Written by: Blackie Skulless
How nice is it to have a band whose name starts with “dis” that isn’t a Discharge d-beat ripoff? Ha, I kid! (kinda). Anyhow, Memento Mori spits out some of the meanest, brain-boiling, and ferocious slabs of death and doom/death known to man. So to start out a little run of their recent outings, I bring Disrupted. This Swedish death metal act takes charred ruins of the pioneers and reconstructs them in a horrendous and skin-scorching style for their sophomore record titled Pure Death. And what a fitting title that is, because this thing sounds as grating and brash as the rotted guillotine on the cover looks. There is nothing remotely nice, welcoming, or friendly to be had. You can probably picture the buzzing Swedish tones, but there’s a layer of grit added to these that cast an even hotter level of harsh noise. Matching this is growling vocals boosted with powerful outbursts that avoid being overly guttural, matching the riffing yet standing out wonderfully.
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 Written by: Beaston Lane
The term “gothic metal” has been loosely applied to uniquely dramatic and dark bands over the past few decades, but its existence as a genre has always remained unclear. In 2021, however, there’s one band that immediately comes to mind when gothic metal is mentioned: Tribulation. Drawing from anthemic, melodic hard rock as well as melodeath, black metal, and doom, the band has charted an intoxicating course during the 2010's, seemingly improving with each release. The questions that have surrounded Where the Gloom Becomes Sound since its announcement weren’t regarding its quality, rather whether or not it would meet the astronomical bar set by its beloved predecessors. Hot streaks are bound to end, but as WTGBS proves, Tribulation’s is far from over.  Written by: Beaston Lane
Frigid rain falls through the canopy of a Scandinavian forest as the clearing fog reveals two opposing armies, each with unbreakable faith after paying tribute to their gods. A natural ambiance thicker than fortress walls separates the warriors as they each anticipate their leader’s call to charge. What I’m describing isn’t necessarily the beginning of a medieval battle, rather the vivid atmosphere that introduces Vampire’s mighty third record, Rex. This feeling of anticipation builds during the interlude entitled “Prelusion,” and at its sudden conclusion, the armies charge as the carnage of Rex is unleashed upon us all. Rooted in mythology, Rex is a hellish journey through chaos and serenity. Juxtaposing high-octane thrashers and sneering mid-tempo odysseys, the album showcases the band’s versatility and highlights the demonic vocals of Hand of Doom, the lead vocalist. Existing at the intersection of classic thrash metal, melodic death metal, and modern black metal, Vampire is a three-headed monster which utilizes these influences to create an engrossing and unique listening experience. While not every song can boast of being truly memorable, Rex is a bold statement from a young band destined to continue their ascension through the metal ranks. 
Written by: Blackie Skulless
If the cover art of this death metal split doesn’t pique your interest in the tiniest bit, then are you really a fan of the genre? Death Fire Darkness is a three-song split effort between Sweden’s Inisans, and Sepulchral Frost. The former has been together for a little while now, dropping their debut in 2018, while the latter is a more recent group hailing from the turn of the decade. Together they offer up about fifteen minutes worth of new chops, while each side takes an aesthetic of its own. The A-side holds two of the three tracks, both by Inisans, as their music in general is a bit more straightforward death metal cut from quicker-processed material. Not a second of “Holocaust Winds” is anything short of compelling, dropping rhythms that capture horrid energy. Gradients of noisy leads blend with the pummeling wall of drums in intricate patterns, retaining an identity of its own. The second track, “Circle Of The Serpent,” follows it up from the same bottom idea, but focuses more on intense speed, delivering the classic Morbid Angel-like artillery.  Alright, brevity seekers. Here's the rub. Embrace the Void, the debut(ish) album from multi-continental death metallers Gravefields, is a damn fine record. Thus, I'll employ a reversal of sorts: let's get the critical stuff out of the way quickly, and then proceed with the pummeling--err, of the good variety.
Firstly, the vocals could stand to rise a tad higher in the mix. And secondly, the runtime breaks the Sleeping Village Rule o' 44. With a sound so gloriously belligerent on the ears, the final few tracks leave less of an impact after Side A's goliathan entrance. Am I nitpicking? Yes. Am I finished nitpicking? Also yes. |
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We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!
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