Thomas MathoiAuch nach 25 Jahren ist #BlackwaterPark von #Opeth immer noch ein richtungsweisendes Album. Schön, da nach längerer Zeit mal wieder reinzuhören.
https://www.discogs.com/de/master/3697-Opeth-Blackwater-Park
Your Future ExFor @DXMacGuffin's #ProgTuesday: when you throw #DevinTownsend, #DreamTheater, #GreenCarnation #Haken, #Katatonia, #Opeth, #ShadowGallery, and #SymphonyX into a blender, you get
#Terravia: A New World
https://album.link/k0sghmtnqx9mr
Something familiar, but something different and balanced.
Quite an intro.
Angry Metal GuyMother Crone – Embrace the Death Review
By Twelve
Lately, I’ve been listening to quite a bit of depressing music. Between Meadowlands, Qroba, and Exequiae, the themes of melancholy, death, and despair have been having quite the run ’round these parts. So it figures my review of the day is Embrace the Death—why turn away from a theme that’s doing well? This is the sophomore full-length release from U.S.-based Mother Crone, over a decade after their debut Awakening, and, if my research is accurate, with a completely different lineup. The topic of the day is clear, and Mother Crone approach it with a blend of doom, stoner, progressive, and groove metal. It’s always exciting to see what a band can do with a refreshed vision, lineup, and style, and apparently, grim topics are strong performers these days. How do Mother Crone compare to their contemporaries?
That my depend on how we define “contemporaries;” while Mother Crone share subject matter with the aforementioned groups, stylistically they have more in common with their own stated influences, Pink Floyd, Pantera, and Alcest (among others). As mentioned earlier, the sound on Embrace the Death is fairly well-rooted in stoner metal, with elements of doom, progressive, and groove naturally creeping in to fit the topic. Guitarists Edoardo Curatolo and Joe Frothingham (also vocals) oscillate between light, introspective play and a burlier, more aggressive approach, and Frothingham’s singing is the same. A lot of the album’s stoner and doom metal leanings actually owe to bassist Preston Wilson and drummer Charlier Romano, whose slower, grimier playing grounds the music in a progressive sort of styling. Together, the result is something at times aggressive, at times introspective, and always atmospheric in some way.
Embrace the Death by Mother Crone
But the best parts of “Embrace the Death” are unquestionably the album’s quieter moments, where Mother Crone embraces the doom and the atmosphere fully. The title track is the best example; here, Frothingham takes a break from what my father would affectionately call shouting in tune to do his best Mikael Åkerfeldt (Opeth) impression and guide the listener through a somber acceptance of the inevitable. The plaintive guitars, soft singing, and rumbling bass give way to subtle, beautiful melodies that grow organically. Not that the heavier moments are not welcome ones—”Fever Stone” is a more traditional, groove-led rocker that demonstrates a nearly opposite side of Mother Crone’s sound, the one that channels Pantera more than Opeth or Alcest. “Eye of Providence” is the middle track for the sound, best blending riffs, atmosphere, and heaviness. In all, Mother Crone don’t really sound like any of their influences, but bring forth something in the odd space between them all, something surprisingly affecting, sometimes heavy, sometimes airy, and often both at once.
Another thing I can say about Embrace the Death is that it is a fairly front-loaded album. In particular, the trio of “Fever Stone,” “Embrace the Death,” and “Unto the Dawn” is a powerful one-two-three hit of Mother Crone’s sound, from burly, melodic aggression to more plaintive, introspective atmospheres. Towards the end of Embrace the Death, however, I think Mother Crone loses sight of their strengths. “Inner Keep” in particular is an example of a song that could have used more editing than it received, clocking in at eleven minutes without making the impression I think it means to. “Celestial Light” is a beautiful closer for the album, but tonally feels a bit out of place. Perhaps if more of Embrace the Death leaned towards its title track sound it would fit better, but as is, it feels like the two extremes of the Mother Crone sound are more in competition with each other than blending into a unified listening experience. It’s all good music, but as a full album, I think there’s too much back and forth between aggressive and plaintive music to feel as “complete” as it could have felt.
Still, there is a clear journey through Embrace the Death, and, despite its grim title and concept, it’s a fun and reasonably thought-provoking listen. Mother Crone was not on my radar before now, but I’ll be paying attention to them for certain in the future. At best, this sophomore is a beautiful, compelling, and contemplative work of atmospheric metal; and otherwise, it is “only” good. Hopefully this new lineup sticks around for a bit—I’ll be looking forward to album three for sure.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: mothercrone.bandcamp.com | facebook.com/mothercronemusic
Releases Worldwide: March 4th, 2026
GavinThe Silver – Looking Glass of Hymnal Blue Review
By Saunders
Comprising members of Horrendous and Crypt Sermon, back in ye strange times of 2021, Philadelphia’s The Silver dropped an impactful debut platter upon the unsuspecting underground masses. Ward of Roses struck a powerful and unexpected blow, welding atmospheric goth, post, black, and progressive elements into a biting and melodramatic slab of extreme metal. Time flies, and nearly five years later, The Silver make an anticipated return through sophomore album, Looking Glass of Hymnal Blue. Already boasting a unique, versatile and imposing formula, rather than dramatically reinventing their sound, Looking Glass of Hymnal Blue finds The Silver tightening the nuts and bolts of their songwriting to forge a confident continuation and subtle evolution of Ward of Roses.
Balance is the key to unlocking The Silver’s songwriting power and stirring dynamics. A wicked melting pot of gothy atmosphere, darkly sparkling melodicism, and stormy theatricality, Looking Glass of Hymnal Blue grounds these elements with anguished extremes, the harrowing howls of vocalist Nick Duchemin, and a hyperactive barrage of blast beats, frantic, blackened riffage, and steely aggression. This enticing, ying-yanging combination is expertly crafted, especially when combined with progressive arrangements that flex The Silver’s strengths and unorthodox charms with interesting, complex musicianship and memorable hooks. Shrouded in an atmosphere of icy melancholy, Looking Glass of Hymnal Blue’s wrenching emotional resonance lends further substance to the dense material. Notably, the improved clean vocal lines play a more integral role, featuring an emotive, addictive punch soaring through the album’s jagged, bleaker terrain.
The opening title track sets the tone, unleashing visceral bursts of turbulent axework and frantic rhythms, as dueling harsh and clean vocals consolidate The Silver’s mastery of contrast, including frosty beauty and beast dynamics. Some almost Opeth-esque bluesy guitar work and a beautifully delivered clean vocal passage cap off a stellar introduction. Longer form epics form the bulk of the album, as evidenced on the album’s lengthiest piece, the stunning, nearly nine-minute-long “Two Candles.” The Silver handle the weighty composition with crafty skill. Urgent, savage ebbs smoothly intermingle with soaring cleans, mellow passages, and colorful guitar work. It’s an ambitious, frequently gripping journey, encapsulating The Silver’s strengths and individuality in one momentous epic. Elsewhere, The Silver’s keen balancing act also shines on shorter, punchier songs, such as the aggressive, percussive-heavy surge and pristine melodics of “Memorias,” or violently thrashing assault and blackened intensity of “Tendrils.”
Ward of Roses possessed a distinct freshness and raw delivery complimenting its harsher realms and melodrama. Naturally, the elements of surprise are tempered second time around, Looking Glass of Hymnal Blue only marginally sacrifices the rawer edge of the debut, compensating through a stronger, more confident melodic presence and tighter songcraft. The Silver’s proggy inclinations come to the fore, deviating from conventional writing and maintaining a rich infectiousness, where hooks bore into the soul and lodge in the memory bank. Musically, Looking Glass of Hymnal Blue is another ambitious, genre-splicing beast, straddling post, black, prog, and doomy realms with aplomb, maintaining cohesion, beefing up the technicality and rippling guitar fireworks, and pushing forward Matt Knox’s confident, compelling clean vocal melodies. This may not work for all listeners, depending on tolerance for Knox’s vocal style, which generally dips less into the spoken word theatrics that were occasionally a stumbling block on Ward of Roses. Special mention also to the robust rhythm section; as plump basslines, pulsating rhythms, and intricate drum patterns demand attention.
Only the shorter, bluesy later album cut “…Twilight of Love” falls short of the hefty standards of its counterparts, though it is a solid song regardless, feeding into the colossal power, violent throes, and affecting melodies of closer “My Lone Dark Lantern.” Looking Glass of Hymnal Blue adds intriguing twists and layers to an already cool formula, largely levelling up from the sophisticated, exciting promise of their debut. Crafting another accomplished, beautifully produced album, The Silver avoid the dreaded sophomore slump, taking minor creative risks while both expanding and consolidating their unique sound. Taking their time with this second opus, the payoff is grand, and The Silver’s welcome return suggests this project is here for the long haul.
Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Gilead Media
Websites: Bandcamp | Facebook
Releases Worldwide: March 20th, 2026
Z
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#BraveWords
SOEN / Ex-OPETH Drummer MARTIN LOPEZ – “Top 5 Albums Of My Life”; Video
https://bravewords.com/news/soen-ex-opeth-drummer-martin-lopez-top-5-albums-of-my-life-video/
#SOEN #OPETH #Drummer #progressivemetal #album #newrelease #video #BraveWords #metal #music
#TheMetalDogArticleList
#BraveWords
OPETH Frontman MIKAEL ÅKERFELDT On Possible Collaboration With DREAM THEATER Drummer MIKE PORTNOY – “I’m Completely Open To Working With Him”
#OPETH #MIKAEL #Frontman #OnPossibleCollaborationWith #interview #drummer #BraveWords #metal #music
DirkFor #bcf, I'm going to buy the album Floodgate by #ImminentSonicDestruction.
While I don't exactly like the sound of the singer's voice, some of the music that's happening feels intriguing. The music is in that general #ProgMetal area that I tend to enjoy. I can't really compare it to other bands for #ffo, but the page tags this release as:
#DevinTownsend #DreamTheater #Haken #Leprous #Opeth etc.
https://imminentsonicdestruction.bandcamp.com/album/floodgate
Floodgate, by Imminent Sonic Destruction
8 track album
Malefic – Impermanence Review
By Andy-War-Hall
A tabby cat is what you get when you let nature take its course. Nearly every stray is a tabby because, without selective breeding from human interference, cats just end up looking like that most of the time. Similarly, Atlanta’s Malefic feel to me what you’d get if you let the faster variants of extreme metal reach their natural conclusion. Playing a style that draws from thrash, black and death metal, Malefic formed in 2007 with the stated goal of modernizing black metal. In doing so, they’ve imbued in their slow-cooked debut Impermanence, an intensity and drive befitting a genre-forwarding record. But is Impermanence the cat’s meow, or did Malefic cough up a hairball?
Like how tabbies are genetically diverse but visually similar, Malefic’s many ingredients blend into a kind of extreme metal slurry on Impermanence, all present but difficult to identify individually. Sure, some riffs are more typically one thing than another, like the Testament-like thrash chops opening “In Darkest Dreams,” or the Dissectionesque blackened trems on “Blood of the Throne,” or the Opethian deathly grooves of “It Haunts.” But taken as a whole, Impermanence doesn’t lean towards one sub-genre over another. Instead, Malefic’s mutt-metal manifests into an off-kilter, volatile force of hostility, recalling heavily of the genre-blending approach Xoth take. Xoth are actually probably the best comparison to Malefic, as drummer Aaron Baumoel’s rasps and screams sound a lot like both of their vocal duo, and guitarists Jason Davila and Sam Williams’ solos follow the melodically rich, whammy-friendly stylings of Xoth (“Idiocracy”). Bolstered by a rhythm section of Baumoel and bassist Andy McGraw, who both know how to lay down some serious groove when needed (“Deserter”) and a dynamic mix, Impermanence shows that those years of honing their style have paid off for Malefic. It’s a good sound!
But what confuses me about Impermanence is that it feels aimless in many places, but not because Malefic can’t edit. To the contrary, every song on Impermanence is tight and focused, only running past five minutes on “It Haunts.”1 Malefic also aren’t indulging in extraneous instrumentals or soloing, as songs like “Of Gods and Man” and “Disembodiment” showcase the band’s restraint within their buck-wild playing. The issue is that Impermanence doesn’t stick with an idea long enough. “Blood of the Throne” and “Obsidian Earth” have, like, five riffs in their first minutes or so each; instead of expounding upon a few ideas, Malefic often churns through ideas before they’ve settled into something sticky. This pattern especially stinks when they land on something great and don’t develop it, like the swinging, discordant riff in the second verse(?) of “Echoes of Silence” or the guitar runs opening “Obsidian Earth.” Impermanence sees a band on a mission, but maybe also a band in too much of a hurry.
What this amounts to is that Impermanence possesses a sound I can’t say I’ve heard before, but also, confusingly, one that’s somewhat indistinct from other extreme metal albums. Malefic’s aforementioned style-soup is so dense with expansive inspirations and somewhat progressive tendencies (“Disembodiment,” “It Haunts”) that, besides some serious Xothisms here and there, it adds up to something not exactly like the sum of all of their influences. But at the same time, Impermanence’s loose structuring and lack of purposeful repetition hampers Malefic’s ability to craft lasting hooks. By and large, most songs start with some fanfare, rage for three-to-four minutes straight while Malefic tear through riffs with reckless abandon like a more evil, more succinct Trivium and end with little resolution. It can be very exciting and enjoyable in the moment, but I’m left with little to remember Impermanence by the time it’s over.
But there is nothing wrong with a tabby cat,2 and there’s nothing wrong with Malefic. They’ve carved out a great sound for themselves that more purposeful songwriting could harness into a truly hog-wild time. But where Impermanence excels in thrills, it lacks staying power, mostly in part to Malefic’s restless pursuit of riffs above all else. Fans of blackened thrash, blackened death, death thrash or bethrashened black death could do a lot worse than giving Impermanence a spin, but it’s probably not the genre-shaking game changer the band wanted. There’s always the sophomore album, however…
Rating: Mixed
DR: 9 | Format Reviewed: 320 kbps MP3
Label: Terminus Hate City
Websites: maleficband.com | malefic.bandcamp.com | facebook.com/MaleficBandATL
Releases Worldwide: February 13th, 2026
