𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗚𝗥𝗘𝗘𝗡 𝗕𝗔𝗦𝗧𝗔𝗥𝗗 – 𝗣𝗬𝗥𝗘
Reviewing is not a complicated process. We listen to a promo album the same way an average listener would, with our heart and gut, gauging our emotional state during each separate song and the album as a whole. Aside from that, we analyze from a more clinical point of view, weighing factors like originality, history, and experience of the band, the skill of individual members, and production quality. We weigh all the good against all the bad like Anubis and his feather, but every now and then an album comes along that doesn’t seem to have any flaws. You consider every angle, every riff and subject, but nothing seems like anything less than a total home run. Green Bastard‘s debut Pyre is pretty much the exact opposite of that.
The first track opens with what sounds like the last bit of echo of a previous take before the first notes slowly fade in. This strange artifact prompted me to double-check the track order and to doubt whoever produced the album. This state of uncertainty did not last long because the album sounds horrific, confirming my suspicion the producer had no idea what he was doing. The entire album is drenched in so much distortion and reverb the guitar and bass may as well have been played with handbrushes or by dragging the instrument across the pavement. I would not have been able to tell the difference. I certainly can’t tell from listening whether guitar or bass or both were used. The master is as dynamic as concrete and the only instrument rising out of the puddle is the drums.
The album lasts close to an hour and contains about 6 riffs, all of them dull, spread over 3 songs. It seems Green Bastard went for a record like Sleep‘s Dopesmoker, but they failed to use anything that made that album good, decent, or even tolerable. By the time the monotony becomes unbearable and some variety needs to be interjected the band repeats the same riff another few minutes before adding vocals to the mix. These vary from a Crowbar rasp to a Khemmis croon, although both those comparisons imply the ability to keep rhythm or pitch. Mercifully the vocals are mixed back so far they regularly get buried in the avalanche of monotonous distortion, giving an impression of an incoherent man shouting from three blocks over.
The drums are the only feature decent enough to save this from being a disaster on all fronts, providing a welcome distraction from the constant churning buzz. They’re nothing brilliant, but they’re still leaps above the rest, and the abominable production hasn’t managed to squash them completely. On the second half of “Cyclopean Walls” the speed is turned up slightly, and the occasional atonal solo or screaming feedback pepper the endless drone, breaths of fresh air among the noisy slog. None of these can save this train wreck but they kept me from bashing my skull open on a table corner after the third listen.
Pyre is a debut, and one could argue this means some slack-cutting might be in order, but I should note that two of my highest rated reviews this year were debuts, as well as one my favorite records this year. If you can’t play your instruments, if you don’t have the money or skills to have your album produced to a semblance of decency, don’t release a debut album. Release some demos, practice, work on your songwriting. To do otherwise can only end in tears, as evidenced above. Pyre is a joyless and miserable droning hour of weak riffs endlessly repeating amidst hideous distortion and atrocious production. Green Bastard better get back to the drawing board. Their debut goes on the pyre.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/green-bastard-pyre-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
greenbastard.bandcamp.com/album/pyre
———
#Colderra
#ColderraMusic
#MusicReview
#StonerMetal
#DoomMetal
#GreenBastard
#Pyre3 track album
Colderra Social Media Feeds
1,318
COLDERRA
Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗞𝗔𝗜𝗦𝗘𝗥𝗥𝗘𝗜𝗖𝗛 – 𝗖𝗨𝗢𝗥𝗘 𝗡𝗘𝗥𝗢
Black metal seems to, borrowing an excellent phrase from Erving Goffman, have been “permanently Wittgensteined” into meaning anything with screeching vocals, tremolo melodies, and blast beats that sounds a little chilly. The indie-black-gaze of Deafheaven, whatever Liturgy is, the poppy trappings of Alcest-core, and a lot of other nonsense seem to land under the umbrella that some of the best releases of the 90s and arguably metal in general built. It’s a common complaint among reviewers that black metal has become stagnant, but I’d argue almost the opposite: it’s moved and changed in too many ill-advised directions, abandoning what made it great in the first place whilst still keeping the name attached. Think of it like musical veggie burgers. Italy’s Kaiserreich seem intent on replacing delicious red meat with something lesser on their third full-length Cuore Nero, and you’re going to need a whole lot of toppings to make this palatable.
Cuore Nero sounds like somewhat beefier post-black metal, relying entirely on those weepy nostalgic riffs the genre traffics in. Early Ulver is the best touchstone overall, but Kaiserreich’s sound isn’t as atmospheric as Bergtatt or as fast as Nattens Madrigal, acting as a bland bridge between those records’ surface-level qualities. Some parts remind of a softer, blackened Neurosis, others of latter-day Watain’s melodious side, and others yet of that Vargnatt album I’d like to forget. If you’ve heard a few post-black records, you’ll be quite familiar with what’s on offer here.
The strangest part about Cuore Nero is that while I disliked it no matter how many times I listened, the odd part would grab me and make me think, if only for a second, that I was missing something and should go back and listen again to catch it. “High Hopes” contained the most potent of these moments, ending on a high note with a rare bout of monotony-ending blast beats and a legitimately good Ulver-esque lead that stood out. The vocals in “Unico Sole” carry the forgettable riffs with agile and slightly atypical phrasing, which was slightly interesting to hear. It’s these two parts in particular that made me come back more than I probably should have, and each time I did they were dutifully there to greet me in their full, pretty decent glory.
The rest of Cuore Nero doesn’t fare so well. It sticks religiously to mid-paced tempos for the majority of an hour, and the first time I sat back and listened it took me three songs to notice that I was hearing a different track. There are occasional blast beats, but the riffs underneath don’t get aggressive and just plod along under faster drums. Everything just meanders along in bog-standard post-black fashion, and it’s boring to the point of being suffocating. It’s not offensively bad, but it’s actually worse because it’s uniformly forgettable.
The vocals never deviate from an irritating yelp that sounds like the WRVTH GVY trying his best to strain his chihuahua vocal chords and imitate Mariuzo Iacono from Kataklysm, failing horribly and subsequently being denied his Snausages. Look at it this way: remember why Watain’s “Waters of Ain” worked? It bludgeoned with solid Celtic Frost inspired black metal, varied up the speeds, and climaxed in a hyper-melodic series of emotional leads, becoming more than the sum of its fourteen minutes of parts. It embraced a push and pull dynamic, while Kaiserreich knows only how to pull; specifically, to pull you down into a shallow lake of salty melodramatic tears. Like A Swarm of the Sun, there’s no light in the darkness. Unlike A Swarm of the Sun, this is a terribly unmoving darkness where any smidgen of gravitas is obliterated by monotony and uninteresting songs.
Kaiserreich have made a record that is played perfectly but goes nowhere and does nothing. It sounds good too; the production makes certain that everything is audible at all times, but this further drives home the point that nothing of interest is happening. Chances are some of you will hear the preview and think it’s not so bad, and in a sense you’d be right; it’s not terrible, but it’s just there, gone almost as soon as you ingest it as if it were Taco Bell for your ears. All told, the most damning thing about Cuore Nero came not in the music itself but in the silence that followed: I felt relieved to be freed from its listless impuissant grasp, and promptly forgot the entire thing.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/kaiserreich-cuore-nero-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
kaiserreichband.bandcamp.com/album/cuore-nero
———
#Colderra
#ColderraMusic
#MusicReview
#BlackMetal
#Kaiserreich
#CuoreNero8 track album
Black metal seems to, borrowing an excellent phrase from Erving Goffman, have been “permanently Wittgensteined” into meaning anything with screeching vocals, tremolo melodies, and blast beats that sounds a little chilly. The indie-black-gaze of Deafheaven, whatever Liturgy is, the poppy trappings of Alcest-core, and a lot of other nonsense seem to land under the umbrella that some of the best releases of the 90s and arguably metal in general built. It’s a common complaint among reviewers that black metal has become stagnant, but I’d argue almost the opposite: it’s moved and changed in too many ill-advised directions, abandoning what made it great in the first place whilst still keeping the name attached. Think of it like musical veggie burgers. Italy’s Kaiserreich seem intent on replacing delicious red meat with something lesser on their third full-length Cuore Nero, and you’re going to need a whole lot of toppings to make this palatable.
Cuore Nero sounds like somewhat beefier post-black metal, relying entirely on those weepy nostalgic riffs the genre traffics in. Early Ulver is the best touchstone overall, but Kaiserreich’s sound isn’t as atmospheric as Bergtatt or as fast as Nattens Madrigal, acting as a bland bridge between those records’ surface-level qualities. Some parts remind of a softer, blackened Neurosis, others of latter-day Watain’s melodious side, and others yet of that Vargnatt album I’d like to forget. If you’ve heard a few post-black records, you’ll be quite familiar with what’s on offer here.
The strangest part about Cuore Nero is that while I disliked it no matter how many times I listened, the odd part would grab me and make me think, if only for a second, that I was missing something and should go back and listen again to catch it. “High Hopes” contained the most potent of these moments, ending on a high note with a rare bout of monotony-ending blast beats and a legitimately good Ulver-esque lead that stood out. The vocals in “Unico Sole” carry the forgettable riffs with agile and slightly atypical phrasing, which was slightly interesting to hear. It’s these two parts in particular that made me come back more than I probably should have, and each time I did they were dutifully there to greet me in their full, pretty decent glory.
The rest of Cuore Nero doesn’t fare so well. It sticks religiously to mid-paced tempos for the majority of an hour, and the first time I sat back and listened it took me three songs to notice that I was hearing a different track. There are occasional blast beats, but the riffs underneath don’t get aggressive and just plod along under faster drums. Everything just meanders along in bog-standard post-black fashion, and it’s boring to the point of being suffocating. It’s not offensively bad, but it’s actually worse because it’s uniformly forgettable.
The vocals never deviate from an irritating yelp that sounds like the WRVTH GVY trying his best to strain his chihuahua vocal chords and imitate Mariuzo Iacono from Kataklysm, failing horribly and subsequently being denied his Snausages. Look at it this way: remember why Watain’s “Waters of Ain” worked? It bludgeoned with solid Celtic Frost inspired black metal, varied up the speeds, and climaxed in a hyper-melodic series of emotional leads, becoming more than the sum of its fourteen minutes of parts. It embraced a push and pull dynamic, while Kaiserreich knows only how to pull; specifically, to pull you down into a shallow lake of salty melodramatic tears. Like A Swarm of the Sun, there’s no light in the darkness. Unlike A Swarm of the Sun, this is a terribly unmoving darkness where any smidgen of gravitas is obliterated by monotony and uninteresting songs.
Kaiserreich have made a record that is played perfectly but goes nowhere and does nothing. It sounds good too; the production makes certain that everything is audible at all times, but this further drives home the point that nothing of interest is happening. Chances are some of you will hear the preview and think it’s not so bad, and in a sense you’d be right; it’s not terrible, but it’s just there, gone almost as soon as you ingest it as if it were Taco Bell for your ears. All told, the most damning thing about Cuore Nero came not in the music itself but in the silence that followed: I felt relieved to be freed from its listless impuissant grasp, and promptly forgot the entire thing.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/kaiserreich-cuore-nero-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
kaiserreichband.bandcamp.com/album/cuore-nero
———
#Colderra
#ColderraMusic
#MusicReview
#BlackMetal
#Kaiserreich
#CuoreNero8 track album
𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗪𝗔𝗥𝗙𝗜𝗘𝗟𝗗 – 𝗙𝗥𝗔𝗚𝗠𝗘𝗡𝗧𝗔𝗧𝗜𝗢𝗡
German thrash metallers WARFIELD released the official video for the single “Fragmentation” which is part of their second LP album, “With the Old Breed", which was released on April 4, 2025 through Napalm Records as we have mentioned in previous article:
www.metalourgio.com/en/warfield-released-new-single-2/
The label adds the following about the video:
Built from intense live footage, this video shows what it’s like to experience Warfield on stage — raw and uncompromising. “Fragmentation” deals with fragging — the targeted killing of members of one’s own unit. The lyrics are divided into different perspectives, reflecting the fractured emotions of the characters involved.
The video was made by the band themselves. Salina Damer was on camera, Johannes Clemens was in editing, and Matthias Clemens was in post-production.
———
𝗙𝗿𝗼𝗺:
www.metalourgio.com/en/warfield-fragmentation-official-video-from-with-the-old-breed-album/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=bpVC7t8k_Ms
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#Warfield
#Fragmentation
German thrash metallers WARFIELD released the official video for the single “Fragmentation” which is part of their second LP album, “With the Old Breed", which was released on April 4, 2025 through Napalm Records as we have mentioned in previous article:
www.metalourgio.com/en/warfield-released-new-single-2/
The label adds the following about the video:
Built from intense live footage, this video shows what it’s like to experience Warfield on stage — raw and uncompromising. “Fragmentation” deals with fragging — the targeted killing of members of one’s own unit. The lyrics are divided into different perspectives, reflecting the fractured emotions of the characters involved.
The video was made by the band themselves. Salina Damer was on camera, Johannes Clemens was in editing, and Matthias Clemens was in post-production.
———
𝗙𝗿𝗼𝗺:
www.metalourgio.com/en/warfield-fragmentation-official-video-from-with-the-old-breed-album/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=bpVC7t8k_Ms
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#Warfield
#Fragmentation
WARFIELD – Fragmentation (Official Video) | Napalm Records
www.youtube.com
Order Warfield – "With The Old Breed" now:https://napalmrecords.com/warfieldBuilt from intense live footage, this video shows what it’s like to experience Wa… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗘𝗩𝗘𝗥𝗚𝗥𝗘𝗬 – 𝗧𝗛𝗘 𝗪𝗢𝗥𝗟𝗗 𝗜𝗦 𝗢𝗡 𝗙𝗜𝗥𝗘
EVERGREY have released a new music video!
The Swedish progressive metal masters have unveiled The World Is On Fire, taken from their upcoming new album Architects Of A New Weave, which is set for release on June 5th, 2026 via Napalm Records.
The release also marks the official introduction of guitarist Stephen Platt [SCAR SYMMETRY], who officially joins EVERGREY as a full-time member after touring with the band throughout 2025.
Speaking about the new single The World Is On Fire, vocalist Tom S. Englund comments, “The World Is On Fire was one of those rare songs that reached inside me and articulated feelings I hadn’t even fully recognized yet. Once again, our timing, just as with the song Save Us is both haunting and profound. To me, this isn’t just a lament – it’s an uprising. It’s a defiant stand against the forces that thrive on chaos, fear, and silence. They want us scared, quiet, and compliant. But all we want is to raise free-spirited, free-thinking, and independent children who can help build a better world – for us, for them, and for everyone. The devastating lack of compassion and humanity is at the root of everything we see around us. This song isn’t passive acceptance or mere description of our broken reality. It’s us boldly painting a picture of the world we refuse to accept.”
Commenting on the line-up change, the band adds, “we played a lot of shows with Stephen Platt already, he’s an incredibly lovely human being on top of being a brilliant guitar player, we couldn’t be happier to have him join us for real!”
Stephen Platt says, “I’m so happy to become the new guitarist of EVERGREY. I’ve been a fan of the band for a long time now and am extremely honored to have been asked by this group of incredible musicians and people. Looking forward to seeing what the future holds!”
———
𝗙𝗿𝗼𝗺:
distortedsoundmag.com/evergrey-release-new-music-video-for-the-world-is-on-fire/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=u8dEggZPzSQ
———
#Colderra
#ColderraMusic
#MusicReview
#ProgressiveMetal
#PowerMetal
#Evergrey
#TheWorldIsOnFire
EVERGREY have released a new music video!
The Swedish progressive metal masters have unveiled The World Is On Fire, taken from their upcoming new album Architects Of A New Weave, which is set for release on June 5th, 2026 via Napalm Records.
The release also marks the official introduction of guitarist Stephen Platt [SCAR SYMMETRY], who officially joins EVERGREY as a full-time member after touring with the band throughout 2025.
Speaking about the new single The World Is On Fire, vocalist Tom S. Englund comments, “The World Is On Fire was one of those rare songs that reached inside me and articulated feelings I hadn’t even fully recognized yet. Once again, our timing, just as with the song Save Us is both haunting and profound. To me, this isn’t just a lament – it’s an uprising. It’s a defiant stand against the forces that thrive on chaos, fear, and silence. They want us scared, quiet, and compliant. But all we want is to raise free-spirited, free-thinking, and independent children who can help build a better world – for us, for them, and for everyone. The devastating lack of compassion and humanity is at the root of everything we see around us. This song isn’t passive acceptance or mere description of our broken reality. It’s us boldly painting a picture of the world we refuse to accept.”
Commenting on the line-up change, the band adds, “we played a lot of shows with Stephen Platt already, he’s an incredibly lovely human being on top of being a brilliant guitar player, we couldn’t be happier to have him join us for real!”
Stephen Platt says, “I’m so happy to become the new guitarist of EVERGREY. I’ve been a fan of the band for a long time now and am extremely honored to have been asked by this group of incredible musicians and people. Looking forward to seeing what the future holds!”
———
𝗙𝗿𝗼𝗺:
distortedsoundmag.com/evergrey-release-new-music-video-for-the-world-is-on-fire/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=u8dEggZPzSQ
———
#Colderra
#ColderraMusic
#MusicReview
#ProgressiveMetal
#PowerMetal
#Evergrey
#TheWorldIsOnFire
EVERGREY – The World Is On Fire (Official Video) | Napalm Records
www.youtube.com
New Album via Napalm Records – Architects of the New Weave Releases June 5, 2026!Pre-Order here: lnk.to/Evergrey-ArchitectsOfANewWeaveFilmed by Patric… 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗜𝗠𝗠𝗢𝗟𝗔𝗧𝗜𝗢𝗡 – 𝗗𝗘𝗦𝗖𝗘𝗡𝗧
When the topic of death metal legends comes up, no doubt it’s going to be a spirited debate. We could write up with a history lesson here, but chances are, you’re educated enough at this point. If not, then maybe read up on the subject a bit. With all of the royalty we’ve been lucky enough to have formed within the US in this realm, the question of consistency over the years and decades isn’t a simple one, with many originators of the sound falling off of a cliff quality-wise. One such act who has always defied the odds of time is New York’s Immolation.
To date, they’ve released eleven full-lengths, starting with 1991’s Dawn of Possession. Since that legendary record, they literally haven’t stopped. We’ll make the claim that not only have Immolation never released an album that could be viewed as less than very good, they haven’t even penned a single bad song. How many bands can make that claim? Most have at least made one dud, but not these guys.
Their most recent album Acts of God is a masterwork, and after all this time, putting out something that relevant, inspired, and downright vicious isn’t at all far from their norm. With all of that said, coming to their twelfth album Descent, it’s not an easy review to approach. Considering such a career spanning hot streak and standard of quality, one not only expects, but almost demands zero decline, even though it’d be entirely reasonable for that to happen at this juncture.
Fear not – that’s simply not how Immolation rolls, and with Descent, their aptitude and untouchable knack for – again – creating the crème de la crème of death metal is anything but what the album title word choice may reflect.
The steamroller revs up and flattens all in its path when “These Vengeful Winds” hurtles through with blunt force. The guitar work is sinister, crafty and menacing – like Robert Vigna is capable of anything less. His style is easily discernible, dripping with moxie and immeasurable skill as he tears through quick-hitting riffs, searing solos, and those sustained wails that never cease to release the serotonin. “The Ephemeral Curse” keeps the pace steady and the dread at maximum, giving Descent a hair-raising opening.
As the album continues, the band pulls no punches in the aggression department, but there are enough variations to keep Descent highly engaging. Cuts such as “God’s Last Breath” and “Host” hit a more drawn out, mid-range trajectory; not quite death/doom, but incredibly crunchy and methodical, representing the band at their most cunning. Ross Dolan’s trademark deep, venomous growl reverberates definitively with his identifiable tone, showing off a vocal ability that’s still the standard bearer of the genre.
“Adversary” is a wise choice to dial up the tension, fitting into the album neatly with the equally devastating “Attrition” as a back-to-back combo. The critical attention given to every detail large and small from Vigna puts their music over the top; every harmonic, lead, and riff twist together seamlessly to captivate the listener, as this pairing highlights ferociously
Not to be outdone, Vigna’s partner-in-six-stringed-crime Alex Bouks has been an asset to the band on both album and stage. His contributions cannot be overlooked – the band have really been at full steam ahead since he joined the ranks for modern classic Atonement. He’s got quite a pedigree himself, and his work on Descent is nothing less than stellar. Equally, drummer Steve Shalaty has been here since Harnessing Ruin, and his dominant percussive capabilities are on full display, giving Immolation their thick, indisputable kick – “False Ascent” stands out as a particularly tasty example.
Creatively, Descent is dark as it is vibrant – accents of melody are lightly sprinkled throughout, though never at the expense of merciless brutality, and the lead play is articulate yet explosive. As a whole, the album is balanced and connectively flows well – the track order was completed wisely to solidify this entry as more than a collection of crushing singles. To that end, the finale title track is by over a minute the longest song on offer; a tour de force of high energy and sneaky melodic undertones. Unlike the life of George Costanza, talk about leaving on a high note.
Unlike our slow-witted bald friend, Immolation’s existence is pristine and of the highest of caliber. As to how Descent compares to the band’s discography, that’s a more difficult task – it’s more compact than Acts of God, clocking in at just a hair under 42 minutes, aiding the pacing somewhat, but at this point, we’re just splitting hairs. Immolation is death metal excellence through and through, and you won’t find an act – new or long-standing – that realistically matches what they can offer. Descent is as essential and virulent as anything Immolation have done in their nearly 40 years. What else would you expect?
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/immolation-descent-nuclear-blast-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
immolation.bandcamp.com/album/descent
———
#Colderra
#ColderraMusic
#MusicReview
#MelodicDeathMetal
#TechnicalDeathMetal
#Immolation
#Descent10 track album
When the topic of death metal legends comes up, no doubt it’s going to be a spirited debate. We could write up with a history lesson here, but chances are, you’re educated enough at this point. If not, then maybe read up on the subject a bit. With all of the royalty we’ve been lucky enough to have formed within the US in this realm, the question of consistency over the years and decades isn’t a simple one, with many originators of the sound falling off of a cliff quality-wise. One such act who has always defied the odds of time is New York’s Immolation.
To date, they’ve released eleven full-lengths, starting with 1991’s Dawn of Possession. Since that legendary record, they literally haven’t stopped. We’ll make the claim that not only have Immolation never released an album that could be viewed as less than very good, they haven’t even penned a single bad song. How many bands can make that claim? Most have at least made one dud, but not these guys.
Their most recent album Acts of God is a masterwork, and after all this time, putting out something that relevant, inspired, and downright vicious isn’t at all far from their norm. With all of that said, coming to their twelfth album Descent, it’s not an easy review to approach. Considering such a career spanning hot streak and standard of quality, one not only expects, but almost demands zero decline, even though it’d be entirely reasonable for that to happen at this juncture.
Fear not – that’s simply not how Immolation rolls, and with Descent, their aptitude and untouchable knack for – again – creating the crème de la crème of death metal is anything but what the album title word choice may reflect.
The steamroller revs up and flattens all in its path when “These Vengeful Winds” hurtles through with blunt force. The guitar work is sinister, crafty and menacing – like Robert Vigna is capable of anything less. His style is easily discernible, dripping with moxie and immeasurable skill as he tears through quick-hitting riffs, searing solos, and those sustained wails that never cease to release the serotonin. “The Ephemeral Curse” keeps the pace steady and the dread at maximum, giving Descent a hair-raising opening.
As the album continues, the band pulls no punches in the aggression department, but there are enough variations to keep Descent highly engaging. Cuts such as “God’s Last Breath” and “Host” hit a more drawn out, mid-range trajectory; not quite death/doom, but incredibly crunchy and methodical, representing the band at their most cunning. Ross Dolan’s trademark deep, venomous growl reverberates definitively with his identifiable tone, showing off a vocal ability that’s still the standard bearer of the genre.
“Adversary” is a wise choice to dial up the tension, fitting into the album neatly with the equally devastating “Attrition” as a back-to-back combo. The critical attention given to every detail large and small from Vigna puts their music over the top; every harmonic, lead, and riff twist together seamlessly to captivate the listener, as this pairing highlights ferociously
Not to be outdone, Vigna’s partner-in-six-stringed-crime Alex Bouks has been an asset to the band on both album and stage. His contributions cannot be overlooked – the band have really been at full steam ahead since he joined the ranks for modern classic Atonement. He’s got quite a pedigree himself, and his work on Descent is nothing less than stellar. Equally, drummer Steve Shalaty has been here since Harnessing Ruin, and his dominant percussive capabilities are on full display, giving Immolation their thick, indisputable kick – “False Ascent” stands out as a particularly tasty example.
Creatively, Descent is dark as it is vibrant – accents of melody are lightly sprinkled throughout, though never at the expense of merciless brutality, and the lead play is articulate yet explosive. As a whole, the album is balanced and connectively flows well – the track order was completed wisely to solidify this entry as more than a collection of crushing singles. To that end, the finale title track is by over a minute the longest song on offer; a tour de force of high energy and sneaky melodic undertones. Unlike the life of George Costanza, talk about leaving on a high note.
Unlike our slow-witted bald friend, Immolation’s existence is pristine and of the highest of caliber. As to how Descent compares to the band’s discography, that’s a more difficult task – it’s more compact than Acts of God, clocking in at just a hair under 42 minutes, aiding the pacing somewhat, but at this point, we’re just splitting hairs. Immolation is death metal excellence through and through, and you won’t find an act – new or long-standing – that realistically matches what they can offer. Descent is as essential and virulent as anything Immolation have done in their nearly 40 years. What else would you expect?
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/immolation-descent-nuclear-blast-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
immolation.bandcamp.com/album/descent
———
#Colderra
#ColderraMusic
#MusicReview
#MelodicDeathMetal
#TechnicalDeathMetal
#Immolation
#Descent10 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗜𝗡𝗙𝗘𝗥𝗜 – 𝗛𝗘𝗔𝗩𝗘𝗡 𝗪𝗘𝗣𝗧
One of those moments that seem a bit crazy to think about, but it’s been almost 20 years now since INFERI’s first album, Divinity in War, was released. There’s been a reformation as well as a slew of member changes over the years, but the tech-death act has managed to really rise to prominence in the genre (not to mention the influence of label The Artisan Era) the ole fashioned way by word of mouth and putting in the work. Heaven Wept comes five years after Vile Genesis, and sees more line-up changes with guitarist Mike Low leaving in 2023 and being replaced by Sanjay Kumar (Wormhole, Equipoise). But all in all, INFERI continue to have a very firm grasp on what works in the genre and play to it’s strengths.
The band’s foundation still leans hard into ‘The Black Dahlia Murder on speed with copious technicality’ sort of aesthetic that they have championed from the start. But you can hear that there’s certainly a lot more going on now in the music than in the group’s beginnings. The atmosphere and willingness to branch out seems to really find a way into the music of Heaven Wept. “Feed Me Your Fear” has a very murky, dark opening with noticeable melodies that heavily aim towards a more gloomy feeling before it erupts with blastbeats. But that melodic sense doesn’t shift away, with the group doubling down on some chugging sections where groove takes a front seat in addition to some ear-grabbing leadwork. The ending of the song moves into a very brutal breakdown, adding an effective finishing touch. “Master of Nothing” brings in thundering mid-tempo riffs and an emphasis on cinematic orchestrations to really hammer home the point, allowing the more explosive sections to feel more earned and frantic. Single “Heaven Wept” utilizes slow, churning crawls with slithering melodies and moments of synth bombast to generate a potent atmosphere, allowing for a fantastic volley with the band’s usual need for speed in ways that feel particularly devastating.
With all of these tweaks and improvements, musicianship still stands just as strong. The penchant for speed is one that hasn’t tempered over the years, and the Malcolm Pugh and Sanjay Kumar guitar attack is as razor-sharp as anything that’s come before with INFERI, and the slowdowns add more teeth to it. Vocalist Stevie Boiser is just as notable, as his particular delivery in providing highs, lows, and anything in between has been a benefit to the group since his joining, making the more instrumentally-led group into something that feels a bit more balanced. While Spencer Moore has moved onto Archspire after this release was recorded, his work here is just as throttling and varied, even with the emphasis on blast tempos.
INFERI continue to stand out in their ability to write technical death metal of the highest order and proficiency while allowing the individual songs to stand out. Heaven Wept continues the band’s growing legacy as one of the premiere extreme metal acts, and is sure to please fans who are looking for their next tech-death fix of musicianship and speed, laced with melodies to boot.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/inferi-heaven-wept-the-artisan-era/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
inferi.bandcamp.com/album/heaven-wept
———
#Colderra
#ColderraMusic
#MusicReview
#MelodicDeathMetal
#TechnicalDeathMetal
#Inferi
#HeavenWept8 track album
One of those moments that seem a bit crazy to think about, but it’s been almost 20 years now since INFERI’s first album, Divinity in War, was released. There’s been a reformation as well as a slew of member changes over the years, but the tech-death act has managed to really rise to prominence in the genre (not to mention the influence of label The Artisan Era) the ole fashioned way by word of mouth and putting in the work. Heaven Wept comes five years after Vile Genesis, and sees more line-up changes with guitarist Mike Low leaving in 2023 and being replaced by Sanjay Kumar (Wormhole, Equipoise). But all in all, INFERI continue to have a very firm grasp on what works in the genre and play to it’s strengths.
The band’s foundation still leans hard into ‘The Black Dahlia Murder on speed with copious technicality’ sort of aesthetic that they have championed from the start. But you can hear that there’s certainly a lot more going on now in the music than in the group’s beginnings. The atmosphere and willingness to branch out seems to really find a way into the music of Heaven Wept. “Feed Me Your Fear” has a very murky, dark opening with noticeable melodies that heavily aim towards a more gloomy feeling before it erupts with blastbeats. But that melodic sense doesn’t shift away, with the group doubling down on some chugging sections where groove takes a front seat in addition to some ear-grabbing leadwork. The ending of the song moves into a very brutal breakdown, adding an effective finishing touch. “Master of Nothing” brings in thundering mid-tempo riffs and an emphasis on cinematic orchestrations to really hammer home the point, allowing the more explosive sections to feel more earned and frantic. Single “Heaven Wept” utilizes slow, churning crawls with slithering melodies and moments of synth bombast to generate a potent atmosphere, allowing for a fantastic volley with the band’s usual need for speed in ways that feel particularly devastating.
With all of these tweaks and improvements, musicianship still stands just as strong. The penchant for speed is one that hasn’t tempered over the years, and the Malcolm Pugh and Sanjay Kumar guitar attack is as razor-sharp as anything that’s come before with INFERI, and the slowdowns add more teeth to it. Vocalist Stevie Boiser is just as notable, as his particular delivery in providing highs, lows, and anything in between has been a benefit to the group since his joining, making the more instrumentally-led group into something that feels a bit more balanced. While Spencer Moore has moved onto Archspire after this release was recorded, his work here is just as throttling and varied, even with the emphasis on blast tempos.
INFERI continue to stand out in their ability to write technical death metal of the highest order and proficiency while allowing the individual songs to stand out. Heaven Wept continues the band’s growing legacy as one of the premiere extreme metal acts, and is sure to please fans who are looking for their next tech-death fix of musicianship and speed, laced with melodies to boot.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/inferi-heaven-wept-the-artisan-era/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
inferi.bandcamp.com/album/heaven-wept
———
#Colderra
#ColderraMusic
#MusicReview
#MelodicDeathMetal
#TechnicalDeathMetal
#Inferi
#HeavenWept8 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗧𝗭𝗘𝗩𝗔𝗢𝗧 – 𝗧𝗛𝗘 𝗛𝗘𝗥𝗠𝗘𝗧𝗜𝗖 𝗪𝗔𝗬
Oh, to have half the confidence of the average solo artist dabbling in the esoteric. Their avant-garde opuses can’t all be the status-quo-subverting masterworks of music and philosophy they claim to be. For some reason, I, Voidhanger keeps signing them, and for equally opaque reasons, we keep choosing to review their albums. Tzevaot is the experimental black metal1 project of an individual known only as The Orator, who in The Hermetic Way explores occult ideas purported to unveil “actual hidden mechanisms of reality,” with heavy inspiration from the magical tradition made popular by who else but Aleister Crowley. And while everything from the flowery promo blurb to the time-stamped lyrics2 and the solemn spoken-word poetry tries to convince you of its significance. The Hermetic Way completely fails to impart much more than consternation.
It’s difficult to know where to even begin with The Hermetic Way, and its brand of wisdom. At every turn, things somehow go wrong. The core sound is something akin to Esoctrilihum—barking screams, twisty guitars, and a propensity for echo on everything—only with a mix you’d barely forgive a bedroom project for, and a compositional style that makes said Esoctrilihum sound catchy. Tzevaot jumbles synths, piano, and guitars that seem to hit upon a genuine groove of Emperor-esque theatrics or Absu-level style completely by accident; the fact that the best melodies are never reprised only supports this theory. The drumming—which may well be a machine for all I can discern3—is flat and dull, buried by the wall of heavy reverb between the sharp stab of the vocals and the other instruments. This intensifies the feeling of aggravated confusion that defines the listening experience, as one struggles to keep up with the nonsensical rhythmic trades, sudden inclusion of solo synth or piano, and yet more spoken-word. This is not the nuanced placelessness of an intelligent, complex extreme metal, where discordance and strange rhythms develop impossibly but seamlessly into new forms; this is a mess.
As with many similar works of art, all of The Hermetic Way’s failures arise from the hubris of their creator. The indulgence of every idea, at the expense of their development, integration, and refinement, causes the record to swing pendulously between mind-numbing boredom and toe-curling cringe. Without fail, songs go in the most annoying possible direction, dropping tension like a hot potato and throwing out a rare good musical passage in favour of the most jarring refrains (“Solve et Coagula,” “Pyres of Meaning Light the New Aeon’s Way”), or another arrangement of noise to a jaunty tempo that makes a mockery of the previous composition (“Zosimos the Alchemist”). Elements are often so poorly integrated, that sections clearly designed for drama—stripped-back keys or solemn recitations—fail to land; the sample of famed occult author Lon Milo DuQuette is barely audible past the fickle interchanges of organs, riffs, and drums. The Oracle persistently delivers vocals in a monotonous, rapid-fire bark that gets grating fast, particularly when combined with Tzevaot’s fondness for stacking tempos and synth accompaniments like dominos one after another. But I would listen to hours of all the above barks rather than sit just once more through horror show “The Hero of Megiddo,” a skin-crawling ditty whose redemptive brevity is made moot by its being the only thing on the record with a memorable tune, causing the perverse singing and jangling chords to turn around in your brain like an inescapable merri-go-round.
Most painful of all is that The Hermetic Way could have been so much better. Tzevaot might try to borrow the label of “jazz” to elevate whatever’s going on with piano and cymbals at various points. While that’s not really justified, it’s nonetheless striking that every single isolated passage of good music on The Hermetic Way involves piano4 (“The Emerald Tablet of Thoth,” “Air Fire Water Earth,” “Metempsychosis”). These fleeting moments, which comprise approximately five percent of the runtime combine key slides and arpeggios in a stylish, interesting way that’s very cool, and variously reminiscent of Wreche, Vengeur, and once again Emperor. In an hour of music that is otherwise so exhausting, this is obviously not enough. By the time the best parts of the album arrive in closer “Metempsychosis,” you’re likely too checked out to care, if you’re even still listening.
The Hermetic Way’s title is apt. Not only as it divulges supposed profound truths through the visionary teachings of the self-imposed hermit, who has reached enlightenment through years of solitary contemplation. But also because that’s quite a good analogy for the solo metal musician of the esoteric bent. Maybe Tzevaot harbors real genius, and I’m simply too blind and deaf to see or hear it in their work. More likely it’s another case of talent foiled by delusion.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/tzevaot-the-hermetic-way-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
i-voidhangerrecords.bandcamp.com/album/the-hermetic-way
———
#Colderra
#ColderraMusic
#MusicReview
#AvantGarde
#BlackMetal
#Tzevaot
#TheHermeticWay9 track album
Oh, to have half the confidence of the average solo artist dabbling in the esoteric. Their avant-garde opuses can’t all be the status-quo-subverting masterworks of music and philosophy they claim to be. For some reason, I, Voidhanger keeps signing them, and for equally opaque reasons, we keep choosing to review their albums. Tzevaot is the experimental black metal1 project of an individual known only as The Orator, who in The Hermetic Way explores occult ideas purported to unveil “actual hidden mechanisms of reality,” with heavy inspiration from the magical tradition made popular by who else but Aleister Crowley. And while everything from the flowery promo blurb to the time-stamped lyrics2 and the solemn spoken-word poetry tries to convince you of its significance. The Hermetic Way completely fails to impart much more than consternation.
It’s difficult to know where to even begin with The Hermetic Way, and its brand of wisdom. At every turn, things somehow go wrong. The core sound is something akin to Esoctrilihum—barking screams, twisty guitars, and a propensity for echo on everything—only with a mix you’d barely forgive a bedroom project for, and a compositional style that makes said Esoctrilihum sound catchy. Tzevaot jumbles synths, piano, and guitars that seem to hit upon a genuine groove of Emperor-esque theatrics or Absu-level style completely by accident; the fact that the best melodies are never reprised only supports this theory. The drumming—which may well be a machine for all I can discern3—is flat and dull, buried by the wall of heavy reverb between the sharp stab of the vocals and the other instruments. This intensifies the feeling of aggravated confusion that defines the listening experience, as one struggles to keep up with the nonsensical rhythmic trades, sudden inclusion of solo synth or piano, and yet more spoken-word. This is not the nuanced placelessness of an intelligent, complex extreme metal, where discordance and strange rhythms develop impossibly but seamlessly into new forms; this is a mess.
As with many similar works of art, all of The Hermetic Way’s failures arise from the hubris of their creator. The indulgence of every idea, at the expense of their development, integration, and refinement, causes the record to swing pendulously between mind-numbing boredom and toe-curling cringe. Without fail, songs go in the most annoying possible direction, dropping tension like a hot potato and throwing out a rare good musical passage in favour of the most jarring refrains (“Solve et Coagula,” “Pyres of Meaning Light the New Aeon’s Way”), or another arrangement of noise to a jaunty tempo that makes a mockery of the previous composition (“Zosimos the Alchemist”). Elements are often so poorly integrated, that sections clearly designed for drama—stripped-back keys or solemn recitations—fail to land; the sample of famed occult author Lon Milo DuQuette is barely audible past the fickle interchanges of organs, riffs, and drums. The Oracle persistently delivers vocals in a monotonous, rapid-fire bark that gets grating fast, particularly when combined with Tzevaot’s fondness for stacking tempos and synth accompaniments like dominos one after another. But I would listen to hours of all the above barks rather than sit just once more through horror show “The Hero of Megiddo,” a skin-crawling ditty whose redemptive brevity is made moot by its being the only thing on the record with a memorable tune, causing the perverse singing and jangling chords to turn around in your brain like an inescapable merri-go-round.
Most painful of all is that The Hermetic Way could have been so much better. Tzevaot might try to borrow the label of “jazz” to elevate whatever’s going on with piano and cymbals at various points. While that’s not really justified, it’s nonetheless striking that every single isolated passage of good music on The Hermetic Way involves piano4 (“The Emerald Tablet of Thoth,” “Air Fire Water Earth,” “Metempsychosis”). These fleeting moments, which comprise approximately five percent of the runtime combine key slides and arpeggios in a stylish, interesting way that’s very cool, and variously reminiscent of Wreche, Vengeur, and once again Emperor. In an hour of music that is otherwise so exhausting, this is obviously not enough. By the time the best parts of the album arrive in closer “Metempsychosis,” you’re likely too checked out to care, if you’re even still listening.
The Hermetic Way’s title is apt. Not only as it divulges supposed profound truths through the visionary teachings of the self-imposed hermit, who has reached enlightenment through years of solitary contemplation. But also because that’s quite a good analogy for the solo metal musician of the esoteric bent. Maybe Tzevaot harbors real genius, and I’m simply too blind and deaf to see or hear it in their work. More likely it’s another case of talent foiled by delusion.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/tzevaot-the-hermetic-way-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
i-voidhangerrecords.bandcamp.com/album/the-hermetic-way
———
#Colderra
#ColderraMusic
#MusicReview
#AvantGarde
#BlackMetal
#Tzevaot
#TheHermeticWay9 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗔𝗚𝗔𝗜𝗡𝗦𝗧 𝗜 – 𝗔𝗡𝗧𝗜 𝗟𝗜𝗙𝗘
Against I are neither a one-sided I Against I nor a Rastafarian Against Me!, but a Swedish blackened death metal trio of vocalist Fredrik Keith Croona (Cynical Existence, ex-Menschdefekt), guitarist Mathias Back, and drummer Anders Ström. Founded in 2022, Against I have been busy preaching disillusionment towards man’s better angels across two LPs and and two EPs. Into their third year, Against I are back with their third full-length album Anti Life, an anthem for everyone bitter against the world, religion and, probably, their parents. This kind of intense workload in such a short time could mean a variety of things. It could mean Against I are an exceptionally driven bunch. It could also mean they’re on a fast track to burning out on Anti Life. What could it be?
I won’t faff about: Anti Life embodies the worst qualities of both black and death metal. Across nearly an hour of music, Against I slop out grooveless grooves (“Darkness Within,” “Where We Lay to Rest”) and flat tremolos (“In Death’s Grip,” “Descend”) at an unhurried mid-pace under tepid rasps and admittedly hefty gutturals (“Empire of Bones”). Against I occasionally crack out a slick drum groove (“Sacrifice,” “Empire of Bones”) but mostly stick to punky d-beats (“Built to Destroy”) or double-kick plods (“Symphony for the End”). Anti Life is heavy on gain, light on bass, and borderline bereft of dynamics or variety. Faux choirs and synths play chords to enforce its blackened aesthetics. Rinse and repeat, and you’ve got Anti Life in a nutshell. With such a limited toolbox stretched out over such a long runtime, Against I shaped a blackened death album with none of the majesty or atmosphere of black metal’s greatest hits nor the depraved brutality of death’s best.
Anti Life is made worse by simply clueless songwriting. Against I stick to an overly limited scope regarding song structure, with almost every track ambling between segments with little urgency or patience to let passages evolve. Nearly every chorus is just a two-to-four-bar phrase repeated twice, usually exactly the same way each time. Despite the rigid formatting, these songs feel haphazard. “Darkness Within” has one of the most aimless riffs I’ve ever heard, dicking around a handful of low notes without an apparent goal, while “In Death’s Grip” features completely random pitch-shifted vocal blips, and “All Hope Is Gone” opens and closes with electronics tacked on with little regard to the song in between.1 And then there’s the lyricism, unfortunately apparent due to Anti Life’s discernible rasps. Amidst the incessant wave of banal metal, the constant diatribes of surface-level social commentary (“Throne of Tyranny,” “War Never Ends”), tiresome nihilism (“Anti Life,” “Symphony for the End”) and premium edgelord lines like “In the land of rape and honey, only the stupid survive” (“Tempel of Greed”)2 turn Anti Life from a rough listen to a near insufferable one.
But worse than Against I having lots of bad ideas, Anti Life just doesn’t have much of anything at all. So little happens across so much time that recalling any particular moment from Anti Life is laborious. It’s telling when “Throne of Tyranny”‘s milquetoast melodeath riffing or “Greed”‘s3 guitar harmonics in its bridge—standard features in most any generic metal album—are standout highlights on Anti Life. Just constant knuckle-dragging chugs and spiceless tremolo riffs. There aren’t even any guitar solos. Or anything solos. Nothing to break up the monotonous patterns Against I are totally hellbent on maintaining. Typically, musicians strip back their sound to highlight certain aspects of their sound, but Against I don’t have anything to highlight on Anti Life. This is the most frustrating thing to write about: not the disaster album that swings and misses horrendously but doesn’t swing at all.
I don’t think Against I are inept—an inept group wouldn’t have gotten this far—but Anti Life is just terrible. Against I are spared from the dreaded AMG Unlistenable/0.5 Hall of Shame by the virtue that Anti Life at least executes the basic mechanics of metal music proficiently, if not exceptionally. This is a joyless, deeply tedious listen, and fans of both death and black metal can find anything on Anti Life on any number of other, better records in far more interesting iterations. I’m glad Against I released Anti Life close to the start of spring because this record’s uninspired negativity has got me seeking out fresh air and sunshine out of pure spite against it. I’m anti-this.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/against-i-anti-life-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
tfreco.bandcamp.com/album/anti-life
———
#Colderra
#ColderraMusic
#MusicReview
#IndustrialRock
#MelodicGrooveMetal
#AgainstI
#AntiLife
Against I are neither a one-sided I Against I nor a Rastafarian Against Me!, but a Swedish blackened death metal trio of vocalist Fredrik Keith Croona (Cynical Existence, ex-Menschdefekt), guitarist Mathias Back, and drummer Anders Ström. Founded in 2022, Against I have been busy preaching disillusionment towards man’s better angels across two LPs and and two EPs. Into their third year, Against I are back with their third full-length album Anti Life, an anthem for everyone bitter against the world, religion and, probably, their parents. This kind of intense workload in such a short time could mean a variety of things. It could mean Against I are an exceptionally driven bunch. It could also mean they’re on a fast track to burning out on Anti Life. What could it be?
I won’t faff about: Anti Life embodies the worst qualities of both black and death metal. Across nearly an hour of music, Against I slop out grooveless grooves (“Darkness Within,” “Where We Lay to Rest”) and flat tremolos (“In Death’s Grip,” “Descend”) at an unhurried mid-pace under tepid rasps and admittedly hefty gutturals (“Empire of Bones”). Against I occasionally crack out a slick drum groove (“Sacrifice,” “Empire of Bones”) but mostly stick to punky d-beats (“Built to Destroy”) or double-kick plods (“Symphony for the End”). Anti Life is heavy on gain, light on bass, and borderline bereft of dynamics or variety. Faux choirs and synths play chords to enforce its blackened aesthetics. Rinse and repeat, and you’ve got Anti Life in a nutshell. With such a limited toolbox stretched out over such a long runtime, Against I shaped a blackened death album with none of the majesty or atmosphere of black metal’s greatest hits nor the depraved brutality of death’s best.
Anti Life is made worse by simply clueless songwriting. Against I stick to an overly limited scope regarding song structure, with almost every track ambling between segments with little urgency or patience to let passages evolve. Nearly every chorus is just a two-to-four-bar phrase repeated twice, usually exactly the same way each time. Despite the rigid formatting, these songs feel haphazard. “Darkness Within” has one of the most aimless riffs I’ve ever heard, dicking around a handful of low notes without an apparent goal, while “In Death’s Grip” features completely random pitch-shifted vocal blips, and “All Hope Is Gone” opens and closes with electronics tacked on with little regard to the song in between.1 And then there’s the lyricism, unfortunately apparent due to Anti Life’s discernible rasps. Amidst the incessant wave of banal metal, the constant diatribes of surface-level social commentary (“Throne of Tyranny,” “War Never Ends”), tiresome nihilism (“Anti Life,” “Symphony for the End”) and premium edgelord lines like “In the land of rape and honey, only the stupid survive” (“Tempel of Greed”)2 turn Anti Life from a rough listen to a near insufferable one.
But worse than Against I having lots of bad ideas, Anti Life just doesn’t have much of anything at all. So little happens across so much time that recalling any particular moment from Anti Life is laborious. It’s telling when “Throne of Tyranny”‘s milquetoast melodeath riffing or “Greed”‘s3 guitar harmonics in its bridge—standard features in most any generic metal album—are standout highlights on Anti Life. Just constant knuckle-dragging chugs and spiceless tremolo riffs. There aren’t even any guitar solos. Or anything solos. Nothing to break up the monotonous patterns Against I are totally hellbent on maintaining. Typically, musicians strip back their sound to highlight certain aspects of their sound, but Against I don’t have anything to highlight on Anti Life. This is the most frustrating thing to write about: not the disaster album that swings and misses horrendously but doesn’t swing at all.
I don’t think Against I are inept—an inept group wouldn’t have gotten this far—but Anti Life is just terrible. Against I are spared from the dreaded AMG Unlistenable/0.5 Hall of Shame by the virtue that Anti Life at least executes the basic mechanics of metal music proficiently, if not exceptionally. This is a joyless, deeply tedious listen, and fans of both death and black metal can find anything on Anti Life on any number of other, better records in far more interesting iterations. I’m glad Against I released Anti Life close to the start of spring because this record’s uninspired negativity has got me seeking out fresh air and sunshine out of pure spite against it. I’m anti-this.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/against-i-anti-life-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
tfreco.bandcamp.com/album/anti-life
———
#Colderra
#ColderraMusic
#MusicReview
#IndustrialRock
#MelodicGrooveMetal
#AgainstI
#AntiLife
Against I – Anti Life Review | Angry Metal Guy
www.angrymetalguy.com
A review of Anti Life by Against I, available worldwide March 13th via Twisted Flesh Recordings. 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗗𝗥𝗔𝗖𝗢𝗡𝗜𝗔𝗡 – 𝗠𝗜𝗦𝗔𝗡𝗧𝗛𝗥𝗢𝗣𝗘 𝗥𝗜𝗩𝗘𝗥
Swedish gothic doom metal entity, Draconian, reveals their new single, “Misantrophe River,” the second offering cut from their upcoming full-length, In Somnolent Ruin, to be released on May 8 via Napalm Records. “Misantrophe River” confronts listeners in true Draconian fashion with life’s hardest questions, exploring feelings of alienation when swimming against the stream and the search for direction in unfamiliar territory.
The undisputed leaders of the second wave of gothic doom metal are finally back—and they return in better shape than ever! In Somnolent Ruin promises to be one of the most personal records in Draconian’s discography, revealed through a dreamlike journey across nine tracks and the poetic lyricism of vocalist Anders Jacobsson. The new album also marks the return of long-time vocalist Lisa Johansson—the band’s vocalist for their first five records.
Ander Jacobsson about the new single: “‘Misanthrope River’ was the first song written for this album. The initial idea goes back to the early days of Under a Godless Veil, but it remained dormant until work on this record began. It’s an emotional gothic doom track- fairly minimalist, yet expansive in feel, with subtle touches that hint at post-metal and give the atmosphere a broader sense of depth. There’s a suggestion of something ancient and mysterious running through it. Although interactive, at its core, the song deals with separation and isolation in a world where the larger truth has been kept from you and how those feelings slowly turn into resentment. You’re pushing against the current wading upstream while doubting the way forward. In that struggle you’ll be grasping at straws for any sense of peace while unintentionally shutting out the one closest to you. Shot in the Faroe Islands, the video places its actors within vast, striking landscapes. It was directed by Gaui H., the same director behind ‘Cold Heavens’.”
In Somnolent Ruin captures the essence of a band that no longer needs to prove anything – and yet still does. Active since the mid-1990s and having released their debut album, Where Lovers Mourn, in 2003, Draconian have continuously demonstrated their unmatched ability to craft otherworldly doom melodies and searing heavy instrumentation, complemented by lyrics that read like poetry. Their art cuts deep, compelling listeners to confront their inner demons, wander through the darkest shadows, and even embrace emotional numbness, only to emerge with a sense of inner peace. This album confronts listeners with life’s hardest questions, exploring feelings of alienation and the search for direction in unfamiliar territory.
Six years have passed since the band released In Somnolent Ruin’s predecessor, Under a Godless Veil, Draconian’s most successful record to date. Much has changed since then, yet everything feels familiar: After introducing new guitarist Niklas Nord (Myteri, DeathTrap, The Random Victims) in spring 2022, the band announced the return of vocalist Lisa Johansson, who now once again shares vocal duties with Anders Jacobsson, promising even more enigmatic music to come. Johansson had been the band’s vocalist for their first five records before leaving Draconian in 2011 for personal reasons. In Somnolent Ruin marks her official comeback, following several live performances at festivals over the past years. The band’s renewed lineup is rounded out by Daniel Johansson (Antikult, ex-Wormwood), who joined Draconian as a full member in 2025 following Jerry Torstennson’s departure. Prior to that, Johansson had served as the band’s session drummer since 2019. It’s the first album on which longtime member Daniel Arvidsson can be heard on bass, to which he switched from guitar in 2022.
In Somnolent Ruin’s journey begins with “I Welcome Thy Arrow”, which captivates from the very first seconds through haunting melodies and a vocal interplay that embodies fragility and strength alike. Tracks such as “The Monochrome Blade” and “The Face of God” introduce increased tempo and eruptive vocal dynamics. “Anima” features Swedish artist Daniel Änghede, adding layers of emotional depth and confronting listeners with their darker impulses, capturing the sense of being lost and questioning one’s place in the world. “Asteria Beneath the Tranquil Sea” serves as a transitional interlude between “I Gave You Wings” and “Cold Heavens”, the latter exploring the delicate balance between life and death and not finding relief in any of both, while delivering the album’s most intense vocal performance. “Misanthrope River” opens with an extended instrumental passage and narration by Simon Bibby, slowing the tempo but by no means reducing the emotional weight, reflecting life’s daily struggles and obstacles. The closing track, “Lethe”, references the river of forgetfulness in Greek mythology. Those who drank from it would lose all memory. “Oh, shooting star… Drown in me! Drink. Forget. Repeat.” mourns Jacobsson through devilish growls. And yet, In Somnolent Ruin remains a work of art one wishes not to forget – not a single blink of an eye.
In Somnolent Ruin will be available in the following formats:
– 2 CD 36-page Earbook incl. In Somnolent Ruin & Bonus CD with 2 Tracks only available with this format (exclusively available via Napalm Records Mailorder)
– 2 LP Gatefold Picture Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Europe Mailorder)
– 2 LP Gatefold Splattered Black Smoke/White Orange Black Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Mailorder)
– 2 LP Gatefold Gold Vinyl incl lyric sheet (exclusively available via Napalm Records Mailorder)
– 1 CD Digipak
– Digital Album
Pre-order here napalmrecords.us/collections/draconian
Find Draconian’s live itinerary here draconianofficial.com
Draconian:
Johan Ericson – Guitar, Vocals, Keys
Anders Jacobsson – Vocals
Lisa Johansson – Vocals
Daniel Arvidsson – Bass
Niklas Nord – Guitar
Daniel Johansson – Drums
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/draconian-drops-new-single-and-music-video-misantrophe-river/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=Nvd8IKYsZ9E
———
#Colderra
#ColderraMusic
#MusicReview
#Gothic
#DoomMetal
#Draconian
#MisanthropeRiver
Swedish gothic doom metal entity, Draconian, reveals their new single, “Misantrophe River,” the second offering cut from their upcoming full-length, In Somnolent Ruin, to be released on May 8 via Napalm Records. “Misantrophe River” confronts listeners in true Draconian fashion with life’s hardest questions, exploring feelings of alienation when swimming against the stream and the search for direction in unfamiliar territory.
The undisputed leaders of the second wave of gothic doom metal are finally back—and they return in better shape than ever! In Somnolent Ruin promises to be one of the most personal records in Draconian’s discography, revealed through a dreamlike journey across nine tracks and the poetic lyricism of vocalist Anders Jacobsson. The new album also marks the return of long-time vocalist Lisa Johansson—the band’s vocalist for their first five records.
Ander Jacobsson about the new single: “‘Misanthrope River’ was the first song written for this album. The initial idea goes back to the early days of Under a Godless Veil, but it remained dormant until work on this record began. It’s an emotional gothic doom track- fairly minimalist, yet expansive in feel, with subtle touches that hint at post-metal and give the atmosphere a broader sense of depth. There’s a suggestion of something ancient and mysterious running through it. Although interactive, at its core, the song deals with separation and isolation in a world where the larger truth has been kept from you and how those feelings slowly turn into resentment. You’re pushing against the current wading upstream while doubting the way forward. In that struggle you’ll be grasping at straws for any sense of peace while unintentionally shutting out the one closest to you. Shot in the Faroe Islands, the video places its actors within vast, striking landscapes. It was directed by Gaui H., the same director behind ‘Cold Heavens’.”
In Somnolent Ruin captures the essence of a band that no longer needs to prove anything – and yet still does. Active since the mid-1990s and having released their debut album, Where Lovers Mourn, in 2003, Draconian have continuously demonstrated their unmatched ability to craft otherworldly doom melodies and searing heavy instrumentation, complemented by lyrics that read like poetry. Their art cuts deep, compelling listeners to confront their inner demons, wander through the darkest shadows, and even embrace emotional numbness, only to emerge with a sense of inner peace. This album confronts listeners with life’s hardest questions, exploring feelings of alienation and the search for direction in unfamiliar territory.
Six years have passed since the band released In Somnolent Ruin’s predecessor, Under a Godless Veil, Draconian’s most successful record to date. Much has changed since then, yet everything feels familiar: After introducing new guitarist Niklas Nord (Myteri, DeathTrap, The Random Victims) in spring 2022, the band announced the return of vocalist Lisa Johansson, who now once again shares vocal duties with Anders Jacobsson, promising even more enigmatic music to come. Johansson had been the band’s vocalist for their first five records before leaving Draconian in 2011 for personal reasons. In Somnolent Ruin marks her official comeback, following several live performances at festivals over the past years. The band’s renewed lineup is rounded out by Daniel Johansson (Antikult, ex-Wormwood), who joined Draconian as a full member in 2025 following Jerry Torstennson’s departure. Prior to that, Johansson had served as the band’s session drummer since 2019. It’s the first album on which longtime member Daniel Arvidsson can be heard on bass, to which he switched from guitar in 2022.
In Somnolent Ruin’s journey begins with “I Welcome Thy Arrow”, which captivates from the very first seconds through haunting melodies and a vocal interplay that embodies fragility and strength alike. Tracks such as “The Monochrome Blade” and “The Face of God” introduce increased tempo and eruptive vocal dynamics. “Anima” features Swedish artist Daniel Änghede, adding layers of emotional depth and confronting listeners with their darker impulses, capturing the sense of being lost and questioning one’s place in the world. “Asteria Beneath the Tranquil Sea” serves as a transitional interlude between “I Gave You Wings” and “Cold Heavens”, the latter exploring the delicate balance between life and death and not finding relief in any of both, while delivering the album’s most intense vocal performance. “Misanthrope River” opens with an extended instrumental passage and narration by Simon Bibby, slowing the tempo but by no means reducing the emotional weight, reflecting life’s daily struggles and obstacles. The closing track, “Lethe”, references the river of forgetfulness in Greek mythology. Those who drank from it would lose all memory. “Oh, shooting star… Drown in me! Drink. Forget. Repeat.” mourns Jacobsson through devilish growls. And yet, In Somnolent Ruin remains a work of art one wishes not to forget – not a single blink of an eye.
In Somnolent Ruin will be available in the following formats:
– 2 CD 36-page Earbook incl. In Somnolent Ruin & Bonus CD with 2 Tracks only available with this format (exclusively available via Napalm Records Mailorder)
– 2 LP Gatefold Picture Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Europe Mailorder)
– 2 LP Gatefold Splattered Black Smoke/White Orange Black Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Mailorder)
– 2 LP Gatefold Gold Vinyl incl lyric sheet (exclusively available via Napalm Records Mailorder)
– 1 CD Digipak
– Digital Album
Pre-order here napalmrecords.us/collections/draconian
Find Draconian’s live itinerary here draconianofficial.com
Draconian:
Johan Ericson – Guitar, Vocals, Keys
Anders Jacobsson – Vocals
Lisa Johansson – Vocals
Daniel Arvidsson – Bass
Niklas Nord – Guitar
Daniel Johansson – Drums
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/draconian-drops-new-single-and-music-video-misantrophe-river/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=Nvd8IKYsZ9E
———
#Colderra
#ColderraMusic
#MusicReview
#Gothic
#DoomMetal
#Draconian
#MisanthropeRiver
DRACONIAN – Misanthrope River (Official Video) | Napalm Records
www.youtube.com
Swedish Gothic Doom Entity DRACONIAN Announces 8th Studio Album, In Somnolent Ruin, Out May 8, 2026 Pre-Order: lnk.to/Draconian-InSomnolentRuinDirecte…
Happy metal weekend.. for all of you who still exist in this mortal world!
METAL OPERA Chapter 1: The Melodic Metallers
Mow available on @audiomack
For more information you can contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/wBUAKQ
METAL OPERA Chapter 1: The Melodic Metallers
Sudah tersedia & mengudara di @Bandcamp
Info lanjut mengenai kompilasi ini dan jika ada hal lain yang ditanyakan atau disampaikan bisa menghubungi akun berikut:
@metaloperamedia
@oridistromedia
@sembranix
https://s.id/1YRzA
METAL OPERA Chapter 1: The Melodic Metallers [T-Shirt]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/RFzYE
#Update
METAL OPERA Chapter 1: The Melodic Metallers
Details: Compilation | CD | Jewel Case
Label: Gerbang Sembilan
Country: Indonesia
Released: 2023
Classification: First Press | 500 copies
#GIX
#GerbangIX
#GerbangSembilan
#RecordLabel
#MusicPublisher
#Website #Page #Release #Update
METAL OPERA Chapter 1: The Melodic Metallers
Type: Compilation
Format: CD
Model: Jewel Case
Release Date: November 27, 2023
Catalog ID: GIX-MO.CD-001
#GIX
#GerbangIX
#GerbangSembilan
#RecordLabel
#MusicPublisher
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/mgKdIr
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/hthjjd
#Post3
METAL OPERA & GERBANG IX, collaborated to release a compilation album, with the title “METAL OPERA Chapter 1: The Melodic Metallers”
https://gerbangsembilan.com
https://goo.su/i4yl
#MetalOpera
#MetalOperaWebzine
#GIX
#GerbangIX
#GerbangSembilan
#Discography #Update
METAL OPERA Chapter 1: The Melodic Metallers
Compilation Album
Released on November 27, 2023
Distributed & Published by Gerbang Sembilan
https://www.colderra.com/discography/
#Colderra
#ColderraMusic
#PowerMetal
#SpeedMetal
#HeavyMetal
#MetalOpera
#GerbangSembilan
