It has always been the role of working-class folk music to speak the truth to power and Dawn Ray’d have by turns incorporated that tradition into contemporary black metal.
The impressive roster of seasoned musicians that make up With The Dead provide a masterful and mercilessly dreary barrage of doom metal darkness throughout their second full-length effort.
Black Sabbath’s back catalogue is sorely lacking a truly brilliant live release, and as such, The End Of The End is likely to be remembered as their best.
Wolfe’s enchanting brand of music benefits from taking an increased inspiration from metal on new album Hiss Spun.
It will come as no surprise to long-time fans of Ufomammut that their perennial mastery of the genre continues on 8.
More consistently intense than its forbearer, Bork is Mastiff’s most accomplished release thus far, and the truest representation of their miserable style.
Morbid Evils are not brooding post-metallers or experimental doomsters tinkering with notions of subtlety and slow-building tracks – they’re gut-punching metal heavyweights exploring every sonic definition of hatred.
Having burst into the fore with last year’s stellar Balaklava, Bristol experimentalist Pessimist has further developed his fusion of jungle and techno with his self-titled debut full length on Blackest Ever […]
If calling their debut album Prologue isn’t an indication that Poseidon are a band with big plans, then maybe their ambitious doom metal centred around a multi-stranded sci-fi narrative is.
So often are metal acts defined as “crazy” or “frenzied” that such descriptions often mean little in the grand scope of the genre, but if one band are deserving of such titles, it’s Pyrrhon.
It’s a testament to the absurdity of metal that an album called Tchornobog is one of Bandcamp’s best-selling albums from the genre in recent weeks.
So, what exactly does “astrogrind” sound like? Well if the third album from Greek outfit Dephosphorus is anything to go by, it’s a noisy and suitably eclectic style of music infused with smatterings of punk, various subgenres of extreme metal and, you guessed it, grindcore.
Asheran is a remarkably dynamic release that drifts through stoner rock, post-metal, doom, death and prog without dropping in quality.
It can be hard to pin down what it is exactly that listeners appreciate about bands like Omahara, and harder still to do so without sounding pretentious.
Like the swampy puddle on its cover, Wren’s Auburn Rule is dripping in a thick, inescapable mud of brooding heaviness.
Listening to a good post-metal release is much like taking a long walk in nature or reading a compelling book: cathartic in an entirely non-violent fashion. Whether its black metal’s […]