Album Reviews

U.S. death metal juggernaut Sentient Horror is established on a solid foundation. In less than one decade the quartet has proven to be among the worthy bands in the newer wave of underground death metal bands in the U.S. The fourth studio album “In Service of the Dead” out via Redefining Darkness Records on October 25, 2024, is an extension in sound and vivacity.
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After releasing countless demo releases, the Swiss black metal project known by the name Paysage d’Hiver returns with the third studio album “Die Berge” released via Kunsthall Produktionen on November 8th, 2024. Paysage d’Hiver has long been swathed under the black cloak of the multi-instrumentalist Tobias Möckl aka Wintherr, the composer launched the first studio album “Im Wald” in 2020 and departed from the underground lo-fi domain, however, the music resolutely embraced the aesthetics of grim and frosty black metal.
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The slam/brutal style of death metal was first brought by the U.S. legends Suffocation in the early 90s and became a catalyst for such standards in the genre. One perfect example of this style is the International four-piece band Defeated Sanity, which gave a modality of this archetype sound supposedly inspired by bands like Disgorge, Cryptopsy, and Cannibal Corpse. Defeated Sanity now returns with their seventh studio album “Chronicles of Lunacy” after four years of hiatus; however, these bands may share the same similarities in the insane blasting, palm-muted chugging, and nasty gurgles which present the apogees of brutal slam. But what defines these bands is the skill of the drummers in maintaining a high level of speed and technicality.
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The constant progression of Portugal's Gaerea to experiment and expand its niche made them one of the highest calibers today in modern black metal. The anonymous quintet finely crafted one album after another, leading them to stand proudly up at the towering pedestal but don’t let their appearance as clowns or jugglers trick you. The band’s fourth album “Coma” is an abrasive concoction of post-black metal that is highly innovative, showing an artistic aspect of their songwriting as a collective.
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Fit For An Autopsy don't need any introduction, but for those who lived under a rock the past decade: Fit For An Autopsy is an American deathcore band formed in 2008. After releasing their fifth album 'The Sea Of Tragic Beasts' back in 2019, they really reached the top in brutality. It was filthy, brutal and devastating. So what's next ? Evolving, or making the same album again and again ? They choose the first with the release of 'Oh What The Future Holds'. The brutal aspect was there, but it evolved to a more mature sound that I compared with Gojira in my review back then. And now they're back with 'The Nothing That Is'. Let's have a look, shall we.
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Opeth’s musical transition from progressive death metal to progressive rock was a visionary and genius move from Mikael Åkerfeldt. It brought the band closer to the 60s and 70s proggy spectrum. My interest exponentially grew with the release of their album “Damnation”, but I was never a fan of their earlier material except for their mellow acoustic songs that featured on albums like “Morningrise”, “My Arms, Your Hearse”, “Still Life” and “Blackwater Park” album”.
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Enemies Everywhere is a Finnish deathcore band founded in the early 2022. Never heard of these guys before, it being a very new band with its 2 years age. But what they produce on their first EP... Well let me tell you, it blew me away. Inhuman vocals, groovy riffs and crushing breakdowns. This EP was mastered by Buster Odeholm who has done Currents and Shadow Of Intent. But enough of this let's talk about the music shall we.
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On October 11th, the 11th album from The Offspring was released. This time, we didn't have to wait crazy long for new stuff. The Offspring can take their own style and take it to the next level or try a different approach. Let's see what sound they put on this album called Supercharged.
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Scandinavian death/thrash metal powerhouse The Crown is among the first bands to infuse aggressive thrash and melodic death metal; their classic albums like "Hell Is Here", "Death Race King" and "Crowned in Terror" packed speed and brutality given the Swedes a unique trademark style. Over two decades The Crown went through many lineup changes, but this has not held the band from showing what they’re capable of, the 12th studio album “Crown of Thorns” showcases a significant display of propelling the old-fashioned style.
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The sixth studio album “Sub Rosa in Æternum” by Swedish gothic cult ensemble Tribulation take its craft into dark music and lyrically finds itself revolving around the mystical and occult subjects. On this album, Johannes Andersson (vocals, bass guitar), Adam Zaars (guitar), Oscar Leander (drums), and Joseph Tholl (guitar) thoroughly present refreshing elements of the gothic style that have been attributed to past studio recordings.
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