This week’s Heavy Music HQ reviews include releases from Abhorrent Expanse, Anthrodynia, Arcadea, Baest, Bask, Blackbriar, Burning Witches, Castrator, Cruel Bomb, Desaster, Feuerschwanz, Glass Lungs, Incite, Innumerable Forms, Malevich, Martyr, Mono Inc, Old Machines, Panzerchrist, Unleashed, Vindicator and White Mantis.
The ratings are on a 5-star scale.
Abhorrent Expanse – Enter The Misanthropocene (Amalgam)
Abhorrent Expanse stick to their offbeat avant-garde style with the improvised jazz/experimental death metal of Enter The Misanthropocene. Much like Gateways To Resplendence, this album was conceptualized over the course of a single day. They only get weirder, with an entire song in “Waves Of Graves” formed around a squeaky door hinge and synths.
The title track and “Assail The Density Matrix” take grind/death and funnel it through a late-night New York City jazz club. Bowed metals are used on the dragged-out “Nephilim Disinterred,” while a cozy clarinet outro on “Ascension Symptom Acceleration” is a temporary respite. Enter The Misanthropocene solidifies Abhorrent Expanse’s brand of oddball death metal.
Rating: 3.5
(Dan Marsicano)
Anthrodynia – Unspeakable Horrors Emanating From Within (Nameless Grave)
Unspeakable Horrors Emanating From Within is the stifling debut album from death/doom duo Anthrodynia. Their ease in going from sedation to a hastened gallop is valuable with a song like “Engulfed In Grief” going almost nine minutes. “A Rotten Sun” is the outlier, in that it has a singular death metal focus coming off the solemn “Cathartic Dissemination.”
“Cathartic Dissemination” is no ordinary, by-the-books instrumental (save for some brief moans/chants), but fleshed out to the point of being over seven minutes long. There are many shifts on this track, from the unhurried guitars in the intro to the crisp synths near the end. It’s a bold take from a band just releasing their first record, signifying that Anthrodynia are open to other ways of death/doom.
Rating: 3.5
(Dan Marsicano)
Arcadea – The Exodus Of Gravity (Relapse)
The Exodus Of Gravity is the second album from Arcadea, the band fronted by Mastodon’s Brann Dailor. He handles both vocals and drums on the synth-heavy sci-fi concept album. João Nogueira, Mastodon’s live synth player, joins the lineup for this album.
The band’s sound is more streamlined and less experimental and progressive than their debut, emphasizing the hooks and melodies. Much of the album is poppy and danceable with catchy tracks like “Fuzzy Planet” and “2 Shells.” There are heavier moments on songs like “Galactic Lighthouse” that tilt toward psych rock, and prog is front and center on “Starry Messenger.” The Exodus Of Gravity is an eclectic trip through the cosmos.
Rating: 3
(Chad Bowar)
Baest – Colossal (Century Media)
Danish death metalers Baest formed a decade ago, and their first three albums followed the typical genre template. But for their fourth album Colossal, produced by Tue Madsen (The Haunted, Dark Tranquillity, Meshuggah), they expanded their musical palette.
The extremity and groove of death metal is still the bedrock of what they do, but Baest have added traditional metal riffs inspired by bands like Iron Maiden and Ozzy Osbourne along with some proggy moments. The combination maintains the aggressiveness with the added melodies increasing the catchiness of their compositions. That’s evident from the opening track “Stormbringer” and continues throughout the album, especially on songs like “King Of The Sun” with D-A-D’s Jesper Binzer and the Maiden influenced “Depraved World.” Colossal is an interesting evolution for Baest.
Rating: 3.5
(Chad Bowar)
Bask – The Turning (Season of Mist)
Asheville, North Carolina natives Bask return with album number four, The Turning. It’s another album that toes the line between early ‘00s metal that is bathed in the Americana of the US Southeast. I was introduced to the band on their previous effort, 2020’s III an album whose sultry vocals helped balance heavy guitar riffs, but never felt quite metal. Expect more of the same on The Turning.
On “In the Heat of the Dying Sun” the album continues it ascent by creating a grandiose path to the celestial. “The Cloth” uses the band’s vocal harmonies well, mixing them with guitar lines that are equally beautiful and haunting, making sure to not skimp on the presence of a banjo in the most authentic way possible. “Dig My Heels” is a perfect balancing act by the band of hitting the right amount of heavy and folk-influenced, exactly what makes Bask so great. The Turning is a welcome return by Bask, an inspired effort that has mass crossover appeal.
Rating: 4
(Tom Campagna)
Blackbriar – A Thousand Little Deaths (Nuclear Blast)
The Dutch symphonic metal scene is a strong one, anchored by bands like Epica, Within Temptation and Delain. Blackbriar have been around since 2012, steadily increasing their profile and fanbase. A Thousand Little Deaths is their third full-length album, and once again they worked with producer Joost van den Broek (Epica, Sabaton, Blind Guardian).
Blackbriar’s brand of symphonic metal is heavy on gothic influences and atmospheres. Their arrangements are intricate and incorporate a lot of depth while remaining mostly in the four-minute range. They really hit their stride on tracks like “The Hermit And The Lover” and “A Last Sigh Of Bliss” that are varied, compelling and catchy. Zora Cock’s ethereal vocals are effective, and have enough power to cut through the dense arrangements. There are a few lulls, but A Thousand Little Deaths is an engaging album.
Rating: 3.5
(Chad Bowar)
Burning Witches – Inquisition (Napalm)
In their decade of existence, the Swiss heavy/power metal band Burning Witches have been prolific, issuing a new album every year or two. Inquisition is their sixth album. They’ve had a lineup change as well. After appearing on three tracks on 2023’s The Dark Tower, guitarist Courtney Cox is now a full-fledged member.
As on previous album, the songs are driven by classic metal riffs, guitar harmonies and the potent and varied vocals of Laura Guldemond. “High Priestess Of The Night” channels an ’80s vibe while the intensity is ratched up on tracks like “Shame.” Power metal is front-and-center on the title track, contrasted by the power ballad “Release Me.” Burning Witches showcase a variety of styles and approaches on Inquisition, making for a well-rounded and interesting album.
Rating: 4
(Chad Bowar)
Castrator – Coronation Of The Grotesque (Dark Descent)
Castrator take their death metal to punishing new heights on their sophomore full-length, Coronation Of The Grotesque. Their 2022 debut Defiled In Oblivion was nothing to scoff at, but this record somehow finds ways to be more barbaric. Some of that may have to do with new guitarist Sara Loerlein and her hellacious soloing, which gets further unhinged as the album speeds along.
The lyrics on this album continue Castrator’s ire at societal failings like the untimely death of Mahsa Amini and the unspeakable actions of convicted sex offender Naasón Joaquín García. Much like their last album, Coronation Of The Grotesque ends with a faithful cover song, this time around being an electric rendition of Exodus’ “Metal Command.”
Rating: 4
(Dan Marsicano)
Cruel Bomb – Cruel Bomb (Self)
While the subject of war is nothing new in the metal genre, Pennsylvania thrashers Cruel Bomb add their own take and spin on the subject and genre with their self titled debut album. With a sound that feels like 1914 by way of Anthrax, Cruel Bomb manage to put their own sound to a genre that is no stranger to war commentary.
The 1915 recording of Rudyard Kiplings’s 1903 poem “Boots” by Taylor Holmes sampled in “Hell Hounds” make the song not only stand out in the album but made the transition to the actual song that much more impactful. It is a shame the rest of the album does not follow this suit it would have been an interesting twist but even without it the whole album is well made.
Rating: 3.5
(Dalton Husher)
Desaster – Kill All Idols (Metal Blade)
The veteran German black/thrash metal band Desaster have been plying their trade since the late ’80s. Guitarist Infernal and bassist Odin have been there for every studio album, with vocalist Sataniac marking nearly a quarter-century in the band. Their latest effort is Kill All Idols.
Desaster bring galloping thrash, razor-sharp black metal and moments of death metal and punk to the table. They aren’t reinventing the wheel, but vary things up enough to keep it fresh. There’s an effective mix of concise numbers like “They Are The Law” and “Kill The Idol” with more expansive tracks such as “Fathomless Victory.” Minimal filler and maximum riffage makes Kill All Idols breeze by, an album that should please the band’s legion of longtime fans and attract some new ones.
Rating: 3.5
(Chad Bowar)
Feuerschwanz – Knightclub (Napalm)
Feuerschwanz are back with another fun, accessible compilation of tracks that will likely keep even the most hardcore fans pleased. Knightclub offers more of what the band has become famous for: catchy songs, intriguing covers, and production that leans closer to traditional pop music.
The album also features guest artists from diverse backgrounds such as Doro Pesch and Dag SDP, which, I must admit, keeps things more engaging than expected. However, beyond the guest list, don’t expect any surprises — this album plays it as safe as possible and makes no attempt to change the winning formula. While that may be a positive for some, it left me wanting something more.
Rating: 3
(Carlos Tirado)
Glass Lungs – Afterglow (Self)
Bands go through a lot in their time. Between burnout and friction between band members to name a few, Brooklyn based rockers Glass Lungs have been through it all. But despite all the drama and trouble, they still managed to release their second EP Afterglow.
From the strong starting notes of “Hideaway” there is a strong early Deftones feeling that permeates throughout the five-track EP. The floaty but tight guitar riffs and the black metal style drums are just a highlight of how well the elements of both shoegaze and black metal blend nicely together. When compared to their first album Impermanence, their change into a heavier sound suits them better and will be interesting on how they plan on expanding from this.
Rating: 4
(Dalton Husher)
Incite – Savage New Times (Reigning Phoenix)
Throughout several decades, patriarch Max and manager/wife Gloria have worked hard to build a Calavera family business – now spanning generations – within the world of heavy music. Gloria’s son Richie has been fronting US metallics Incite for more than 20 years now, and Savage New Times is their latest full-length. Musically, their straight-ahead fare fuses thrash with a groove-metal attack akin to Pantera or early Machine Head.
On a record that barely passes the half-hour mark, the opening barrage of “Lies,” “Feel This Shit (I’m Fired Up)” and “Just A Rat” establish the hard-hitting modus operandi. There can be a lack of variety amidst the thrash riffs and stomping grooves though, and songs that fail to establish a distinctive identity. The exception is the slower, almost doom-laden anguish of “Dolores” which injects a little welcome variety and emphasizes that the group has other potential creative options at their disposal. Despite its lack of imagination at times, this is honest, in-your-face metal that will satisfy existing fans and perhaps score a few converts to the cause.
Rating: 3
(Brendan Crabb)
Innumerable Forms – Pain Effulgence (Profound Lore)
Innumerable Forms hit all the right marks in making a great death/doom record with Pain Effulgence. They’ve had a while to get there, with the band starting out as a solo project for musician Justin DeTore in the late 2000s before he expanded it to a full lineup starting with 2018’s Punishment In Flesh. With Pain Effulgence, they are able to fit the sorrow and weight of the genre into only 35 minutes.
Even within that stringent timing, the songs aren’t in a race to get done, evident by the mournful closer “Austerity And Attrition.” The guitar solos sprinkled across all of Pain Effulgence are where Innumerable Forms’ soft spot for melodic persuasion is formed. They provide the album with the slightest glimpse of optimism, which is in short supply.
Rating: 4
(Dan Marsicano)
Malevich – Under A Gilded Sun (Church Road)
Under A Gilded Sun has Malevich showing new sides to their music, such as the airy ballad “Illusion Never Changed” with its heartbreaking singing and downtrodden piano on closer “Supine, Under a Gilded Sun.” It couldn’t be imagined back when they were in full screamo/grindcore mode on 2016’s Only The Flies that they would open their sound up this much.
“Impasse” and “Cross Of Gold” are two-minute clips of a past life for Malevich, where they were in a state of static discourse. They are side-by-side early on in Under A Gilded Sun, leaving the listener unprepared for the aLbum’s complex, sludgy second half. One of the great thrills as a music fan is hearing a band slowly discover their true form album by album as Malevich have been doing.
Rating: 3.5
(Dan Marsicano)
Martyr – Dark Believer (ROAR)
Classic heavy metal with one foot in thrash territory is one way to describe the sound that Dutch band Martyr have carved for themselves over the decades. And their seventh studio album Dark Believer pretty much follows this same template.
Production-wise the album sounds great and there are several riffs and guitar solos that could make you plug in your trusty air-guitar. Nevertheless one can’t help feeling that the album lacks a sort of vitality that would elevate it above the hum of the crowd.
Rating: 3
(Chris Galea)
Mono Inc – Darkness (No Cut)
Gothic rock band Mono Inc have had a habit of flirting with the charts in their native Germany. Their previous two albums even reached the summit. The new album is called Darkness and despite the title, the lyrical themes are meant to be positive – as indicated in the verse of the closing track “Here comes the ray of light and darkness ends.” This upbeat vibe is reflected in the music, too.
Speaking of which, the appeal of Mono Inc has largely been based on top-notch songwriting and Darkness has no shortage of great catchy songs….in this context “Lost In Pain” and “Dein Anker” (“Your Anchor”) come to mind. Occasionally they don’t work that well – for example “Sea Of Love” has a catchy chorus but the rest of the song is unremarkable. On the whole, however, Darkness is an enjoyable album with enough qualities to propel the band up the charts again.
Rating: 3.5
(Chris Galea)
Old Machines – The Cycles Of Extinction (Self)
The Cycles Of Extinction is the first in what Old Machines hopes is a long string of concept albums told through expressive symphonic black metal. They have a story to tell and do so their way, a listener’s perceptions be damned. Their idea of an “interlude” is a nine-minute instrumental driven entirely by synths, as if daring one to sit still and be engrossed in the spectacle.
There’s a lot of keyboards on this hour-long debut. The other members are there, of course, chipping away at black metal with a professional touch. With songs ranging from six to eleven minutes, the intergalactic tale is given its due space to be told through orchestral flashes and stoic spoken word. Whether an audience will grasp onto it depends on how willing they are to accept Old Machines’ indulgences.
Rating: 3
(Dan Marsicano)
Panzerchrist – Maleficium Part 2 (Emanzipation)
With this album, Danish death metal band Panzerchrist complete their double concept album about witches. Like the first Maleficium album, …Part 2 was produced by Tue Madsen (At The Gates, Behemoth, Ektomorf) who does a good job of making the music sound gritty but sharp.
As in previous Panzerchrist releases, Maleficium Part 2 sounds like a black metal version of Bolt Thrower. The album’s riffs are monumental with several great thrashy guitar solos further raising the album’s level. Panzerchrist might be accused of unoriginality but still there’s enough going on here to make the 8 tracks captivating. Most importantly, the band sounds tight and their rage feels genuine. I might have a slight preference for Part 1 of the Maleficium duology, but Part 2 certainly adds fuel to the notion that Panzerchrist are still underrated.
Rating: 3.5
(Chris Galea)
Unleashed – Fire Upon Your Lands (Napalm)
Swedish death metal legends Unleashed have readied their 15th full length assault for the masses in the form of Fire Upon Your Lands. The album opens with “Left For Dead” which goes full bore, while also balancing some of the more riotous material with slowed sections giving more weight to Johnny Hedlund’s famed vocals and meaty bass riffs.
“The Road to Haifa Pier” has a solid guitar solo as the drums pound to the shouts of “march!” a command that Unleashed demand be followed or else the ensuing “War Comes Again” will be locked and loaded. Themes of war and loyalty are well established throughout this fifteenth fray and longtime fans should be happy to hear this is one of the band’s most consistent albums in recent years and feel inspired to “Hold Your Hammers High!”. Fire Upon Your Lands is the sound of Unleashed giving their all in the heat of battle.
Rating: 4
(Tom Campagna)
Vindicator – Whispers Of Death (Self)
For 20 years, Ohio’s Vindicator have been absolute in their quest for nonstop thrashing, which is what Whispers Of Death is all about. The return of original vocalist Marshall Law and his raspy snarl gives the album a nostalgic quality, throwing back to when the band were in the formative stage of their career.
Whether it’s six minutes (“Thirst For Violence”) or two minutes (“Battle Box”), Vindicator are committed to being as disorderly as they can be. It’s not until the fleeting instrumental closer, “Obsoletion Complete,” where they settle down with acoustic guitars. Whispers Of Death is another solid thrash album from a group well-versed in the style.
Rating: 3.5
(Dan Marsicano)
White Mantis – Arrows At The Sun (High Roller)
Thrash metal is music meant to illicit one particular reaction. When a group like White Mantis plays a rattling riff, heads have to move. Multiple that by 10 and that’s how Arrows At The Sun is born. It doesn’t hurt to have a sense of humor, as “Nekrotornado” and “Roboticator” aren’t meant to be psychological puzzles. A bunch of grown men yelling nekrotornado as a chorus is effective enough.
There are serious subjects on here, from spirituality and death to technological overconsumption, but Arrows At The Sun isn’t down in the mud much. There’s enough moshing breakdowns and red-hot solos to get the blood pressure sky high. The band are willing to try out melodic singing on the title track and hair-raising guitar leads on “Altar Of Technology” as a means to be more than a superficial thrash band.
Rating: 3.5
(Dan Marsicano)
