Our final weekly reviews of 2024 include releases from An Axis Of Perdition, Canis Diris, Caressing Misery, Druparia, Harkane, Helloween, In We Fall, Magic Kingdom, Mesarthim, Mörk Gryning, The Sabians and Subway To Sally.
The ratings are on a 5-star scale.
An Axis Of Perdition – Apertures (Apocalyptic Witchcraft)
An Axis Of Perdition perform a noise-infested form of black metal on Apertures, the UK band’s fifth album. The style is scathing and bleak as it crosses the various musical boundaries will appeal more greatly to black metal fans than those of other genres. An Axis Of Perdition lose some steam when compared to more aggressive bands like Anaal Nathrakh because their sound is hollower. The majority of the album takes place in an ambient mood.
The music is just so sparse that it tends to be boring. Instrumentally, the band is strong enough with industrial style guitars creating an oppressive atmosphere. Vocals are shrieks that fit the music and the drumming creates a hypnotic atmosphere. This is still nothing particularly interesting, though fans of the certain niche the band creates should find a lot to like. The album just didn’t bring enough abrasiveness for my liking.
Rating: 3
(Adam McAuley)
Canis Dirus – By The Grace Of Death (Bindrune)
Though Canis Dirus have mixed folk into their rampant black metal in the past, it hasn’t been as pronounced as it is on By The Grace Of Death. Their fourth studio album uses guest cello from prominent musician Kakophonix, piano and keys from guitarist Todd Paulson, and other tools like a choir and classical instruments. “A Forlorn Hymn To Absolution” and “Cast My Heart In Stone” are the songs that best amplify this shift in direction.
If a listener judged By The Grace Of Death just on opener “Once Cursed Path Glistens In The Sun” and closer “The Mind Sees What The Eyes Cannot,” they won’t see this change. These two surround wistful melodies with a confrontational stance, as vocalist Rob Hames wails over music that’s a sweeping sea of depression. Canis Dirus continue to push hard on a multipronged viewpoint of atmospheric black metal.
Rating: 3.5
(Dan Marsicano)
Caressing Misery – Lost And Serene (The Circle)
The German/American band Caressing Misery were formed a few years ago by The Shallow Graves’ Julian Aust and The Waning Moon/The Kentucky Vampires’ Zac Campbell. Their love of ’90s gothic rock/metal resulted in Lost And Serene.
The tempos are generally mid to fast, with morose lyrics and gothic atmosphere along with baritone vocals. Mariangela Demurtas (ex-Tristania) guests on the memorable “A Thousand Seasons.” Caressing Misery have written some catchy tracks that pay homage to groups like Paradise Lost and Type O Negative. Lost And Serene is an enjoyable debut that will especially resonate with those who grew up on ’90s goth.
Rating: 3.5
(Chad Bowar)
Druparia – The River Above (Self)
Druparia’s admiration for all eras of melodic death metal is showcased on their debut album, The River Above. They take over three decades of a genre and condense it into 50-odd minutes. Their inspirations are clear for those with a keen ear, though they do have some personality of their own. The charming second half of “In Repose, Descend” has their devious ways fade to playful piano and orchestral strings.
Another offbeat move is finishing The River Above with an amplified cover of The Civil Wars’ touching instrumental “The Violet Hour.” They keep to the original’s indie folk/country before being unable to resist the urge for an electrified blitzkrieg. The River Above could’ve used a few more curveballs like this.
Rating: 3
(Dan Marsicano)
Harkane – Argo (Dusktone)
You don’t find a lot of coverage of the Greek classics in metal music, and Italian symphonic black metalers Harkane have brought the idea to light with their second album Argo. Inspired by the Greek epic poem “The Argonautica,” Harkane manage to give a condensed plot of the poem all while providing some solidly heavy rifts.
From start to end Argo is a headbanging trip. The Fleshgod Apocalypse inspiration is very obvious but it works in the end. “Three Ordeals” is where the story peaks and takes the album into what feels like a second act that the rest of the album follows. Argo is not only a unique idea for the metal scene, but also serves as a step up in a fresh direction for Harkane.
Rating: 4
(Dalton Husher)
Helloween – Live At Budokan (Reigning Phoenix)
No legendary band’s career is complete without a gig at Budokan, which Helloween accomplished during their 2022-23 tour. This “united” version of the German pumpkinheads have released that triumphant show on this year’s Live At Budokan. With their soaring, rapid-fire power metal fully intact – a genre they more or less created – the expanded lineup still features co-lead singers Michael Kiske and Andi Deris, and no less than three guitarists – including original vocalist Kai Hansen.
As expected, the set includes fiery versions of Helloween classics such as “Eagle Fly Free, “Future World” and “I Want Out,” alongside newer tracks like “Skyfall,” an epic single released in 2021. A lengthy medley of tracks revisiting Helloween’s origins and a 20-minute version of “Keeper of the Seven Keys,” while a treat for superfans, may start to wear the patience of a casual listener. But the performances are incredibly solid, with the sky-high vocals particularly impressive.
Rating: 3.5
(Gino Sigismondi)
In We Fall – Inner Self (Eclipse)
Inner Self is the debut album from the Portuguese alt metal/hard rock outfit In We Fall. It’s a concept record that explores topics such as the costs of war and the love/hate relationship we keep with the world.
The band’s songwriting is complex, incorporating some progressive elements into tracks like “(A)void” and “Winter Shades” without neglecting to include hooks and quality riffs. Songs such as the laid-back “Hope Is Gone” are more straightforward, but no less engaging. Their inspirations include groups like Sevendust and Breaking Benjamin, but In We Fall blaze their own trail on Inner Self.
Rating: 3.5
(Chad Bowar)
Magic Kingdom – Blaze Of Rage (Massacre)
Blaze Of Rage is Magic Kingdom‘s latest symphonic excursion. The band required four-plus years to finish this album, and even for a strain of metal that can be truly ludicrous, this is an extravagant concept affair. The orchestra and choirs are offset by thrash freakouts, frantic blast-beats, acoustic flourishes and proggy moments. Aside from the trad-metal approach, various vocal styles from guest operatic singers to death growls and blackened screams help voice the characters within the story.
It’s all classily executed, if a little too earnest (see “Frozen Realm of Death”) and kitchen sink-esque in delivery (“The Great Retribution”). There’s plenty happening, and can be overbearing at times. But then, approaching a record of this ilk and expecting it not to be dripping with cheese is like asking Dominos to go easy on the mozzarella. There are certainly other positives. It’s well-produced, fleet-fingered guitar solos abound, the choruses of “Blaze of Storming Rage” and “Undead at the Gates” resonate, and vocalist Michael Vescera pours energy into his performances.
Rating: 3
(Brendan Crabb)
Mesarthim – Anthropic Bias/Departure (Avantgarde)
Mesarthim, a band that has swiftly risen to prominence in the atmospheric black metal scene in less than a decade, have always been driven by profound concepts such as cosmos and existence. Their remarkable evolution, culminating in their latest album Anthropic Bias / Departure, a compilation of two singles released over the past year, marks the band’s arrival at a point of coherent songwriting and production.
If the new album brings Pain or the latest The Kovenant albums to mind, you’re on the right track. You might even catch echoes of Norwegian symphonic black metal. Mesarthim’s transition from an Appalachian black metal-inspired act to an electronic/trance-fused, progressive-tinged symphonic black metal band is a testament to their versatility. While retaining its original core, this transformation is a journey worth exploring. The two long songs on the 37 minute album provide the band with extensive space to develop their dynamism and test their ability to maintain a cohesive musical texture. While Anthropic Bias / Departure may not represent a new direction, it certainly showcases the band’s maturation and the creation of a work that could attract new fans.
Rating: 3.5
(Arash Khosronejad)
Mörk Gryning – Fasornas Tid (Season Of Mist)
More than three decades ago, Mörk Gryning emerged to make their mark on the Swedish black metal scene. After issuing several albums they split before getting back together and releasing 2020’s Hinsides Vrede. Their seventh full-length is Fasornas Tid, which translates to “The Time Of Horrors.” It’s the band’s first album with guitarist/vocalist Stefan Lundgren (ex-Necronomicon, ex-Cimmerian Dawn).
Old school ’90s black metal is well represented on the record, but Mörk Gryning also incorporate more complex influences. Tracks like “Tornet” and “Before The Crows Have Their Feast” have frequent tempo and intensity changes. A sprinkling of melodic singing here and there to contrast the harsh vocals also adds variety. Fasornas Tid is streamlined, with each song having maximum impact and minimal filler. It’s another impressive effort from Mörk Gryning.
Rating: 4
(Chad Bowar)
The Sabians – Shiver (Ripple)
Founded in 1999, The Sabians were best known for the reunion of former Sleep members Justin Marler and Chris Hakius (who played together on that band’s 1991 debut, Volume One). Shiver was their second and last album together, originally released in 2003, just a year before their break-up. The group made sure to separate from their past, as Shiver has little to do with anything Sleep ever did. While there are hints of a hazy vibe on a few songs, this record is mainly hooky hard rock.
They play that up more on Shiver than their gloomy debut album, Beauty For Ashes. The songs are shorter, relying on traditional song structures for the choruses to shine. This re-release gives a new audience a chance to have a vinyl copy of an album that’s been lost to time, one with a curious history that many may not be aware of.
Rating: 3.5
(Dan Marsicano)
Subway To Sally – Post Mortem (Napalm)
It has been 30 years since the German folk metal band Subway To Sally released their debut album. The band thought that last year’s Himmelfahrt might be their final album, but its positive response re-energized the group and they decided to keep things going with Post Mortem.
It’s a varied album featuring anthemic songs like “Phönix” and the title track alongside folkier numbers such as “Herz in der Rinde” and “Atlas.” They amp up the heaviness on “Stahl auf Stahl,” which features the power metal band Warkings and some English lyrics, which gives the song a unique vibe. Post Mortem continues the momentum of Himmelfahrt and should help stave off retirement for at least a few more years.
Rating: 3.5
(Chad Bowar)
