Finally. Feels like we should have already had this album in our grubby little hands for a year at this point. This was was in the can last year, but was put on hold due to the pandemic. Instead, they put out the Despicable EP as a tide-me-over until the proper album could be released.
It’s been quite a wait for them to follow up the stellar comeback album, Surgical Steel. This latest release doesn’t have quite the ferocity of the prior release, but it is right there in terms of quality. Feels more like a mid-tempo thrasher on this one rather than the all-out blitzkrieg of Surgical. Subject matter is the technical surgery-flavored splatter-fest you’ve come to expect out of these dudes. Song titles again are among the best in the business (Eleanor Rigor Mortis, Flesh Ripping Sonic Torment Limited, Kelly’s Meat Emporium, Wake Up and Smell the Carcass). Bill Steer still remains one of the unsung guitar heroes in metal. He just manages to come up with creative riff after creative riff.
And how’s that for a different sort of album cover. It’s not everyday we get a sculpture for an album cover; let alone one made up of veggies. Rest assured, by the time you make it to the end of the liner notes, the veggie heart has decayed into a putrid, blackened mess.
This is just a classic thrashy death metal album. One designed to be played loud and to definitely annoy the neighbors.
I always hate it when bands slip under my radar. Hooded Menance is one such band. It looks like these guys have been plugging along since 2008 and have produced a number of albums in that time. It is only now with this latest release that I have had the pleasure of filling my earholes with their wonderful mix of NWOBHM/thrash inflected death metal.
Seriously, this album simply feels like coming home. It feels familiar in all the good ways. The riffs are just classics. The leads are warm and friendly. Damn. I really don’t know what else to really say about this one except that this is how I like my death metal done. It’s not grinding to the point of aggravation. It’s not obsessed with the grotesque. It’s just a classic metal album that tells some tales of the darker corners of the world and mind.
I guess I’m going to have to go back and explore the back catalog. These guys are keepers.
Pure white cover outside. Bleak ruins of mankind inside.
Yeah, right up my alley.
This is another of those albums which took a long time for me to actually get my hands on a physical copy. This one came out in August of this year and I’m just now in a spot to review it. Not sure if this is a problem in the supply chain due to the pandemic or what. At any rate, it’s here and I managed to score a signed copy of the album as a neat little bonus.
On to the musics. Arkivet is the follow up to 2019’s Nattarvet. Musically, the band is humming right along with a melodic black metal sound with some influences of a pagan/folk nature in places. My only complaint regarding the album might be the production value and the sheer lack of any bottom end to the sound. The production just gives the album a slight tinny sound. The general gist of this album is about mankind’s impact on the world and the damaging influences we have raged on our planet. From self-inflicted environmental and pandemic related catastrophes, Wormwood do not shy away from castigating mankind as a whole and ultimately lands on the premise that we are pretty much getting what we deserve. As said earlier, for me, this album is preaching to the choir. Album closer, The Gentle Touch of Humanity, is a perfect indictment of us all.
Not exactly a heart-warmer, this one. But, in times like this, maybe it’s important to have art that is courageous enough to look at the bleak underbelly of our existence. Hell, it might just help wake some people up.
This one has been a long time coming. Originally released back in May, I am just now getting my hands on a physical copy of this album. There was an initial run of LPs released that were completely gobbled up during pre-sale and I was only able to get my hands on a copy after the record company found a few additional copies from the initial pressing. I guess that’s a sign that your cult level band has an extremely rabid fan base.
After the expansive and ambitious double album, The Scars of Man…, this latest release feels more like a traditional black metal album. The last release showcased a separate album of bluegrass, acoustic and country inspired songs along with one centered on a more black metal focus. This new album only has one full song in the bluegrass vein in the title cut which opens the album and one acoustic interlude about midway through the album. Austin Lunn again handles all instruments and vocals on the album with the exception of the violin and cello parts. It feels like this album is centered on the struggle with mental health and the ongoing deterioration of the natural world. Even though some of the songs are simply brutal (Rope Burn Exit and Moth Eaten Soul, for example), it feels like the message contained herein is more one of hope than of despair. The liner notes from Lunn recount going through personal struggles and that this album is the result of attempting to navigate through some rough waters.
In all, I feel like this is a solid addition to the Panopticon catalog, but not one of the strongest attempts. I miss having more of an interplay between both the black metal and bluegrass/country elements. However, I can understand the decision to pull back a bit and return to basics after the ambitious Scars of Man double album.
Look at that magnificent bastard. Fucking Snaggletooth Samurai Eddie is the thing that I never knew that I needed in my life. And now that he’s here, I’m completely in love.
The new Iron Maiden album is here! The new Iron Maiden album is here! (You’ll have to picture me dancing around like a raving lunatic)
OK, look, this is my favorite band of all time. I have Eddie tattooed on my left calf and I’ve seen them live more times than I can count. But let me dispel you of any notion that I’m going to take it easy on my dudes. Quite the contrary. I hold these guys to a very high standard. They’re the band that truly turned me into a metalhead and I expect them to deliver even if they are in their sixties and 17 studio albums in at this point.
So, let’s get to it. Starting with the artwork. Eddie is always a key component to every Maiden release and I think they just knocked it out of the park. This isn’t the first time we’ve seen Eddie wielding a samurai sword (see Maiden Japan), but this is the first time he’s sporting the full samurai regalia. And those teeth!! Goddamn, that’s just a tasty addition to his trademark sneer. They’ve kind of stuck with the Eddie on a stark black background on the front cover as they did with Book of Souls. I kind of wish there was a bit more of a background, but the inner gatefold photo of Eddie basking in his glory of battle in front of a temple brings the goods as far as detail. Also, inside the packaging you get multiple shots of the new Eddie in various poses. All in all, Maiden is just the best when it comes to packaging and presentation. Top notch job.
So, how are the songs? Man, I wish I could say that this one lives up to the promise of the artwork. Overall, it’s kind a a retread. The performances are all top notch, as to be expected, but the songwriting just doesn’t feel all that inspired. There are quite a few songs and riffs on here that feel like they have been stripped straight from previous Maiden songs. Also, this is a very mid-tempo Maiden album from start to finish. There’s no Aces High or Trooper-style ripper on here. None of these songs just come charging out of the gate and grab you by the throat like some of those early albums. Maybe its the age setting in, but hell, I would have even taken a Be Quick or Be Dead on this thing just to get the blood pumping a bit.
As with a lot of the more recent Maiden albums, there are a lot of really long songs on here and most of them start out with a clean guitar/Harris bass intro/prelude thing. Hell, it seems like they’ve been hitting this song structure hard since the Blaze Bayley days. I don’t know if it was written into a contract when Dickenson and Smith came back that Harris gets to fuck around with some bass line intro shit at least five times an album or what, but it is really starting to feel like they need a producer with the balls to step in and say “Enough.” There is just a decent amount of fat on some of the longer songs that really needs to be trimmed. And I say this as a fan of long songs! However, if you’re going to have a 12 minutes opus, you’ve got to make sure that every part of it serves a purpose. The Time Machine, Darkest Hour, Death of the Celts, The Parchment and Lost in a Lost World all suffer this malaise. The title cut is a nice bit of majesty and a grand way to start the album. Stratego is a nice cut for a single. It has a trademark bouncy Harris galloping bass line and a nice catchy chorus from Bruce. Lead single, Writing on the Wall was an interesting choice. I can’t quite nail down what sort of influence this one came from, but in a weird way, it kind of reminds me in places of Kvelertak when they are at their most folksy. I have no idea if the dudes in Maiden are listening to Kvelertak, but it would be kind of cool if they did. This has to be the most unique song on the album or at least the one that strays farthest from the formula. Lost in a Lost World kind of sounds like a retread of something like Sign of the Cross. Days of Future Past is a nice little Smith/Dickinson composition. It’s one of the short songs on here and I think this one really works because it is just tight in its delivery and it has a really cool Smith riff that doesn’t feel like something we’ve heard before. Starting with The Time Machine at the end of Disc One, the album kind of just grinds to a halt. All of the remainder of the songs kind of fall into the pattern of the modern Maiden formula as described above. Slow clean start, some Harris piddling and then crescendo into a mid-tempo gallop. Darkest Hour came about because I’m guessing Bruce went to the movies and was impressed with Gary Oldman. Death of the Celts is basically The Clansman, Part II. The Parchment feels kind of like it features a watered down version of the riff from To Tame a Land. I would really like them to play this one live, however, just to hear Bruce introduce it with something ridiculous like, “And now! It’s time! To write! On! The PAAAARRRRCCCCHHHMEEENNNTTTT!” Album closer, Hell on Earth, is in the same formula as the preceding songs, but for some reason this one works better than the others. It’s probably the best of the bunch of long songs. The opening clean guitar part is truly goosebump inducing.
All in all, this one is a bit of a disappointment. Any other band I may have given a bit more of a pass to, but as stated before, the bar is very fucking high for Maiden. If we’re looking at the post-2000 Maiden, when Dickinson and Smith rejoined the band, I’d probably end up slotting this one down with Dance of Death as my least favorite modern Maiden album. I’d probably end up giving this one a bit of a leg up on Dance simply because of the artwork.
Brought to you by the letter “F”, Spirit Adrift has dropped this little EP as a “everyone-is-stuck-at-home-and-can’t-tour” in-between meal snack. Nate and his homies must have been Morbid Angel fans to keep rolling with this alphabet album title thing they’ve got going.
So, you’ve got three songs to tide you over until the next proper Spirit Adrift release. I’ve got to say that at least two of the songs on here, the title cut and album closer, Invisible Enemy, are better than anything on their last release, Enlightened in Eternity. They both have that classic unapologetic 80s metal-up-your-ass riffage. The middle song of the bunch, Wake Up, just doesn’t quite measure up to the other two songs on here. Kind of feels like something one of the also-ran NWOBHM bands like Tokyo Blade or Tygers of Pan Tang would have put out.
Not a bad little release overall. However, much like most EPs, it just leaves me wanting a bit more.
I hope you got your pelt cloaks washed. You want to look your pagan best for the dropping of a new Wolves in the Throne Room album.
Yep, with the dissolution of Agalloch, it feels like the Wolves are the band to carry the mantle for the Pacific Northwest vein of black metal. These guys bring a bit more mysticism and embracing of nature than some of their Norwegian brethren. This latest release feels a bit like a centering album for the band and an almost stripped down rendering of their sound. It feels like this album brings an equal level of brutal and ambiance in presenting their embrace of the primitive. Although it doesn’t possess the ambition of some their earliest work, this is still a very solid selection of songs.
I’d say this album is a left turn for this band, but it kind of feels like this album is Deafheaven finally embracing who they actually are as a band. Infinite Granite sees the band finally becoming the post-rock shoegaze band that was always inside of them. The black metal sound is nowhere to be found on this album (well, maybe just a couple of nods here and there at the end of a couple of songs). The crunchy guitars have been completely replace with a clean sound. George Clarke’s distorted shrieks have been replaced by soft croons and whispers. The vocals are probably the most jarring aspect of this new direction.
As different as this album sounds on the surface, to me it’s not all that unexpected of a departure for the band. Like I said at the outset, I think Deafheaven has always been this band. That’s why they courted such controversy when they put out Sunbather with it’s glorious pink album cover. Purist could see the emo-esque shoegaze band lurking under the style of black metal these guys were peddling. Look, the Mayhem and tr00 black metal fans are going to be tsk-tsking and gloating about “I told you so” regarding this album. And, those guys were kind of right. But, honestly, the Mayhem fans were never listening to Deafheaven anyway. So, who gives a shit about them, right?
So, that being said, I don’t see this as a sell-out album. It just kind of feels like these guys were following the creative forces inside of them and this is where it led them. I have to say that I don’t really like this new direction as much as their past efforts. The dichotomy between the black metal foundation with shoegaze flourishes are kind of what made them a unique and dynamic band. By stripping away the harshness, there is just this sort of hippie fluff that is left. It’s not bad. It’s just not necessarily my cup of tea. There are a couple of decent songs and melodies on here, but it just doesn’t have that special something to make this a memorable experience overall.
High marks for the bravery in going this direction. But, not my favorite album by the band.
Everything on this album is a bit of a mystery. From the name of the band (no clue as to what it means or how to pronounce it correctly) to the fact that the entire album is sung in German, it’s all a bit of guesswork as to exactly what is going on here. But, here’s the weird thing. Even with all the obstacles, I have found this to be one of the more engaging releases I’ve come across of late.
I say it every year. There’s always some black metal band that I’ve never heard of that ends up putting out an album that knocks me for a loop. It seems that Agrypnie is that band for 2021. This feels like a journey album. See that dirty looking dude on the album cover. I think this album revolves around his journey into either some sort of pagan-inspired enlightenment or his actual physical manifestation into a pagan god or creature of the woods. I’m taking a lot of this from the album booklet and accompanying artwork that shows this dude having visions of a human-like creature with antlers and then follows him into a woodland journey through much turmoil and searching which culminates in him changing into the very creature of his vision. Hence, the Metamorphosis! Like I said, for not speaking a lick of German, I got an awful lot from this album. Even though I don’t know for certain my theory of what this album is about is correct, the emotion conveyed through the vocals and music are so engaging that I was just sucked into it from the get go.
This is a good one. Give a listen and see if it doesn’t speak to you in some weird pagan vibes as well.
And we lose another one. This one as a direct hit from the covid pandemic. Wagner was the longtime vocalist for doom pioneer band Trouble and subsequent band, The Skull, which more or less felt like a continuation of his work in Trouble. Dude was probably as well-known for his Catholic beliefs and spiritually inspired lyrics as he was for his tortured sounding wail. His voice was instrumental to the Trouble sound and there weren’t really any comparable singers from that time that captured the anguish that he brought to the mic. As Wagner aged, his vocal style became less reliant on the high register he was known for the 80s and he seemed to fall into a more relaxed and natural delivery. In many respects, his embrace of this style in his older years reminds me a lot of how Robert Plant has aged (hell, they even look a lot alike in their old age). It was as if he simply embraced the ravages of age and the style of vocals he brought to The Skull just worked. Wagner was a unique voice and another that will be missed. I’ll admit that I was a bit late to the Trouble bandwagon and never got to see them play live, but I did get to see Wagner with The Skull before the pandemic shut everything down. I had planned on seeing them at what would have been one of his last shows when they played in Austin back on Aug. 8. I ended up passing due to the covid Delta surge and the fact that the show was taking place in a very small club. Now, I kind of wish I had just risked it to see him play one last time. But, hell, who knows…he may have contracted the infection at the Austin show. Just sad at any rate.