A new album review podcast series between podcast host Ryan and album review writer, Tim. We discuss four albums for about 10 to 20 minutes apiece, expounding upon qualities we enjoyed as well as qualities we were not necessarily fond of.
Nicolas Gomez, the vocalist of Zombie Holocaust, speaks about the founding of the band, the writing process, and he dives into some stand out tracks. He also talks at great length about his hero/inspiration the bass legend Cliff Burton (Metallica), who shares the same hometown of Castro Valley with Nick.
Tårn delivers on so many fronts: it’s groovy, it’s heavy, and it’s catchy, a winning combo. Though Ruff Majik has never been as heavy as to be labeled a doom metal act, with each album they grow darker and more brooding and their sound here is a far cry from the stoner rock sounds heard on their debut, The Bear.
Apoptosis is breathtaking in its technicality, uplifting in its melodies, and expansive in scope as it effortlessly incorporates tinges of orchestral flair.
Where some music reflects on loss, Part Island embodies it and causes nostalgia to well up in your throat
Malignant Altar breathe unholy life into the exhumed corpse of OSDM with their debut demo.
Sulphur English is utterly sullen and crushing, yet simultaneously intoxicating, triumphant, and revitalizing. It latches onto an ancient strand of DNA residing in each of us. And it strives to ignite a smoldering flame to illuminate an ancient path we have strayed.
A despondent expanse made verdant by its lush, transfixing melodies; a seamless wayfaring, Jord och aska harbors an elegant blissfulness sodden in melancholy.
Death metal with thrash, slam, and hardcore influences, Samsara harbors an affinity for progressive writing that is both technical while also being engaging.
Characterized by a turbulent mishmash of genres and styles, the experimental, melodic grindcore quintet Beaten to Death erect a unique tone that is as disorienting as it is blissful.
Crux is an undeniably unique album. Compositionally, it is exceptionally crafted and a breath of fresh air within modern rock music. However, I find myself simultaneously loving and hating parts of the album and generally that feeling happens at the same time.
We reach a lull as the abrasive yet alluring wall of sound is broken by swirling keyboards and reverb-drenched guitar. This respite is accompanied by visions of lush, green, cold forests that seems to pass by as if in some sort of fevered dream.