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AGALLOCH's JASON WILLIAM WALTON On Potential New Material: "I Have Learned To Never Say Never"
#Agalloch #JasonWalton #JohnHaughm #DonAnderson #HunterGinn #TheSerpentAndTheSphere #Eisenwald #CultNeverDies #VinylPressing #DemonstrationArchive
Fluisteraars - Kronieken Van Het Verdwenen Kasteel - III - Grunsfoort
The final 10” EP of the “Verdwenen Kasteel” Triology
https://fluisteraars.bandcamp.com/album/kronieken-van-het-verdwenen-kasteel-iii-grunsfoort
#Fluisteraars #Grunsfoort #VerdwenenKasteel #BlackMetal #DutchBlackMetal #Eisenwald
The Flight of Sleipnir – Nature’s Cadence Review
By Maddog
The Flight of Sleipnir’s 2021 opus Eventide made ripples in the underground and grabbed my attention. The album blended stoner doom, acoustic folk, and post-metal, hardly groundbreaking elements. But Eventide distinguished itself by assembling them into a cohesive, beautiful whole, albeit one that hasn’t stuck with me. While we haven’t covered The Flight of Sleipnir since 2014’s V., I nabbed Nature’s Cadence as soon as I could, hoping it could catapult the band from goodness to greatness. Either way, I knew it’d be a breath of fresh air, and its gorgeous cover art was irresistible. Is Nature’s Cadence as memorable and moving as I hoped, or merely an interesting specimen?
While Nature’s Cadence doesn’t mimic any other band, it draws from a wide range of influences. The Flight of Sleipnir’s backbone consists of mid-paced stoner doom riffs wrought from simple melodies. These ideas branch in countless directions. At times, the guitarists Jeremy Winters and Clayton Cushman augment these stoner riffs with soaring melodies reminiscent of Elder. Other sections marry minimalist doom with a hypnotic post-rock aesthetic that resembles Amenra (“Vingthor”). Meanwhile, The Flight of Sleipnir infuses every track with folk elements that feel distinctively American. Placid acoustic guitar parts abound, while Cushman’s pedal steel adds subdued beauty. Accordingly, the vocals alternate between droning cleans and blackened screams. Even this laundry list doesn’t do justice to Nature’s Cadence’s diverse sound; the closer “Wanderer” alone deserves a treatise on its blend of foreboding spaghetti Western melodies, Maiden-esque guitar harmonies, and otherworldly Bergtatt escapades. Despite its variety, Nature’s Cadence never flaunts its uniqueness as a gimmick and never leaves any element underdeveloped.
Nature’s Cadence excels in its folky beauty, with mixed success in its heavier moments. The acoustic track “The Woodsman” showcases this best, gripping me through its narrative flow and its somber melodies. Clean sections of other songs hit just as hard; the opener “North” marries sparse Agalloch strumming with guitar leads that evoke David Gilmour on downers. Conversely, the doomy segments sometimes lose me. Some of The Flight of Sleipnir’s stoner riffs are too simplistic to make a mark (“Madness”), while others start strong but outlast my attention (“Vingthor”). As a result, Nature’s Cadence’s climaxes feel less explosive than they should. Still, the album’s redeeming moments make it hard to complain. The Flight of Sleipnir isn’t the next Kyuss, but the creative riffs and soaring leads of “North” are a stark reminder of their potential.
Nature’s Cadence’s greatest strength is how neatly it welds its pieces together. The seam between the album’s metal bangers and its serene folk elements is invisible. This is partly a result of melodic continuity, such as when “North” follows up a sparse acoustic passage with a doom rendition of the same melodies. Winters and Cushman’s guitar harmonies allow them to both mirror each other and establish striking contrasts, most notably on the spectacular “Wanderer.” Meanwhile, Dave Borrusch’s confident bass performance elevates Nature’s Cadence throughout both its peaks and its valleys. By laying down lead melodies during calmer moments (“The Woodsman”), enriching songs through subtle variations (“North”), and adding depth even with simple backing (“Vingthor”), the bass helps maintain continuity through the album’s stylistic about-faces. While the record’s longer tracks would benefit from more cohesion between different sections, The Flight of Sleipnir’s songwriting is impressive. Armed with a wide range of ideas and a dogged insistence on combining them thoughtfully, Nature’s Cadence stands out without sticking out.
Nature’s Cadence is a meditative experience that lives up to its ambitious title. On paper, folky stoner post-doom sounds like a prospective disaster. But The Flight of Sleipnir shines by placing fluidity first, resulting in a tight 39-minute record that does justice to its influences without sounding like a split. Punchier riffs would help the album hit harder during its heftiest moments. As it stands, while Nature’s Cadence won’t top my 2024 list, it’s a unique and rewarding listen for music fans of every ilk.
Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Eisenwald
Websites: theflightofsleipnir.bandcamp.com | facebook.com/theflightofsleipnir
Releases Worldwide: September 27th, 2024
#2024 #35 #Agalloch #Amenra #AmericanMetal #Doom #DoomMetal #Eisenwald #Elder #Folk #FolkMetal #IronMaiden #Kyuss #NatureSCadence #PinkFloyd #PostMetal #Review #Reviews #Sep24 #Stoner #StonerDoom #StonerDoomMetal #StonerMetal #TheFlightOfSleipnir #Ulver
Demnächst: #Sylvaine veröffentlicht am 15.11.2024 „Silent Chamber, Noisy Heart (10th Anniversary Ed.)“.
Fellwarden – Legend: Forged In Defiance Review
By Mystikus Hugebeard
Fellwarden is the solo atmospheric black metal project of The Watcher, the vocalist and co-founder of Fen. Fen has enjoyed a solid chunk of praise over the years from the AMG council, and I myself have always regarded Carrion Skies as an exemplar of quality atmoblack. But it was not this promising pedigree that inspired me to claim Fellwarden, for I wasn’t aware of it on first contact. I was lead by my simple love for the gentler, atmospheric side of metal—a quality I’m told I share with Fellwarden’s previous reviewer, Emya. Emya did not look favorably on Wreathed in Mourncloud, Fellwarden’s previous release, citing it as dull, unmemorable yoga-metal. Perhaps a fresh set of ears is exactly what’s needed to yield a more favorable outlook on Fellwarden’s latest opus, Legend: Forged In Defiance.
As it so happens, I think Legend is Fellwarden’s best work to date. Musically, the formula is familiar both to the atmoblack genre as a whole and Fellwarden’s previous works. The blast beats, tremolos, and The Watcher’s slightly snarling growls sound, coincidentally, a lot like Fen, while the backing clean vocals construct a somber and expansive ambience similar to Saor or Sojourner. The harmonic interplay of the guitars and the vocals is very pretty, as has always been the case with Fellwarden (Fenwarden?), but what makes Legend’s music more engaging this go around is the small matter of a much more present, urgent mix. It’s the kind of production that basically unlocks the band’s potential, where the music finally sounds like it should. The guitars, previously a distant suggestion, are placed farther forward, giving them a satisfying immediacy even as the songwriting emphasizes the sweeping harmonies and the strength of Legend’s atmosphere.
On the topic of atmosphere, Legend is one of classical heroic fantasy, a tribute to the late David Gemmell’s fantasy series of the same name, and this fantastical influence translates to the music of Legend rather well, illuminating an unpleasant world that is pleasant to inhabit as a listener. Blood-soaked battlefields and pale, grassy hills are heard in the grim “Despair,” while the harmonizing guitars in “Renewed Hope” and “Desperation” exude a lonely, mountainous chill. There is a real richness to the atmosphere; the opening riffs of “Renewed Hope” convey the earnest masculinity of a typical sword-wielding hero, contrasting the mournful vocal harmonies of “Desperation,” “Serenity” and “Death” that illustrate the sorrow and loss inherent to a hero’s journey. The lyrics, while thematically appropriate, are a little harder to take seriously. Granted, I know the source material is the literary equivalent to a Boris Vallejo painting, but choice lines like “he needs to be able to know that he is a man” (“Renewed Hope”) or “a man must pass something on, otherwise he is useless” (“Death”) can’t help but induce eye rolls.
Rich though the atmosphere is, it’s typically more in the background as a foundation for the music to build upon. But the opener “Exultance” strikes the perfect balance between atmosphere and music in a way that heightens them both, and it dominates my recollection of the album. The melodies have an invigorating Highlander flair to them, while the subtle, vital detail of the forceful exhalation of the vocals further breathes life into that Highlander feel—it’s an exciting energy that the rest of the album sadly doesn’t follow up on. Considering Legend’s excellent production job, I wish the songs after “Exultance” leaned further into its urgency. It doesn’t help that “Exultance” is followed by “Despair,” whose grimdark baritone vocals don’t quite land and counteract the high bar set by the opener. The remainder of Legend isn’t exactly bad in comparison to “Exultance,” and it’s carried by the strength of The Watcher’s compositional ear for pleasant harmonies. But while Legend is well-composed and appealing, despite all the fantasy themes of masculinity and defiance, few moments truly excite the way “Exultance” does.
Not to outsource my reviews to our dearly departed writers, but I’d like to highlight something Emya said in her Wreathed in Mourncloud review that’s important when talking about Legend: “…Fellwarden has [not] yet released an album which lives up to their potential.” In many ways, Legend represents that potential being realized. The cleaner production enriches the music and allows the fantastical atmosphere to be enjoyed in all its nuance. However, an exciting song like “Exultance” demonstrates that there are depths to Fellwarden’s potential yet unplumbed. I look forward to what Fellwarden does next.
Rating: Good!
DR: 7 | Format Reviewed: 320kbps
Label: Eisenwald
Websites: facebook | bandcamp
Releases Worldwide: June 14th, 2024
#2024 #30 #AtmosphericBlackMetal #BlackMetal #Eisenwald #EnglishMetal #Fellwarden #Fen #Jun24 #LegendForgedInDefiance #Review #Reviews #Saor #Sojourner #WreathedInMourncloud
Stuck in the Filter: March 2024’s Angry Misses
By Kenstrosity
While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.
So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!
Kenstrosity’s Singular Stipend
Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]
Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.
Tales From the Garden
Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]
Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.
Saunders’ Smoldering Cinders
BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]
Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”
Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]
Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.
Thus Spoke’s Forgotten Findings
Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]
I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.
Dear Hollow’s Deafening Debris
Givre // Le Cloître [March 29th, 2024 – Eisenwald]
It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.
Profane Burial // My Plateau [March 1st, 2024 – Crime Records]
The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.
#2024 #AllThingsBlack #AmericanMetal #AtmosphericBlackMetal #BlackMetal #BlackSoulHorde #BRAT #CanadianMetal #CannibalsAnonymous #CarrionVael #CrimeRecords #DeathMetal #Deathcore #Doom #Eisenwald #Exodus #Givre #GreekMetal #Grindcore #HeavyMetal #LeCloître #Malicide #Mar24 #MelodicDeathMetal #MidnightOdyssey #Molten #MyPlateau #NorwegianMetal #NuclearBlastRecords #OccultMetal #OccultRock #Powerviolence #ProfaneBurial #ProfanePrayer #ProstheticRecords #Review #Reviews #SaturdayNightSatan #SelfRelease #SepticFlesh #SepticFlesh #Slayer #SocialGrace #StuckInTheFilter #SuicidalAngels #SymphonicBlackMetal #TheBlackDahliaMurder #ThrashMetal #TransylvanianRecords #UniqueLeaderRecords #Wreche
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