Patterns in Mythology outlines grand dips and swells, the balance always shifting between light and dark; a maelstrom of dissonance and harmony.
Our latest album review variety episode where we dissect some frigid black metal, murky death-doom, progressive sludge, and Dark Souls-inspired black metal.
What starts off sounding unique ends up melding into a memory of every melodic death metal album I’ve ever heard.
What sets Les Grandes Compagnies apart is its timbre. The sonic quality of the music, its overall texture, is so much more welcoming than the slicing distortion and overpowering drums (and sometimes terrible mixing) that are generally indicative of a traditional black metal album.
Grab your makeshift wrenches and welding torches to keep this disheveled crew’s craft afloat as we strike murderous warp speed.
POUND’s style is a caustic amalgam of doom, grindcore, d-beat, djent, mathcore, sludge, and a smattering of other genre textures. While this blend of sounds on the surface may sound like a trainwreck, the duo effortlessly weaves the core essence of each genre into a rather novel tone.
Advent Varic is the soundscape to catastrophe; gloom, an ever-present and sobering effect.
The Callous Daoboys wield heavy riffs and chaotic compositions on their new full-length, and absolutely demolish my former hatred of the violin.
Be it the soaring melodies grounded by gravelly rasps or the wind-whipped onslaughts of steel crushing bone, Amon Amarth port us to the biting, primitive landscapes of yore and imbue in us a keen sense of valiance and wanderlust.
A ferocious concoction of mathcore and hardcore infused with shots of progressive inclinations and black metal animosity.
There is a candid sense of liveliness and joviality that pierces Tempel’s compositions. Much of the record leaves an impression of a hard/classic rock aesthetic, however, the way they dig their heels into metallic qualities, carried by vociferous rasps, makes the album feel retro and simultaneously progressive.