schirmer might be the last man standing from the band’s original line-up (co-founder and guitarist Mike Sifringer having left last year) but the band’s fifteenth full length studio album, Diabolical (Napalm Records) still manages to recapture that old fiery attitude.
Black Metal and groove seem to be fonder of each other as the genre diversifies and the landscape shifts evermore, progressing from the cavernous affair that was early Black Metal. The way in which Agathodaimon takes this trope to task results in an elegantly haunting experience, encapsulated in 10 tracks collectively titled, The Seven (Napalm Records).
“Hell yes…!” Those were my very first thoughts upon hearing the new Konvent. This new cut Call Down The Sun (Napalm Records) grabbed right from the beginning.The new offering is an awesome blend of doom, black and death all wrapped up in a brutal display of metal prowess.
With steadfast ambition and faith in leaving their comfort zone, French Industrial and Groove Metal band Dagoba have made a bold return with their first album in five years, By Night (Napalm Records). While some songs share a familiar territory for the group, others reveal a whole new side to them. Chugging guitars and double-bass drums unveil a certain fierceness in the electronic hooks, while frontman Shawter adds his lionhearted approach to vocal dynamics.
Persefone’s metanoia (Napalm Records) opens and it feels as if I’m watching an Andrew Lloyd Weber Broadway musical. Metanoia is atmospheric and grandiose; one would expect nothing less from Persefone. ‘Katabasis’ explodes onto the listener with a bombastic array of seventies progressive rock and psychedelia feel. Marc Martins Pia has shades of Yaz and Freddy Mercury on the opening track juxtaposed with the guttural vocalizations of death metal. The guitar work of Carlos Lozano Quintanilla and Filipe Baldaia are a wild mixture of mathematical genius, LSD, and a plethora of thirty-second note runs. ‘Katabasis’ can be an intense listen.