One man Italian outfit The Nightly Disease is ready for the spotlight with their excellent debut full-length release “Delicate White Sound”. Unleashing nearly 40 minutes of highly intoxicating atmospheric music, this release delicately blends Doom and Atmospheric Metal with additional instrumental elements. While many bands seem formulaic in nature, this one-man project carves very unique moods through the four tracks presented here.
After creating an eerie atmosphere with its first few minutes, the first part slowly transforms into a doomier version of older Burzum music. The hypnotic drums and guitars create a very regal and yet piercing vibe. We particularly enjoy the Doomy vibe the song features in its second half, as it nicely progresses with the acoustic guitars and more ambient elements of the second part.
Always pushing the envelope when it comes to unique aural experiences, Ván Records is set to unleash one of the most unique, and yet intoxicating releases of 2021 with Wolvennest’s “Temple”. Clocking in at nearly 80 minutes, this eight song release is filled with haunting atmospherics, eerie arrangements and solid doses of heaviness. Mixing elements from all kinds of genres like Psychedelic Metal, Ambient, to Apocalyptic Folk, and everything in between, this is one truly majestic experience that demands attention and patience.
The album warms up with the ambient/atmospheric elements of “Mantra”, a track that slowly evolves into a mystical piece with piercing guitars and eerie vocal arrangements. Reminding us a bit of Dark Buddha Rising but with some restraint, plus the enigmatic vocals of Shazzula. The mood feels rising with “Swear to Fire” and its incisive riffs and ghastly vocal melodies mixed in with a very crafty tempo and cathartic guitar leads.
When it comes to weird and out of the ordinary music, we are always on looking for the next weirdest thing. Today, via Agonia Records, we have Shadows and their self-titled debut EP. Led by Alex Bouks of Incantation and Goreaphobia fame, this band unleashes a very intoxicating and unique release with a blend of musical styles within Metal and bordering with Rock and Goth elements.
Opening with the somber “Ghosts of Old”, we get an interesting mixture of crafty drumming, firm riffs and a very moody tempo. The clean vocals remind us a bit of the band EverEve, with a certain twang added to them. The album’s atmosphere is quite dark and enjoyable as tracks like “Shadows”, “Night of the Goat Winter Moon”, and “Elders” have a nice mixture of warm and fuzzy psychedelic distortion with engaging tempo changes and very solemn vocals.
Back in the late 80’s Mortician and Macabre were two of the most extreme and yet crafty bands in the scene, we remember listening to all those horror movie samples just before the bands wailed with pummeling fury. Macabre has slowly evolved over the years and with “Carnival of Killers”, the band delivers nearly 41 minutes of music in 16 pieces encapsulating both their heavy and their bizarre side. While I am sure this will appeal to older folks like us, there are still some interesting and downright hilarious things to discover from this release.
As their first album in nearly a decade, “Carnival of Killers” continues the band’s fascination with serial killers and delivers a wide variety of tracks that range from Grindcore to Thrash to plain weird, with some brilliant sing-along sections. Never as heavy as Mortician, tracks like “Your Window is Open”, “Richard Speck Grew Big Breasts” and “The Murder Mack”, do still deliver some powerful riffs and Thrash-tastic tempo changes, mixed with the band’s funky vocal melodies and funny lyrics.
Unleashing an all-out pirate party, today we have Alestorm and their sixth full-length release “Curse of the Crystal Coconut”. Keeping their lively style nearly untouched since their inception, the band continues to deliver their signature playfulness and epic melodies that have captivated the masses for years. Clocking in at 45 minutes, this release gives you more Alestorm in a more bombastic and engaging way than ever before.
Opening with the hilarious “Treasure Chest Party Quest”, Christopher Bowes leads his crew with his signature playful lyrics and his legendary keytar skills. This very lighthearted opener features the band’s staples and a nod to more folky/instrumental elements making the song quite enjoyable. The band’s typical intensity will get you bopping as soon as “Fannybaws” and “Chomp Chomp” deliver their catchy chorus sections and the later unleashes dramatic guitar leads.
After receiving tons of Black and Death Metal releases in the last few weeks, it is quite refreshing to get something completely different in Myth of I’s self-titled debut release. Featuring a very improvisational and fluid approach to songwriting, the band unleashes nearly 50 minutes of highly technical instrumental Metal music. Ranging from Progressive Metal to Technical Death Metal (minus the vocals), this release perfectly blends a wide gamut of styles under a cohesive and catchy umbrella.
Opening with a dreamy intro, the album gets in full swing with the fabulous “The Illustrator” and its crafty guitar wizardry. Full of tempo changes and intricate drum patterns, this release perfectly leads to heavier and more experimental pieces like “Cherophobia” and “Obsidian Vale”. Doing away with traditional song structures, the tracks in this release flow freely weaving back and forth between proggy influences and heavier counterparts.
Unleashing a very refined futuristic release, today we have Italy’s one-man band Master Boot Record and their latest release “Floppy Disk Overdrive”. Besides the massive geekiness of the band’s name, concept and the album’s song names, this instrumental release is quite enjoyable and engaging. With the current state of affairs in the world, it is refreshing to be able to escape into a dystopian world with the songs in this release.
Opening with the Blade Runner-esque “ANSI.SYS”, the mood is set to be a very dynamic and engaging one. For those that are not followers of Video Game Metal/Nintendocore, bands like Vomitron and others have been releasing similar 8-bit/MIDI inspired music, but Master Boot Record takes it to a whole new level with additional influences and a bigger and more bombastic theatrical vibe, as shown in songs like “EDIT.COM”, “DEFRAG.EXE” and “DISPLAY.SIS”.
Unleashing elevent anthems of Horror Punk fare, today we have Sweden’s Death Wolf and their latest opus “IV: Come the Dark”. Featuring Morgan Håkansson of Marduk fame on bass guitar, this outfit delivers superbly catchy and yet creepy songs that are both memorable and highly entertaining. While The Vision Bleak comes to mind as a comparison, this band features a more barebones and direct sound that will pummel your eardrums.
The ripping guitars of “He Who Hates” perfectly set the mood for a high-octane release filled with catchines and intensity. Valentin Mellströ’s vocals are perfectly suited to lead a barrage of punishing guitars and intense bass guitar lines, thanks to the crystal clear production the vocals are very prevalent. With playful tempo changes and hefty atmospherics, the band pummels through tracks like “Edge of the Wood”, “Empower the Flame” and the headbanging fest “The Sword”, a song that sets a very epic vibe from the first note.
If you can imagine what Kayo Dot, Maudlin of the Well, Ephel Duath and Subterranean Masquerade would sound all blended together, then you would get close to just how expansive In Human Form sounds. Unleashing their three-songs, 49 minute opus “III”, this band pushes all boundaries into completely new dimensions and creates some of the most unique sounding Metal we have ever heard.
The release opens with the 18-minute tour de force “Apocrypha Carrion”, where the band starts off with furious guitar riffs and a very intense pace. The screamed vocals are quite hectic and very fitting for such chaotic music, but what really draws the listener is the funky subtle tempo changes mixed in with some more drastic near full-stop switches. We particularly enjoy the jazzy elements that transition the song’s multiple movements from chaos, to lush beauty and down the rabbit hole again.
Unleashing one of the most unique and unexpectedly awesome releases of 2019, today we have Canada’s Nachtterror with their debut release “Judgement”. Clocking in at over 60 minutes of music, this release has a bit of everything for everybody, from heavy riffs and fast-paced sections to more atmospheric and melancholic passages. As the band’s first full length release, it shows a unique trajectory path between different styles and influences through the tracks presented in this release.
Setting a very dreamy and mellow vibe when starting with “Behold the Terror”, we have a certain Pyogenesis/Decoryah vibe. This track slowly builds up to blistering drumming and harsh vocals, marking a very interesting and yet drastic transition. Settling into an older retro Gothic Metal-ish style with “Sea of Dread”, the band again exploits their multi-vocalist approach and delivers a very harmonious track with excellent distorted guitars and tempo changes.