ALBUM REVIEW: Lantern, "Dimensions"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 10/07/2020

Label: Dark Descent Records

“Dimensions” CD//DD//LP track listing:

1. Strange Nebula

2. Beings

3. Portraits

4. Cauldron of Souls

5. Shrine of Revelation

6. Monolith Abyssal Dimensions

The Review:

It is not often that I am faced with an expired deadline for a review, but, then again, I am also not often relegated to self-imposed quarantine, and social distancing. The last few months have been bizarre to say the least, and while the music industry is far less effected than film, the impacts of COVID-19 cannot be easily ignored. “Dimensions” dropped right at the same time I began preparations to return to work; and for me, Lantern’s latest release, “Dimensions”, was an album deserving of far more than a cursory glance, or half-assed write-up. It is a multilayered effort, deserving of an in-depth vivisection to really analyze each substratum of its composition.

While the actual review portion of the release was heavily procrastinated on, I found myself regularly putting “Dimensions” on play throughout my isolation; there is an explicit atmosphere Lantern communicates with their writing; often bleak and weighty, but the energy is intoxicating. Whether I was doing the dishes, cleaning, or combatting the pandemic with new “COVID Safe Practices” in the workplace, I could find time to enjoy “Dimensions” in my daily life.

Influenced by death, horror, and the occult, their inspiration from the mysterious and macabre, ooze out between their screeching melodies, and thrashing riffs, like a creeping and cognizant ooze of malevolence. It isn’t lighthearted by any means, as showcased in it’s beautiful album cover by Timo Kokko, but as others have said, they are a light in the darkness of Black Metal. It could be the melodic sensibilities in their song writing, or the distinctive vocal work of member Necrophilos; but where you often find chaos in the genre, Lantern breathes a sort of life and order into their exploration of death. Formed in 2007, the current line-up featuring Cruciatus, J. Poussu, St. Belial, and the aforementioned Necrophilos may be their finest effort yet and would not be surprising to see on many year end lists.

Hailing from the fetid womb of our Metal Motherland, Finland, Lantern leads their listeners on a dark journey through the underworld, like Kharon, the ferryman of the River Styx. It is no less dark or depraved than other bands in Black Metal, but there is an almost Alighieri-an poetry, meets Lovecraft nature to their vision. Musically, you can expect a diverse amalgamation of brutality and melody, dusting a metaphorical soundscape of storms and skeletons.  At the end of the day, I am happy to be writing again, and I am glad it was Lantern – “Dimensions” that kicked things back into gear. There is a level of despondence that takes over, when the rush of everyday life stops, and it was art that kept me going in those dark times.

“Dimensions” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Paradise Lost, "Obsidian"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 15/05/2020

Label: Nuclear Blast

“Obsidian” CD//DD//LP track listing:

01. "Darker Thoughts"
02. "Fall From Grace"
03. "Ghosts"
04. "The Devil Embraced"
05. "Forsaken"
06. "Serenity"
07. "Ending Days"
08. "Hope Dies Young"
09. "Ravenghast"

The Review:

Death/Doom is a genre that at times, can feel contrived; leaning too heavily towards either side of its genre spectrum, sacrificing nuance that gives it an identity. Amidst the mediocrity however, one band has constantly set the standard for craftsmanship, and that band, is Paradise Lost. Often emulated, but never duplicated, Paradise Lost has cemented themselves as one of the most iconic bands of the extreme metal subgenre. Blending depressive and melancholic themes, with crashing furry, every album is a roller coaster of emotion, evoking chills without compromising the epicness of even their most brutal peers.

Recognized as one of the mythical Peaceville Three, Paradise Lost formed in 1988 before signing with Peaceville Records, alongside juggernauts My Dying Bride and Anathema. Credited with inspiring bands from Amorphis, to HIM, and Cradle of Filth, their influence reaches far past the confines of a singular music subgenre, and instead has left its impact on anyone who has been fortunate enough to experience it. Gothic and disparaging in their sensibilities, Paradise Lost are as influential now as ever, and “Obsidian” expands their scope to a much wider audience.

Yes, it’s still heavy, and yes, it still features the primal growl of front man Nick Holmes, but where in the past there might’ve been moments of crunchy riffs, they have chosen to fill the space with sweeping guitar solos, more clean singing, and heavy, pulse racing hooks, accented with a ringing and mournful key track. As veterans of their craft, Paradise Lost are no longer discovering themselves, but are instead working to expertly execute their art with focused precision. It makes sense, as the band has had one of the most stable line-ups in amidst long standing bands, featuring vocalist Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, and bassist Steve Edmondson, the band has only ever changed drummers on a few occasions. 

Stand out tracks “Darker Thoughts” and “Ending Days” showcase the band’s Goth Metal tendencies. Opening with industrial style instrumentals or acoustics respectively, the macabre spirit of their content is put on display, painting a depressive vision with sound. There is such a diverse approach to composition throughout the album, one could easily spend an entire blog post waxing poetic over the sheer artistry, but that would be a disservice to the sonic experience. This is an album that will easily find a place amongst most year end list, and deservedly so.

Whether you are familiar with Paradise Lost or not (how could you not be?), “Obsidian” is a metal release worthy of the accolades it is sure to receive. It can be enjoyed by fans of various genres of metal, and still be appreciated for its technical execution, and heaviness. More importantly, this album is more Paradise Lost, and who wouldn’t want that!? Expect people to talk about “Obsidian” for months to come, as their influence spreads further, with a dark and beautiful opus.

“Obsidian” is available HERE

Band info: facebook

ALBUM REVIEW: Resent, "Crosshairs"

 By: Thomas Gonzales

Album Type: Full Length

Date Released: 01/05/2020

Label: Dry Cough Records |

Nerve Altar | Rope or Guillotine

“Crosshairs” DD//LP track listing:

1). Miserable Pt.2

2). Dengenerate

3). Wallowing In Filth

4). Crosshairs

5). Victimized

6). Miscarriage

The Review:

Victoria BC export Resent set out to form the nastiest, most disdain drenched sludge they could muster when they formed in 2017; with the release of “Crosshairs”, their debut LP, it is safe to say they have done just that.

Laden with disturbing voice over tracks, shrieking harmonics, and the grimiest riffs this side of Meth Drinker, “Crosshairs” is a disparaging and crushing 45 minutes of down and dirty sludge. Channeling their influences from 90s sludge “classics” Grief, Noothgrush, and Corrupted, the genre is flayed open and excoriated, like a festering wound, sinking into the darkest depths of putridity. Each of the 6 tracks are over 5 mins long, droning the listener into a stupor of aggravated despair.

If “Crosshairs” is any indication of what Resent has to offer, expect to see them leaving their mark on extreme metal. If you are out for something slow, heavy, and unrelenting, this is sure to satisfy; its primal approach to song writing, with its raw production plows over the soundwaves, and straight into your skull.

“Crosshairs” is available HERE

Band info: bandcamp

ALBUM REVIEW: The Black Dahlia Murder, "Verminous"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 17/04/2020

Label: Metal Blade Records

                                  

“Verminous” CD//DD//LP track listing:

1. "Verminous" (3:50)
2. "Godlessly" (3:28)
3. "Removal of the Oaken Stake" (4:26)
4. "Child of Night" (3:38)
5. "Sunless Empire" (3:58)
6. "The Leather Apron's Scorn" (3:34)
7. "How Very Dead" (3:07)
8. "The Wereworm's Feast" (4:36)
9. "A Womb in Dark Chrysalis" (Interlude) (0:48)
10. "Dawn of Rats" (4:28)

The Review:

Billboard top 200 Extreme Metal masters The Black Dahlia Murder need no introduction, and blast (back) onto the scene with their 9^th full length studio album “Verminous”.

After “Ritual” (their 5^th release) topped #32 on the charts, The Black Dahlia Murder has become one of the most mainstream successful bands in Death Metal; seeing great success with each successive launch, “Verminous” will likely be another hit under their belts. Where “Ritual” felt like a final evolution in the band’s sound, “Verminous” feels very much like a return to form, regressing with each release back to a distilled concentration of aggressive and horror laced death metal.

Tracks, “Godlessly” and “The Wereworm’s Feast” open hard, with pummeling double bass, and shredding riffs, setting up the best bangers on the album. “Godlessly” has the type of hook that will get stuck in your head all day, headbanging and fist pounding along to the music between your ear space. “Child of the Night” may be the standout track however, starting with a prominently featured bass groove, that gives way to breakneck rhythms, and the nastiest bridge on the album. “Verminous” is down and dirty Death Meat, definitely a must listen for the black cloths and big beards crowd.

Like the now iconic 2007 album “Nocturnal”, there are moments of discordant melodies interspersed with guitar flourishes, and pulse racing drums, but at the end of the day, the focus here is darkness, and brutality. To put things simply, “Verminous” is good, like, “Nocturnal” good. It may never reach the iconic level of its predecessor, but the sheer adeptness with which The Black Dahlia Murder composes their music, is something deserving of recognition. It is hard NOT to draw comparisons with past works, but there is something to be said about a band that has been around for 19 years, helped define the genre, and still feels as fresh as ever.

“Verminous” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Depravation, “III:Odor Mortis”

By: Thomas Gonzales

Album Type: Full Length 

Date Released: 03/04/2020

Label: Lifeforce Records 

“III:Odor Mortis” CD//DD//LP track listing:

1). Casting Fear

2). Peitschenhieb

3). Misery

4). Beug Dich

5). Sickness

6). Amboss

7). Arrival

8). The Endless Night

9). Nothingness

The Review: 

Münster, Germany extreme music “DIY-ers” Depravation join metal label Lifeforce Records for the release of their 3^rd full album, “III:Odor Mortis”. Formed in 2011 Depravation are veterans of over 300 concerts across Europe, and multiple split collaborations spanning the musical stylings of Hardcore to Death Metal. They have sown success in the underground scene by sheer force of will, and the sweat from their collective brow; this relentless pursuit of aggressive song crafting, are translated into what may be their most brutal album to date. 

Free from the constraints of traditional Hardcore Punk and Crust, the framework for their latest release leans heavily on their Blackened Death influences. Full of aggressive blast beats, shrieking screams, and shredding riffs, “Odor Mortis” is a pulse pounding exercise in heavy music composition.  Amidst this slurry of genres, there are elements of Doom Metal and Grindcore, creating a sludgy and noxious soniscape, like moshing your way through a frozen field of viscera.  It is cold, brutal, and nasty.

It’s not all shredding riffs and pounding rhythms however, there are many “striking grooves and eerie melodies” throughout, which help to move the listener along a musical path. With “Sickness”, Depravation slow things down for a (mostly) instrumental track, accented only by a haunting denouncement of hatred spreading like a virus, choking out the light. The interlude is the only real break throughout the album, and it does a great job of setting off the final act. Concluding with pummeling drums, and mournfully distorted guitar parts, it gives way to probably the Blackest song on the record, “Amboss”. “Sickness” really feels like a transitional piece, as the latter part of the album is Blacker and Doom-ier than the more Hardcore start. It’s here that things seem to shift focus with the themes of the album.  “Nothingness” closes things out a somber Doom piece embracing the reality that there is no purpose, “nothingness unfolds”. It is bleak, and such a fantastic way to wind things down after taking the listener on such a tumultuous journey.

“I: Praedictvm EP” (2012) & “II: Maledictvm” (2013) are almost a decade in the past, and when you listen to them now, you can hear all the pieces coming together. The elements have carried through each project, and Depravation has acquired various techniques from their collaborators, and blended them into the band you hear today. Touring with Hardcore and Black Metal groups alike, has clearly influenced their song writing and helped them to create something all their own. Pick up “III: Odor Mortis” today from Lifeforce Records, and while you’re at, blast your way through their previous works.

“III: Odor Mortis” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: On Thorns I Lay, "Threnos"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 21/02/2020

Label: Lifeforce Records

“Threnos” CD//DD//LP track listing:

1). The Song of Sirens

2). Ouranio Deos

3). Cosmic Silence

4). Erynies

5). Misos

6). Threnos

7). Odysseia

The Review:

Self-proclaimed "Pure Depressive Metal" pioneers On Thorns I Lay return once again, following up 2018's "Aegean Sorrow" with their latest album, "Threnos".

Their ninth studio release features a familiar blend of flourishing string instrumentals, coral vocals, and piano interludes. On Thorns I Lay continues their journey of experimentation and introspection, refining techniques they've evolved since their inception in 1992.

Like many of the band's peers who influenced their style, On Thorns I Lay have undergone stylist changes, diversifying the original sound found on their debut album "Sound of Beautiful Experience" in 1995. Following a similar pattern of growth, On Thorns I Lay evolved with the genre; transitioning through extreme metal subgenres like Death/Doom, Melodic Death Metal, and even Blackened Doom Metal, bringing it all forward into their latest projects.

While Veterans of the industry, many listeners are only now discovering this band, and it's due in part to the sheer quality of their last few releases; "Threnos" is no exception. Reminiscent of the Peaceville Three, there is a diverse canvas of sound present in their music, adding a Hard Rock Goth approach to their brand of Metal, while sowing a thread of melodic sensibilities throughout each track. More importantly, their musicianship continues to improve, offering not only a high-quality production, but intuitive composition as well.

Riffage on the song "Misos" brings the hard rock element into the spotlight with catchy rhythms and hooks; a refreshing nuance in what is generally a very droning genre. Title track "Thenos" on the other hand, portrays a more Death Metal sensibility, focusing on throaty growls and pounding rhythm sections, that give way to the melodic nature seen throughout other songs on the album. Even though it starts off strong, it's the latter part of the release that really shines. Each track is tailored to create a sensation of grandeur, sweeping the listener away in the turbulent roil, before it crashes into the finale of weeping guitar solos, and acoustic interludes of "Oddysseia". 

On Thorns I Lay have an extensive history, but thankfully, now is absolutely the best time to get familiar with their works. "Aegean Sorrow" found itself on many Year End Lists in 2018, and with this being the most refined their music has been yet, it isn't a far stretch to think "Threnos" may see similar success. Pick-up "Threnos" on Lifeforce Records today.

“Threnos” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Medium, "Medium"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 06/03/2020

Label: Transcending Obscurity Records

“Medium” CD//DD track listing:

1). Skullcomet Sorcery

2). Maximum Rampage

3). El Gigante

4). Black Future Patrol

5). Gargola

6). Night Vision

7). Radiation Huntress

The Review: 

Argentinian newcomers, Medium, bring a tumultuous and crashing cacophony of Grindcore and crust punk that feels as at home in the death metal subgenre as it does in the punk and hardcore scene. At first listen it's easy to miss some of the subtle nuance that makes Medium stand out amongst their peers, however, upon a re-listen, you'll find that there is a lot of interesting and complex songwriting often lacking from other bands in the same category. Each time you play it, there is one more layer you missed, and each play through is better than the last. 

“Medium”, the debut self-titled album from Medium, is a one two punch of fury; raging blast beats, death growls, and speedy tremolo picking elevates the pulse, and immediately energizes the listener. This is the kind of music that makes you put your foot down a little heavier on the accelerator. 

Thankfully unlike other Grindcore bands, this is the type of album that you can use to introduce your friends and family to the genre; it's quite an easy listen and given some of the more melodic sensibilities present, there's a little something for everybody across the metal spectrum. In particular, the solos and break downs are a real treat, featuring excellent fret work, and speedy riffs over pummeling rhythm sections. Medium could easily become the next "must see live” band, as it's just such a spirited release. Being able to translate so much energy into an album is impressive, and one can only imagine how much more they would offer in the flesh.

Unlike other reviewers, I find it’s short runtime to be a virtue; often bands work so hard to stretch out the content of their releases, that they lose focus, allowing the track quality to vary in consistency. That’s not the case with Medium; because the album is so short, it feels like every song is precision crafted to offer only the best possible listening experience. Quality tracking, tight composition, and diversity makes Medium a gem amongst the rubble of big-name releases, and a premier 

worthy of all it’s accolades.  

“Medium” is available HERE

Band info: bandcamp || facebook

REVIEW: Lychgate, “Also sprach Futura”

By: Thomas Gonzales

Album Type: EP

Date Released: 13/03/2020

Label: Debemur Morti Productions

“Also sprach Futura” CD//DD//LP track listing:

1). Incarnate

2). Progeny of the Singularity

3). Simulacrum

4). Vanity Ablaze

The Review:

Lychgate opens their new EP “Also sprach Futura” with a chaotic and discordant piece replete with off key organs, ghostly throat singing, and atmospheric backing tracks. Even in its moments of harmony, there is an ethereal nature to their sound, like some sort of haunted masquerade, creating an uneasy tension that is not easily subdued. Shrieking guitars, and shrill harmonics add to the cacophony, pummeling the listener into a state of distress, unrelenting in delivering their dystopian vision.

Relatively new to the scene, Lychgate formed in 2011 to mixed reception. This was not due to a lack of talent or quality, but from an undefinable classification; it was music for the bold, seeking more depth in the extreme metal genre. Their avante-garde approach to composition elevates their sound to an artfully progressive realm, blurring the line between Black Metal, Death, and Doom Metal. It is the musical equivalent of a blackened midnight mass procession, waltzing macabre through the cemetery gate. Remember, this is the band who once on tour, employed an actual working organ for each of their shows.

“Also sprach Futura” is a stepping stone for Lychgate, as they continue to evade wallowing in the pit of mediocrity; it’s multi-textural, evocative, and psychedelic, but not at the expense of brutality. They represent an evolution in Blackened Metal, drawing from their classical repertoire, and incorporating technical metal sensibilities with the raw and primal ferocity of their predecessors. If you’re seeking something dark, complex, and fresh, look no further than “Also sprach Futura”, available NOW via Debemur Morti Productions.

“Also sprach Futura” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: My Dying Bride, "The Ghost of Orion"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 06/03/202

Label: Nuclear Blast

“The Ghost of Orion” CD//DD//LP track listing:

1. Your Broken Shore
2. To Outlive The Gods
3. Tired of Tears
4. The Solace
5. The Long Black Land
6. The Ghost of Orion
7. The Old Earth
8. Your Woven Shore

The Review:

Befitting of a band with such maudlin themes, My Dying Bride rise from the ashes of despair to deliver their latest in soul crushing Death/Doom, “The Ghost of Orion”. Not unlike previous albums, “The Ghost of Orion” is an unrelenting journey of mournful introspection, written almost entirely in solitary isolation by guitarist Andrew Craighan, as his band mates were suffering the very trials of life that comprise the inspiration for their works.

Founder and lead singer Aaron Stainthorpe was understandably absent during the writing process for My Dying Brides’ latest release, as his daughter fought against the remorseless tendrils of cancer, what he calls “the cruelest of God’s bitter and loveless creation”. Though absent in their inception, the tumultuous experience is ever present in his delivery of the words he expels throughout each track. I am a sucker for a good concept album, and to share in such a difficult period for the band, “The Ghost of Orion” becomes a cathartic exercise in unified suffering. By taking on the weight of tragedy alongside the band members, the listener is a part of the story, feeling the paternal longing for healing, and the bitterness of unanswered prayers. It is heavy a burden on the human spirit, but one that can be comforting to anyone who has been through such pain.

Like “Feel the Misery” before it, “The Ghost of Orion” was conceived in the wake of turbulent and uncertain seas. Having several members absent for various familial reasons, and losing guitarist Roberts prior to writing, Craighan gratefully bore the burden, and composed his most personal work to date. Because he did not have other members to soundboard with, this album feels more like a singular concept, a woven sonic tapestry of epic design. While there is a LOT of Andrew in this composition it isn’t until his band mates added their unique talents to the recording that the true vision came in to focus. Tracks like “Tired of Tears” are given extra weight when held to the light of circumstance, and fits nicely amongst previous titles from the band. Single “Your Broken Shore” is seeing extensive play on streaming platforms, and is a perfect introduction for the uninitiated.

“The Ghost of Orion” features rhythm work from ex-Paradise Lost drummer Jeff Singer, and production by master soundsmith Mark Mynett. In its own way, “The Ghost of Orion” is a refinement of My Dying Bride’s sound, a return to form if you will, opting to focus less on complexity, and more on executing the basics to perfection. Through this approach, the band hopes this album can be “easier on the ears”, allowing newcomers to experience their art without the barrier of primal brutality.

Where lesser bands would’ve given up, My Dying Bride persevered; delivering to their fans a poignant and accessible new entry into the pantheon of Doom-Death masterworks. My Dying Bride set out to broaden their scope, and succeeded without jeopardizing the sound they’ve developed over their career. Is it still pummeling? Sorrowful? Grim? Of course, it is. However, it is so much more than that; “The Ghost of Orion” is a reimagining of how a Doom album is written. Stainthorpe has even admitted that sections of the release are, dare I say, “catchy”!? There are weeping violins, soft instrumental interludes, and even sections of clean classical vocals, all adding to the allure of somber darkness. My Dying Bride has one again proven themselves as front runners in the genre, and deliver one of the first must hear albums of the year.

“The Ghost of Orion” is available HERE

Band info: facebook

ALBUM REVIEW: Angellore, “Rien Ne Devait Mourir”

By: Thomas Gonzales

Album Type: Full Length

Date Released: 14/02/2020

Label: Finisterian Dead End

“Rien Ne Devait Mourir” CD//DD//LP track listing:

1. A Romance Of Thorns
2. Dreams (Along The Trail)
3. Drowned Divine
4. Blood For Lavinia
5. Sur Les Sentiers De Lune
6. Que Les Lueurs Se Dispersent

The Review:

What better way to celebrate Valentine’s Day, then with a crushing, moody, and atmospheric new metal album? Thanks to Angellore and their most recent release “Rien Ne Devait Mourir”, themes of sorrow, death, love, loss, and the beauty of nature are poignantly showcased in a crushing wave of Death Doom.

Formed in 2007, Angellore have carved out a place amongst doom fans the world over like a stone angel at the gates of a mausoleum. Hauntingly beautiful, but not at the expense of heaviness, Angellore are able to slide along the spectrum of Doom Metal, ranging from Funeral to Death Doom, then back again. It is as much an emotional journey as it is a sonic one, and at no point do they allow the atmosphere to lose gravity.

Vocalist Lucia returns to once again lend classical cleans to an already diverse mix, bringing brilliant melodic sensibilities to sweep across the heavier segments of each track. When paired with the acoustic guitar breaks, they waltz back and forth in a macabre dance, lending a refreshing Gothic nature to their already sorrowful sound. If you haven’t caught on yet, the tone of the album is dark and broody, and can be appreciated in those quiet hours of contemplation, without feeling forced or edgy.

That’s not to say the album isn’t also a banger, it’s just more about the musical experience than creating catchy riffs, and anthems. Opening track “A Romance of Thorns” is a crushing twenty-minute juggernaut of a song, showcasing a little of every technique the band has become known for. Lucia starts things off in a somber operatic fashion, before passing the flame to vocalist and founder Walran, who provides some of the crunchiest growls of the year (so far). Walran’s harsh segments are rough, and rumbling, and add a weightiness that drags the whole track down into a crashing blast of Death/Doom, before giving way to a soothing classical guitar segment. This ebb and flow is part of what makes this album so enjoyable as a continuous piece; each song is so dynamic, that it’s hard to lose interest before the cadence changes once again.

Every bit as pummeling as it is graceful, “Rien Ne Devait Mourir” is a composition deserving of a start to finish listen. While several of the tracks could be enjoyed as singles, it is a disservice to the artist (and yourself) not to experience the complete vision. Skipping around changes the pacing set out by the creators, and would cause the listener to deny themselves some of the finer aspects of the recording. Pick up “Rien Ne Devait Mourir” today on Finisterian Dead End Records.

“Rien Ne Devait Mourir” is available HERE

Band info: bandcamp || facebook