50+ Music
Angry Metal GuyBy ClarkKent
At the end of each year, Angry Metal Guy likes to boast of the diverse coalition of readers who flock to these halls from all over the world, including the lone visitor from Vatican City. Just as important as the diverse readership is the diversity in the bands we review. So when Dolphin Whisperer excitedly brought to our attention a promo that would, if reviewed, be our first Uruguayan metal tag, I decided to take up the mantle as explorer to this uncharted frontier. Liminal Space is the debut album from Uruguayan alt-metal act Regina. The quartet first released an EP, Apology, back in 2019, but COVID paused work on any further material until 2024, when they started recording Liminal Space. Of course, music often transcends national boundaries. For one, musical influences are global in reach. For another, as in this case, the making of an album itself can escape borders. While Regina did their recording in Uruguay, the mixing and mastering followed drummer Nicolás Martín as he moved to Canada. That said, let’s see what Uruguay has to bring to the table.
One look at their Bandcamp page reveals that Regina dabbles in a variety of styles, but the nu-metal tag might stick out as a turnoff for many readers. While there are a few brief spoken/rapped sections, concerned readers can rest assured that Liminal Space leans stoner and grunge above anything else. They don’t play the blasting, riff-tastic stoner of High on Fire or Sergeant Thunderhoof, but a hazy, atmospheric version that relies on reverb and ample bass grooves. It’s almost a tale of two halves, with the front half leaning stoner and the back half grunge. Early on the songs have a much more freestyle form to them, such as the dreamy, sometimes psychedelic “S.M.E.G.M.A..” It’s not until “Age of Aquarius” that they really attempt any sort of riffs. The later grunge-y stuff like “Would You Like Some Fries With That?” and “Rot” have a more punky vibe with clearer traditional song structure. Closer “Rot” is a particular standout, sounding like a crossover between Nirvana and Tragic Kingdom-era No Doubt.
A charismatic lead is a must when going the alt route, and Regina has one in Sofia May. She fluctuates her voice seamlessly from chill to punk, bringing a poetic, stylistic interpretation of the lyrics. When she reaches higher notes she sounds an awful lot like Gwen Stefani and might have you on the lookout for spiderwebs (“Of Dicks and Whores,” “Dethroned,” “Whiteout”). On closer “Rot,” she channels not only the Hollaback Girl but also a mumbling Kurt Cobain—and I don’t mean that in a negative way. While her voice tends towards the gritty, she also softly chants and croons in a dreamy manner that reminded me of another band I reviewed earlier this year, the psychedelic doom outfit When the Deadbolt Breaks (“Hollow Crown,” “Sweet Embrace”). The diversity of May’s vocal delivery is a major asset on Liminal Space.
While Liminal Space is a very pleasant listen in the moment, the lack of hooky or melodic guitar riffs means that many of the tracks don’t quite stick. Regina relies almost too heavily on reverb, to the point that songs can be difficult to grasp, even as you might enjoy the detours the musicians take. The bassist does make up for this to an extent, often serving as the lead with a deft groove attack. Bassist Agustín Sogliano makes a particularly strong impression in the final minutes of “Rot” with some gnarly riffs. Fortunately, Liminal Shroud boasts clear production values that ensure no one instrument drowns out another. While the middle portion of the 48 minute album sags a bit, the surrounding music is enjoyable enough to recommend at least a few listens.
With the spunky Regina as its AMG representative, Uruguay is off to a good start. True, it might be a little uneven, but I also found their diversity to be a strength. From atmospheric psychedelic stoner to more punky grunge, Liminal Space has something for fans of either genre. And Sofia May proves to be a strong front woman. She helps carry the minimalist, piano-driven “Open Cage,” proving that Regina can make almost anything work as long as she’s leading the charge. This holds promise for future outings where more songwriting experience should lead to more cohesive, stronger compositions. Now that Uruguay has a band reviewed on AMG, I’m eagerly awaiting Vatican City to send in their promo.1
Rating: 3.0/5.0
DR: 8 | Format Reviewed: ALAC
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: September 12th, 2025
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