This week’s Heavy Music HQ reviews include releases from Amiensus, Avmakt, Executioners Mask, Lamb Of God, Leprous, Nails, Oceano, Pod People, Satan’s Satyrs, Teeth, Thunder and Wintersun.
The ratings are on a 5 star scale.
Amiensus – Reclamation Pt. II (M-Theory)
The release of two albums in one year, each with a slightly different approach to composition, showcases Amiensus‘s vast and intriguing musical soundscape. While Reclamation: Part 1, released in April this year, continued Amiensus’ atmospheric/melodic black metal journey, it also hinted at the band’s profound exploration of progressive metal in its compositional structure. Reclamation Pt. II is the culmination of this exploration, offering a sensational listening experience.
In Reclamation Pt. II, Amiensus showcase a dynamic and thought-provoking approach to their music. The album’s incorporation of Lars “Lazare” Nedland (Borknagar) in the recording process, and also as a guest singer on “The Distance” adds depth and insight to the band’s songwriting perspective. It shows how the philosophical view of Amiensus’ music has been thematically transformed to the Norwegian pioneers of epic progressive black metal. With orchestral keyboards, intricate guitar and bass melodies, and resonant vocal harmonies, Reclamation Pt. II presents a compelling evolution of Amiensus’ sound, making it a noteworthy addition to their discography alongside Reclamation: Part 1.
Rating: 4
(Arash Khosronejad)
Avmakt – Satanic Inversion Of… (Peaceville)
The Norwegian black metal duo Avmakt issued a demo in 2021, and new emerge with their full=length debut Satanic Inversion Of…. Though the band is relatively new, its members have a lot of experience, having been members or live members of bands such as Aura Noir, Furze, Obliteration and Black Magic.
They are influenced by classic extreme metal bands like Darkthrone and Bathory. The compositions are lengthy, ranging from 5 to 10 minutes long. Avmakt keep things interesting by shifting tempos and intensities, and though the songs are raw and brutal with harsh vocals, there are some moments of catchiness. “Sharpening Blades Of Cynicism,” the record’s longest track, shifts from plodding to chaotic and back again. Satanic Inversion Of… doesn’t bring a lot of originality to the table, but the execution makes it compelling nonetheless.
Rating: 3
(Chad Bowar)
Executioners Mask – …Almost There (Seeing Red)
Executioner’s Mask‘s …Almost There is the proper follow-up to their acclaimed 2020 album Despair Anthems. It sees them come back to the same dark and hallowed halls of post-punk, bringing out a distinctly goth vibe. Opener “Devoured” helps you sink to new depths while enjoying it all a little too much. Vocalist Jay Gambit’s slow and belabored vocals fit this style of music well while the dual guitar attack of Craig Mickle and Daniel Gaona add much appreciated melodicism among the dark textures. The subtle drumming also provides the backbone for not only this song but the album outright, a cohesiveness that many bands strive for.
“Mezcal Perfume” feels like one of the most appropriately named songs for Executioner’s Mask as it evokes the sense of sitting alone at the end of a bar, rife with themes of loneliness and rejection; the guitars here are both dark and shoegazey, giving ample room for the mood to strike the listener. …Almost There is exactly the album you want from Executioner’s Mask: dark, uniquely melodic and 100 percent what they do best.
Rating: 4
(Tom Campagna)
Lamb Of God – Ashes Of The Wake 20th Anniversary Edition (Epic)
It has been two decades since Lamb Of God‘s third album, Ashes Of The Wake, was released. Considered by many to be their best album, it remains their top-selling U.S. record. The 20th anniversary edition includes the original album, along with a lot of extra goodies.
This was where Lamb Of God solidified their sound, delivering classic tracks like “Now You’ve Got Something To Die For,” “Laid To Rest” and the title track. As for the additional material, the Japanese bonus track “Another Nail For Your Coffin” has been redone with vocals from Kublai Khan TX’s Matt Honeycutt and Malevolence’s Alex Taylor. There are also several demos, a couple of live versions and remixes of “Omerta” and “Laid To Rest.” Ashes Of The Wake is an essential metal album, and fans will appreciate the extras on the 20th anniversary edition.
Rating: 3.5
(Chad Bowar)
Leprous – Melodies Of Atonement (InsideOut)
The Norwegian progressive metal/rock band Leprous have now been together for over 20 years. Their 2009 debut album Tall Poppy Syndrome put them on the map, with subsequent releases such as Bilateral, Coal and The Congregation receiving rave reviews. As their sound became more rock-oriented and more experimental, Leprous have become more polarizing. Their eighth studio album Melodies Of Atonement finds them moving away from orchestral and symphonic parts.
There are a lot of modern, electronic-influenced tracks, and the arrangements are more straightforward than 2021’s Aphelion. Songs like “My Specter” and “I Hear The Sirens” are in the pop/rock vein. There are also heavier moments that hearken back to the band’s earlier material, such as parts of “Like A Sunken Ship” that include harsh vocals. “Facelss” and “Silently Walking Alone” also amp up the intensity in some sections. No matter which musical direction Leprous go, Einar Solberg’s vocals are always extraordinary, and that is the case here. Melodies Of Atonement is a dynamic album, moving forward with a few nods to Leprous’ past.
Rating: 3.5
(Chad Bowar)
Nails – Every Bridge Burning (Nuclear Blast)
After a long lay off from their biggest album to date, 2016’s You’ll Never Be One of Us, Nails are back with their fourth album Every Bridge Burning and the band has not lost a step in those years between. “Imposing Will” is the punch in the jaw to remind listeners what this band is capable of when firing on all cylinders. You barely get a chance to breathe during this album’s 20-minute run time, something that will make repeat visits to this aural altercation that much easier.
“Give Me The Painkiller” is another raucous anthem that adds in some high octane harmonics to the fray, giving a slight wrinkle to their bludgeoning bombardment. It’s something that adds to the overall attack without sacrificing any level of intensity. Every Bridge Burning is Nails returning after a long layoff with the same intensity to boot, breaking in a whole new generation of metallic hardcore, there will be no mercy!
Rating: 4.5
(Tom Campagna)
Oceano – Living Chaos (Sumerian)
It has been more than seven years since the Illinois deathcore band Oceano released an album. Their sixth record Living Chaos was produced by the prolific Joey Sturgis (The Devil Wears Prada, Asking Alexandria, Miss May I) who also produced their 2009 debut Depths.
It’s a focused album, with the nine tracks blazing by in about half an hour. Oceano bring the heaviness on every track (except for the cleverly named interlude “Interlude”), but also inject atmosphere that gives them more depth. There are also ample breakdowns throughout the record. Adam Warren’s vocals are intense, mostly guttural growls, with some periodic higher pitched yells. Living Chaos is a welcome return for Oceano, who helped bring deathcore to the masses in the 2010’s.
Rating: 3.5
(Chad Bowar)
Pod People – Oblivion (Black Farm)
Perhaps typical of the often-glacial pace of doom metal, Australian mob Pod People have issued their first studio album in 16 years. Despite plenty of time between proverbial drinks (or bong hits), the band’s meshing of stoner and doom – aka “stoom” – is as potent as ever on Oblivion. Including intro cut “The Gates,” the album features six tracks, with three of them passing the eight-minute mark. Although having an affinity for stoner freak-outs ala “11800,” the album rarely gets side-tracked for too long, searching for a metaphorical, non-existent chocolate bar between the sofa cushions.
Instead, continuing The Divine Comedy inspired concept of past releases, the group unleashes a barrage of top-notch riffs the size of Donald Trump’s ego. There’s enough dynamics to sustain interest, too. From the more up-tempo, rocking moments of “Faceless” to the slow, sludge-laden passages of the title track, the entire band attack the songs with vigor. Oblivion was a long time in the making, but let’s hope there’s not as lengthy a wait for another LP. In the meantime, all hail the riff.
Rating: 4
(Brendan Crabb)
Satan’s Satyrs – After Dark (Tee Pee)
Six years after releasing their 2018 album The Lucky Ones and separating shortly after, Virginia based occult rockers Satan’s Satyrs are back again just as loud as ever with their latest release After Dark. The overall production quality compared to The Lucky Ones has improved greatly as well.
“What the Winds Brought” stands out for its balanced use of both electric and acoustic guitars to craft a unique sound. “Genuine Turquoise” breaks the format for a bit by sounding like a modern country song and it makes for a nice change of pace. After Dark from start to end is just raw primal sound with no real gimmicks, and that is okay. This album also marks a welcomed return and here’s to hoping they will continue to be unique.
Rating: 3.5
(Dalton Husher)
Teeth – The Will Of Hate (Translation Loss)
After the unrepentant death/grind of their last album The Curse Of Entropy, Teeth have broadened their music on The Will Of Hate thanks to an increase of lead guitars and measured tempos. This doesn’t signify a loss of their past sonic cruelty, as their penance for antagonistic death metal is felt on “Blight” and “Seethe.” Much like their previous record, every song title is a one-word expression of the group’s collective disdain at everything.
Their 2021 EP Finite had an opener and closer that lurched closer to sludge metal, and the band doesn’t let that go on “Shiver” and “Devour.” These songs allow guitarists/vocalists Erol Ulug and Justin Moore to test out harmonious tones that elevate the songwriting. The Will Of Hate is an all-encompassing take that pulls from all parts of Teeth’s catalog.
Rating: 3.5
(Dan Marsicano)
Thunder – The Complete EMI Recordings 1989-1995 (HNE)
British hard rockers Thunder have had a long career, dating back to the early ’80s. Their most recent album was 2022’s Dopamine. The Complete EMI Recordings 1989-1995 is pretty self-explanatory. The 7-disc box set collects their studio albums from that era, plus a bunch of extra goodies.
1990’s Backstreet Symphony spawned their lone U.S. hit “Dirty Love.” The original version is included, plus a second disc of bonus tracks and live versions. 1992’s Laughing On Judgement Day and 1995’s Behind Closed Doors get the same treatment. The other disc in the box set is Live At Donington 1990, which has songs from their debut album plus the b-side “Fired Up.” Thunder fans will enjoy digging into the live material and other rarities from the band’s early days.
Rating: 3.5
(Chad Bowar)
Wintersun – Time II (Nuclear Blast)
The Finnish symphonic melodic death metal band Wintersun take their time between albums. There was an eight year gap between their debut and 2012’s Time I, and another five years passed before The Forest Seasons was released. Now the band is ready to unveil Time II, their fourth studio album.
Like Time I, their latest opus injects shorter instrumentals amongst epic compositions that stretch past ten minutes. There’s a lot going on between the heavy guitars, symphonic atmosphere and combination of harsh and melodic vocals. Something new reveals itself with each listen. Wintersun are skilled in writing compelling songs, with the four non-instrumental tracks all engaging and diverse. “The Way Of The Fire” is probably the strongest of the bunch, but the relatively streamlined six minute “One With The Shadows” and closer “Silver Leaves” that uses some traditional Chinese instruments are also eclectic and captivating. Time II was worth the wait, an impressive and dynamic album.
Rating: 4
(Chad Bowar)
bobsala
After a summer of relatively light releases, we get some heavy hitters this week. Nails, Wintersun, and Leprous are all going to be in heavy rotation for me.