Martyria – Self-Titled (2018) – If you’re in the mood for a strong ritualistic atmosphere, then this self-titled debut from Greek performers Martyria is the way to go. This album is quite different from many others that I usually receive from Malignant, as it is not actually an industrial or noise record, reminding me more of something like Dead Can Dance, Qntal and various others that utilize this kind of ceremonial practice into their music. The disc features five tracks, which all seem to flow into each other in order to form a cohesive structure. Digeridoo soon comes into the mix with “Logos” while the only real glimmer of noise/industrial featured on the album takes place in “Nekros.” The background chanting adds a nice effect to what feels like a swirling fog. “Nyx” slightly continues that feeling, though the synths soon find themselves accompanied by tribal drumming, which seems to finish out the piece. The last one we have here is “Eschaton” which again melds windy synths with chant, finishing up the performance in much the same way that it began. Far removed from the vehement and angry structures of acts like The Vomit Arsonist, Martyria offer a much more calming, meditative and deeply ethereal state that I feel is not only uplifting, but also mysterious and magical; as it were. I would definitely recommend this one to fans of the not so abrasive approach offered by metal and traditional industrial – this is the kind of record that certainly causes a state of trance, though blissful I really cannot say.
(5 Tracks, 40:00)
9/10
Doomster Reich – Drug Magick (2018) – Poland’s Doomster Reich are back, now definitely sounding more like the Pentagram similarity found on Metal Archives than ever before. Rasz has even changed his harsh vocal rasp to more of a classic howl, which definitely cements the stoner/doom mood far more than a black metal one. This isn’t an issue for me, because (ex-Architect Of Disease) axeman Markiz really tears it up, especially when the band goes into psychedelic jam sessions. It isn’t there that aren’t any harsh portions to be found on the record, it’s just that this is more of a trippy ode to Lucifer than a blood-soaked or corpse painted one, which is fine. I’d drop LSD with the devil a time or two as well. Though it should be noted that this psycehedelia isn’t simply created by the guitars alone. Though they’ve never needed it before, Mlody’s keyboards and sound samples certainly didn’t hurt what might be described as a psychedelic drug trip of the darkest kind. What’s more, is this is the very thing I’d actually pay to see live – because if it involves musicians creating an atmosphere that momentarily takes me out of body, I’m definitely all for it. This record literally becomes so trippy at times that you can lose your head while listening, and in my opinion, this means that the band are doing something right. Bits of extreme metal still pervade here and there, to add a decidedly dark tinge to the performance, but just as I loved their Let Us Fall EP from a few years back, (and I still have some of those covers on my personal playlist) I’ve also managed to fall head over heels in some sort of DMT mixed with mescaline and a side of ketamine love with this one. This is my second listen, and I’m already hearing wonderful things yet again, which means that these guys might be one of the best acts in Poland right now. As much as I love your work Nergal, it might be time to move aside for this new and slightly more intriguing side of heavy metal. Doom has it’s roots in the golden era, so it might be older than black and death metal, but what Doomster Reich have done with this genre is quite remarkable. This disc was a long time coming, but after a strong debut and two equally strong EP recordings, I’d definitely say that these gentlemen are the verge of a worldwide breakthrough. I just don’t want them to be faced with a name change because of the current state of social justice affairs. I’d honestly punch the first person in the face who calls these guys out for being some kind of Neo-nazis because they have “Reich” in their name. I really hope we’re beyond that, but some of these fucking millennials just have to mold the world in their own image. Aside from all of this doom and gloom, we can’t forget that even if all hell breaks lose in the journalistic side of things and people start crying about a name, these guys definitely deserve every little bit of fame they can get. I’ve been covering them for a while now, so I know how potent their releases can be. Just in case you’re someone who wears their feelings on their sleeves and just can’t bear to know that you’re listening to a band who is glorifying Lucifer (thankfully, he doesn’t get enough respect these days) while brandishing the name Doomster Reich, just think of them as the Dr. Pepper band or something. When I was attending school in a very religious setting, I was quite a fan of Greek metal sensation (they’re apparently the biggest rock stars in Greece right now) Rotting Christ. But of course, we couldn’t really use the term much, so we nicknamed them The RC Cola band. One thinks that The Grim Lord will eventually run out of soda-based sugarcoats for popular acts, but as one level of censorship moves into the other, you have to do what you have to do. I honestly don’t care what the guys are called, because they truly make some of the best doom I’ve heard in recent memory and would heavily recommend it. Again. These guys just keep knocking them out of the park and I can’t wait to hear more. Drug Magick is definitely a sign of metal’s continued strength in 2018, and it is definitely one of the grimmest and trippiest doom metal discs that I’ve ever heard. So whether we call them Doomster Reich or Dr. Pepper, it is safe to say that they aren’t going anywhere soon. Or at least, they’d better not!
(6 Tracks, 56:00)
9/10
Eisley/Goldy – Blood, Guts and Games (2017) – If you’re like me and absolutely love the sound of eighties hard-driving rock, then you absolutely need to add this one into your collection. The album is rife with thick synths, crazy solos and soaring vocals that sound like they would feel right at home in the end credits of a golden age Norris, Schwarzenegger or Stallone film. The band is a result of a partnership between David Glen Eisley and Craig Goldy, formerly of Dio. It’s also the first that we’ve heard from Eisley since his ’01 solo effort. Unfortunately, that might also be where the disc struggles just a tad, because we can hear a bit of age weathered onto Eisley’s voice and it makes me think that if this project had gotten off the ground a decade or so earlier, we might have had a much different outcome. Though despite the fact that these gentlemen are much older now, the atmosphere of the piece still remains constant. For instance, “The Heart Is A Lonely Hunter” comes on like a kick-ass serenade from an eighties action flick, while “Lies I Can Live With” is the very essence of an eighties ballad. Backing this project is is session drummer Ron Wilsko, who has worked with acts like David Lee Roth and Cher, so he’s definitely got the chops to capture not only the sound of classic rock, but also the eighties feel so necessary for this kind of release. Blood, Guts and Games literally sounds like it was recorded in a completely different period of time, which might cause some to laugh in the face of it’s cheesiness, while others might come to embrace it’s AOR sensibilities. “No More Prayers At Night” also reminds me quite a bit of Dio in his golden age, which is certainly a high water mark in my opinion. It could also be compared to the Sabbath effort Headless Cross which just doesn’t get enough respect as far as I’m concerned. The record is recommended for fans of House Of Lords, Def Leppard, Night Ranger and others, but I personally enjoy Eisley/Goldy a bit more than those aforementioned – yes, even Def Leppard, unless I’m missing out on some killer eighties synth rock tunes. I could definitely play several of these cuts again and again however, especially “No More Prayers At Night” which I’ll have to reiterate – is absolutely killer. If there was a new Nightmare On Elm Street film with an eighties vibe released this year, I could definitely see this track being an accompaniment for it. In my opinion, it just doesn’t get anymore eighties than this. Blood, Guts and Games is definitely worth a listen while you wait for the third season of Stranger Things.
(10 Tracks, 63:00)
8/10
Tribulation – Down Below (2018) – Tribulation are back, so you know that you’re in for a real treat with this one. These guys in my opinion, have never put out a disappointing release and I can say the same about their latest output, Down Below. In fact, it’s already being hailed as one of the best albums of 2018. Now I don’t mean to fanboy here, but… it’s fucking Tribulation, why wouldn’t they have one of the best records of the year. But what makes this new output so great? Well, let me explain.
First we have “The Lament” which seems to meld garage rock with Castlevania-inspired synths and a slight touch of black metal. If you break this one down, you can really hear the rock edge but with the gothic inspired guitar melodies and synth, there’s a completely different quality that makes it stand on it’s own. “Nightbound” continues the atmosphere, keeping things along the same gothic line while also making me think of another video game soundtrack. The most interesting thing about this one, is that it is essentially dark, melodic rock with a decidedly harsh vocal front. In a way, Tribulation made a metal album and in the same note, they didn’t. But it’s still enjoyable. However, “Lady Death” features a bit more crunch and captures that black n’ roll feel that Satyricon pioneered back in ’06. I’d say that on both this cut and “Subterranea” the band captures this feel perfectly. This definitely feels like black metal now, but it’s good that the band just didn’t run head on with this formula and decided to ease into it with the first two tracks. Then we have the ominous atmosphere “Purgatorio” which just comes out of nowhere. This is the creepy composition absorbed from horror films that they’ve watched over the years, and is a welcome regurgitation of that sound and style. If there is an indie horror looking for a creepy introduction piece (trick question, there ALWAYS is) I’m quite sure that this would suit the work. “Cries From The Underworld” adds in a touch of psychedelia, surf-rock, acoustic atmosphere and finishes off with a solo, showing the strengths of this band within the black n’ roll atmosphere that they have exhibited throughout the album. In “Lacrimosa” the tolling of bells can be heard amidst chanting and a rather tasteful lead melody at the forefront. There’s a classical feel here, which I think really lends to the atmosphere of the piece. I didn’t however, expect them to kick it into psychedelic high gear. This jam session moment works for them though, as it rolls right into another unexpected bout of piano and synth. The piece here is actually so lengthy that is can be considered an instrumental cut on it’s own and probably should have been. “The World” comes next with a continued gothic presence, which fills with melody and some notable leads. This is another cut that isn’t quite “metal” per se, but manages to drum up enough of a dark rock or occult rock sense that it just works. Closer “Here Be Dragons” starts out pretty standard-fare for the disc, but it moves into an instrumental jam session complete with wonderful bits of synth and flying guitar solos. In my opinion, this is an impressive way to finish the album, showing once again the strength of this brilliant Swedish act. I don’t have any complaints here, you shouldn’t have any complaints here (and if you do, that’s fine) and ultimately I find the piece to be a find addition to their discography. There’s a reason that Tribulation’s Down Below is considered one of the best albums of the year, so be sure to check it out!
(9 Tracks, 47:00)
9/10
Jarun – Sporysz (2017) – If you’re not aware of Jarun, the easiest way to explain their sound is basically, “Poland’s Opeth.” But when I mention Poland’s Opeth, I’m talking about a style closer to the band’s heavier works, like Morningrise, My Arms, Your Hearse and Still Life; which are celebrated among fans and will be influences for decades to come. Though what separates Jarun from being an Opeth clone is their implementation of folk music, which brings out a completely original take on the progressive death metal style. The record also contains more than few light moments of atmosphere to deviate from the death metal bashing, which doesn’t always come with a harsh vocal. The frontman definitely has a fierce rasp, but he will also use a type of aggressive clean vocal to get his point across. Things can also get a bit fiery too, with the brackish opener and title track which comes off bipolar as it switches from a light, calming melody to absolute fucking mayhem. The vocals here are performed in the band’s native, but music in general is quite universal and I can feel the emotion conveyed behind the incredible bursts of rage that open “Powidoki.” But despite the amount of fire unleashed here, there is an amazingly deep soundscape latched in the middle which gives the piece an ethereal feel. Again, Sporysz is a very sporadic sort of album, but it’s also quite classy and done with an attention to taste and song structure. The rest of the disc seems to capture this feel, with a mixture between acoustics, pounding death metal and even some high-pitched vocals that feel like they were taken from power metal. Though the album’s closer “Malowany Ogień” is completely different, taking heavily from post-metal and adding in some saxophone for a nice, unique solo performance that isn’t locked down to guitar. Best of all, the record comes with a wonderful production job which allows for a great sense of clarity throughout. It’s still raw in areas, but that sense of rawness is just the sort of approach that I would want for this kind of album. Intense and at times beautiful, these Polish progressive death metallers have certainly knocked it out of the park with this one. If you’re a fan of Opeth or similar, I would highly recommend picking up this album. It’s the unique take to progressive death metal that we need, and it has enough charm to stand out as something altogether different. Not too shabby, gentlemen.
(6 Tracks, 43:00)
8/10
Phillip H. Anselmo & The Illegals – Choosing Illness As A Virtue (2018) – When Phil and the guys get together, you know that the ending result will be utter fucking mayhem, and that’s what we’re getting here. Though this material shares the bass-heavy crunch of Pantera, it is far from that level and tinges a bit on extreme metal, even grind in some areas. The production is definitely raw, but again – we want it raw. We want this as under cooked as possible, because it gives the performance an organic sound that comes across like a man losing his fucking mind on the mic, while several musicians in the background provide the necessary soundtrack to this level of performed insanity. Interestingly enough, the album doesn’t always follow the same piss and vinegar format as Superjoint Ritual. There are definitely sections where atmosphere and psychedelia is observed, not to mention a hefty level of unhinged technicality. Phil’s vocal approach even heads towards a black metal rasp in areas, which actually comes off quite believable, as does his thick death metal growls, which I was unaware of him even possessing. As the record continues, it goes further into death metal realms, but doesn’t let go of what make’s Phil’s music, Phil’s music – that unchecked aggression. For being one of the coolest and most down to earth dudes I’ve ever met, he sounds like a complete demon here and it works perfectly. Phil always knew when to tune it down for Down, go into classic metal realms for Pantera or to tear up shit with Superjoint, so it doesn’t surprise me when Choosing Mental Illness showcases a completely different animal altogether. This is definitely a dose of southern fried 2018 as far as the metal scene goes and seems to mash together enough technicality and ferocity to make a statement. Again, Phil’s growls are much better than I may have expected and hopefully we’ll hear more of those in the future. While we may never get the Pantera reunion that we’ve always wanted, especially considering the blow back from that incident that happened a few years back; it’s great to see that Phil is making unique and relevant tunes on into the next generation. Yes folks, this album is much heavier than you might expect, and it has far more depth aside from the sludge and grind elements that you’ll hear from the minute you press the play button. Choosing Mental Illness is one of the best albums I’ve heard from Phil since the early days in Pantera, so definitely give it a listen.
(10 Tracks, 46:00)
8/10
Crawl/Leviathan – Split (2018) – Given twelve minutes each, this split between grim atmospheric metallers Crawl and black metal legends Leviathan proves to be a good offering of their talents in 2018. While the songs don’t exactly compliment each other, they do show that both acts are pretty damn strong in their own right, especially considering Wrest and his work in Lurker Of Chalice. Crawl offers up “At The Forge Of Hate” which is, as I stated before; a grim soundscape that sounds like Sunn0 if they had been possessed entirely by demons from the planet Apokalips. It sounds quite rustic and a bit industrial in areas, not unlike something I would receive from Malignant Records. The song doesn’t actually hit into the realms of heaviness right towards the end, but I don’t believe that was Crawl’s goal here. Leviathan however, brings in the heaviness with like a smidgen of atmosphere in the beginning and the rest an all-out black metal onslaught. It’s a bit more depressive and the vocals are bit more DSBM than I would like; though as I kept listening I noticed that Wrest decided to throw in just a little bit more soundscape which we know from Lurker Of Chalice, that he is fully capable of. I’m sure there’s work on those other four unreleased Lurker Of Chalice discs (and I’m going to keep posting about them until he releases them) that will more than likely surpass what Crawl’s done here, especially judging by the re-issued debut just last year. (I say debut, because there are four other albums and yes – I want to hear them.) My only question is why Wrest didn’t submit a more atmospheric piece here instead of a slightly atmospheric Leviathan track. I think it would have flowed much better as a whole, making the disc into a cohesive environment of hopeless darkness and rustic despair. Oh, well.
(2 Tracks, 24:00)
7/10
Deathwhite – For A Black Tomorrow (2018) – Considering how giddy I was over the band’s EP release Solitary Martyr, this official full-length debut from the Pennsylvanian trio wasn’t necessarily as interesting. It just felt like another version of Katatonia and they’ve already penned this style down to a science. Yes, there are slight bits of extremity here and there, but it mostly seems to be a forced backing to what is essentially heavy melancholic rock. Don’t believe me? Check out “Eden” which is harmless enough to feature on modern rock radio. Though that may be the point, and I think I’ve even said similar about a few tracks on the previously released EP. It isn’t that I think Deathwhite aren’t a strong band, but if we really break the vocal style down, we are left with what is essentially pop-rock. That doesn’t mean that it isn’t passionate, nor uplifting in all of it’s melacholic glee, but please don’t expect some kind of ferocious performance in the vein of black metal, regardless of a few tremolo tinges here and there. The disc offers more prog influence than anything else. It also reaches gothic metal territory, even though no one will unseat Pete Steele and Johan Edlund from my mind there. It even seems to take a tinge from A Perfect Circle, where Maynard James Keenan wasn’t singing over quite as experimental pieces. What really surprises me though, is why an act like this wouldn’t take on a cover of another melancholic pop song. I’d absolutely love to hear them cover The Goo Goo Dolls “Iris” and I’ve no doubt in my mind that they could do it. That would just be a terrific cover for them, it fits the melancholic rock style here perfectly. Fans of acts like Katatonia, A Perfect Circle, Anathema, Soen and Sinocence are recommended to check these guys out, but the performance here just didn’t gel with me the first time around. I honestly think that I’m going to have to let this one soak in a little bit, but with some of the artists I’ve just named in this review, I didn’t have to do that just because of the impact that they left from the very first listen. It is never a good sign when a disc rolls in and out of your ears in the same hour, but that’s what happened here. Of course, I love this kind of music – I’m just not feeling it here. Though in the same breath, I’m not going to knock this for the generation that did not grow up with the bands that I did and I hope that Deathwhite will serve as a gateway into those bands I’ve mentioned. I hope that this review will serve as a gateway to those bands I’ve mentioned. I guess this is a really nice way of saying, “Great show guys, but I’ve heard better.”
(9 Tracks, 43:00)
7/10