This week’s Heavy Music HQ reviews include releases from An Autumn, Bedsore, Corrosive Elements, Fire Action, The Gates Of Slumber, Hidden Mothers, Mefitis, Pestilent Hex, Salem UK, Ulver and Warpstormer.
The ratings are on a 5-star scale.
An Autumn – Ethereal (Bölverk)
After a 15-year span going by An Autumn For Crippled Children, the long-running Dutch post black/shoegaze group has shorted their name to An Autumn. Ethereal is the trio’s first release under the streamlined moniker, and eleventh full-length overall.
And while the new name hasn’t resulted in a wholesale change of their sound, the band has taken a fresh approach, which includes making the vocals clearer than on past releases. They are still pretty deep in the mix, though. Defying its title, opener “The Kind Of Grief That Never Leaves You” is actually pretty catchy. Melodies in “Like Death” are contrasted by the harsh vocals, while “The Flow Of The River” has a more somber vibe. Ethereal expertly combines aggressive moments with melodic shoegaze and razor-sharp songwriting, with the concise record coming in at just over a half an hour. I guess it’s appropriate that with a shorter name they recorded a more streamlined album than last year’s Closure.
Rating: 3.5
(Chad Bowar)
Bedsore – Dreaming The Strife For Love (20 Buck Spin)
Bedsore’s passion for prog rock is in full swing on the assured Dreaming The Strife For Love. Their debut album, Hypnagogic Hallucinations, was just an outline for this turn, as keyboards, woodwinds, horns and classical guitars are as vital as any demonic growl. It’s a dramatic turn that was the right call, even if some may find it too far removed from death metal.
Bedsore head onward by holding tight to the past, bringing in musicians to play real instruments and not just synthesizing them all. When an organ rings out on “Fanfare For A Heartfelt Love,” its power reverberates through the song. A cascading array of saxophone, trumpet and flute on opening instrumental “Minerva’s Obelisque” makes for a stunning start to the album. Bedsore have reached an inventive apex with the magnificent Dreaming The Strife For Love.
Rating: 4.5
(Dan Marsicano)
Corrosive Elements – Cut The Serpent’s Head (GreyveStorm)
The French death/thrash metal band Corrosive Elements take plenty of time between releases. That may be because their members are all involved in numerous other projects. They emerged in 2008 with an EP, followed seven years later by their debut full-length. Nine years after that album comes their second full-length, Cut The Serpent’s Head.
The album has an old school approach, though the production is certainly not low-fi. Opener “Conquering The Divine” combines a brutal form of death metal with thrash, starting things on an extreme note. It’s a bit of an outlier, as most of the tracks deliver a groovier style of death with the thrash n’ roll. Tempos are quick, but Corrosive Elements change things up, and even get close to doom territory on closer “Fascistalism” before the thrash kicks back in. Cut The Serpent’s Head is a fun ride through intense death metal and galloping thrash, with lyrics about the current less than ideal state of mankind.
Rating: 3.5
(Chad Bowar)
Fire Action – Until The Heat Dies (Steamhammer/SPV)
After a series of EPs dating back nearly a decade, the Finnish traditional metal/hard rock outfit Fire Action are finally unleashing their full-length debut. It’s their first release with vocalist Pete Ahonen (Burning Point, Ghost Machinery).
The album has a classic metal approach, with plenty of hooks and no shortage of guitar solos. There are numerous catchy tracks, such as “No Drone Zone,” the ballad “Survive” and the Maiden-esque “Incitement Of Insurrection.” There are a few songs that don’t have the same impact that dilute the overall album somewhat, but those who appreciate classic traditional metal will find something to embrace on Until The Heat Dies.
Rating: 3
(Chad Bowar)
The Gates Of Slumber – The Gates Of Slumber (Svart)
Making a somewhat surprising return to the doom metal populous are The Gates of Slumber with a self-titled slab, their first full-length since 2011’s The Wretch. Vocalist/guitarist Karl Simon sounds as tremendous as ever and the album although it is just six tracks in just over half an hour, the amount heavy riffing you get and still feel as though you aren’t getting cheated for doom sensibilities.
There is a lot to love for fans of the genre as there is a ton of Saint Vitus present in their music as well as Pentagram to complete your dream doom metal blunt rotation. “Embrace The Lie” and “Full Moon Fever” are standouts, but all six songs bring something different to the table. It’s a shame that this album was released so late in the year as some fans may not be looking for new tunes by now, but rest assured The Gates Of Slumber is one of the finest doom metal albums of 2024, absolutely crushing and uncompromising in its approach.
Rating: 4.5
(Tom Campagna)
Hidden Mothers – Erosion / Avulsion (Church Road)
After a 2020 EP, the UK progressive post-hardcore band Hidden Mothers have built a solid live following over the past few years. That has whetted the appetite for a full-length, which has now arrived in the form of Erosion / Avulsion.
It’s an album of contrasts, both musically and vocally. There are throat-wrenching screams and smooth, melodic vocals along with a combination of chaotic parts and accessible sections. The harsh vocals are dominant on tracks like “Death Curl,” while singing drives most of the songs such as “Still Sickness” and the mellow “Grandfather.” Most of the songs are in the six-minute range, giving Hidden Mothers plenty of time to unfold and showcase lengthy instrumental sections. Erosion / Avulsion is a compelling album that’s both complex and memorable, a difficult needle to thread.
Rating: 4
(Chad Bowar)
Mefitis – The Skorian//The Greyleer (Profound Lore)
Dark metal can mean something different to everyone, but to Mefitis, it’s death/black metal with a gothic aura on The Skorian//The Greyleer. The album was conceived during two different time periods in two different studios, both sides being recorded to analog tape. There’s no strict concept keeping them together, as it can be listened to in any order or fashion.
The latter part of the album is where the duo gets their goth on, with deep-toned singing on “Wanthriven” and “The Greyleer.” They’ve used choir vocals on previous albums, so a move to this isn’t unexpected, but they pull it off well. Their dark metal on The Skorian//The Greyleer doesn’t adhere to a fixed set of rules.
Rating: 3.5
(Dan Marsicano)
Pestilent Hex – Sorceries Of Sanguine & Shadow (Debemur Morti)
The Finnish symphonic metal duo Pestilent Hex, whose members are also in bands including Corpsessed, Desolate Shrine, Profetus and Convocation, issued their debut in 2022. They follow that up with Sorceries of Sanguine & Shadow.
Old school black metal is at the core of Pestilent Hex’s songwriting, with a base of blastbeats, icy riffs and harsh vocals. The symphonic elements augment and add atmosphere, never overshadowing the primary focus of the songs. The tracks unfold deliberately, giving ample time for twists and turns. Closer “Sanguine Gnosis” is the album’s most epic, clocking in at over ten minutes, ebbing and flowing between dense black metal and lighter atmospherics. Sorceries Of Sanguine & Shadow is able to keep listeners engaged from beginning to end.
Rating: 3.5
(Chad Bowar)
Salem UK – Outer Limits (Rude Awakening)
The roots of Salem UK go back to the band Salem of the early 1980s and to the band Ethel The Frog before that. The band, therefore, is inextricable from the NWOBHM but this new album offers more than one perspective of the typical sounds of that era. Outer Limits is the second album under the Salem UK moniker and is a concept album based on a fun-fair in the band’s native city of Hull.
After a brief intro, the song “Rock You” immediately hooks you onto the album with its fist-pumping riff. Other songs, such as “Miss Fortune,” have an AOR feel to them with strong melodies and catchy choruses. “Red Light” reminds me of Krokus’ “Screaming In The Night” and “Fire Fire” seems to give a nod to Accept. All in all, the heavier, crunchier qualities of Outer Limits seem to work better than the more melodic parts. The album is strong on great riffs and the voice of Simon Saxby is in tip-top shape.
Rating: 3.5
(Chris Galea)
Ulver – Liminal Animals (House Of Mythology)
It has been a while since Ulver could be considered a metal band, but their lasting legacy and constant creativity still generates a lot of interest to fans of the genre. The Norwegian band’s latest album is The Red Light, dedicated to longtime keyboardist Tore Tlvisaker, who passed away earlier this year.
Pop, avant-garde, new wave and ambient are all present on the album. That includes catchy, accessible numbers like “Ghost Entry” and “Locusts” and classically tinged instrumentals such as “Nocturne #1” and “Nocturne #2.” The most unusual song is closer “Helian,” featuring spoken word set to a danceable background. While initially intriguing, by the 11-minute mark it overstays its welcome a bit. For those who have enjoyed Ulver’s recent output, Liminal Animals should hit the spot nicely.
Rating: 3
(Chad Bowar)
Various Artists – R#XMS Vol.2 (Metalville)
It’s hard to believe that Christmas is already almost upon us once again. Metalville Records is also back again with another installment of their Christmas sampler. R#XMS Vol.2 includes a mix of both unreleased tracks and re-released classics.
Though the general attitude when Christmas music is played anytime before December is that of dread and a bit corny, Metalville has managed to put a decent collection of both classic Christmas covers like with Seraina Telli’s “All I Want for Christmas is You” and original tracks like Mystopera’s “Nordlicht.” While the selection of tracks are nice and varied, it falls a bit flat, as most of the songs really don’t feel like a hard rock Christmas.
Rating: 3
(Dalton Husher)
Warpstormer – Warpstormer (London Doom Collective)
The UK stoner/doom recorded their 2022 EP Here Comes Hell as a trio. They have retooled and expanded their lineup for their full-length self-titled debut, with only vocalist Richard J Morgan remaining from the EP.
Their music can be compared to groups like High On Fire and early Mastodon, while their lyrics are inspired by sci-fi and fantasy themes (the band’s name is an homage to the tabletop game Warhammer). Many of the songs on Warpstormer have a fairly brisk tempo, and don’t stick just to stoner/doom. Atmospherics add variety to “Beyonder,” and a shredding solo makes “A Liar’s Crown” more compelling. The record’s tour de force is “The Edge Of Time,” dialing back the pace to glacial doom before cranking things up on the track’s back half. For those who can’t get enough thick riffs, Warpstormer supplies a large supply of good ones.
Rating: 3.5
(Chad Bowar)
