“It takes a lot to quicken pulses at AMG Headquarters. Driven to exhaustion by merciless overlords, constant deadlines, and extended periods in the promo sump, the staff often look like—and have the pulse rate variability of—a hoard of unkempt zombies. But even we took notice when Blackbraid burst out of nowhere with some key singles from his first album, 2022’s Blackbraid I. Here was angry, melodic, accessible black metal, infused with Native American spirit and vigor, that did not rely on tired tropes or clichés. What could have been a gimmick instead lent the material majesty and an epic scope.” Spirit deer in the nightside eclipse.
Doom_et_Al
Deafheaven – Lonely People with Power Review
“You never forget your first love. The sense of wonder and excitement, a world you had only heard and read about, opening up to you like a flower on a Summer’s day. Deafheaven was my first (in a metal sense). The combination of furious black meal, searing post metal, and fuzzy shoegaze, mixed with a dollop of genuine longing, totally rewired my brain. Which means that if you’re looking for a coldly analytical review of a band’s sixth album, you should probably go elsewhere. Deafheaven is part of my DNA, and a new album will always be a big deal, even if we’ve drifted apart over the years. You see, while I’ve enjoyed the band’s output since the wondrous Sunbather, it’s been clear that Deafheaven and I have been moving in different directions.” Tonguebather.
Nattverd – Tidloes Naadesloes Review
“Receiving the tag “workman-like” is one of the great “damned with faint praise” phrases in all of musicdom. Implying, as it does, that a band is competent and hard-working without being especially noteworthy or innovative. Yet “workman-like” is precisely the tag that Norwegian black metal band Nattverd have attracted, pushing out 3 respectable, if fairly standard, albums since 2020 (and 4 in total since their debut in 2017).” Searching beyond perma-frost.
Istapp – Sól Tér Sortna Review
“Not many bands can claim to have a 4.5 from AMG Himself and a 4.0 from notorious curmudgeon, Grier. Yet that is exactly what Swedish black metal band, Istapp (Icicle) managed to achieve with debut album, Blekinge, and third album, The Insidious Star, respectively. Yet despite these glowing endorsements, Istapp remained on the periphery of the metal scene since their inception in 2005. Maybe it’s the long turnaround time between albums (4 in 20 years), or perhaps it’s the constantly shifting band line-up. Whatever the reason, Istapp remained relatively obscure.” Secret ice.
Arkaist – Aube Noir Review
“The same attitude is what makes their black metal so endearing and interesting. So much of it is original and avant-garde and just… French. So I was intrigued to review Aube Noir, the debut of a new metal outfit, Arkaist, formed in 2023 by two stalwarts of the French underground scene, Beobachtan and Maeror. It also arrives on the well-regarded label Antiq. Much to be excited about.” French roasts.
Inborn Suffering – Pale Grey Monochrome
“Inborn Suffering are a French outfit who have been knocking around since 2002. Like the author Donna Tartt, they release an album every decade and then go quiet. Their latest, Pale Grey Monochrome follows 2006’s Wordless Hope and 2012’s Regression to Nothingness. For those unfamiliar with obscure French doom, Inborn Suffering play a form of mournful, melodic, sadboi metal that straddles the line between doom and funeral doom. Think Second to Sun, or Shape of Despair after a Red Bull.” Suffering for slowness.
Doom_et_Al’s and Dear Hollow’s Top Ten(ish) of 2024
Doom et Al and Dear Hollow take the stage to share their carefully considered Top Ten(ish) of 2024. Throw flowers.
Spider God – Possess the Devil Review
“Black metal goes with just about anything, so they say. Shoegaze? Check (Deafheaven). Rock ‘n’ roll? Check (Kvelertak). Hell, even dream-pop has been incorporated (An Autumn for Crippled Children). Black metal covers of famous songs are now fairly standard (Fleshgod Apocalypse’s cover of Eiffel 65’s “Blue” and Children of Bodom’s cover of “Oops!… I Did it Again” stand as fairly notorious examples). But when Spider God released their infamous set of covers, Black Renditions, in 2022, the combination of overt pop sensibilities with legit black metal bona fides made metalheads take notice, if only for some to turn their noses up. Two full-lengths of varying quality followed (2022’s Fly in the Trap was a tonal misstep, corrected by 2024’s more energetic and fun The Killing Room). Now, the final part of the trilogy, Possess the Devil is here.” Devil by the spider tail.
The Mist from the Mountains – Portal – The Gathering of Storms Review
“In my review of The Mist from the Mountains’ first album, Monumental – The Temple of Twilight, I cheekily compared it to a pleasing, albeit very plain, cup of hot chocolate. It was slick and enjoyable, without anything that really separated it from a dozen other epic melo-black albums. Truthfully, it left my brain the moment I submitted the review. So when the follow-up appeared in the promo sump, I initially didn’t even recognize that I had come across these Finns before. After some gentle “reminding” from the bosses, I found the sophomore album in my inbox.” The mists of memory.
Misotheist – Vessels by Which the Devil is Made Flesh Review
“In the overcrowded field of black metal, it’s difficult to stand out. This is even more true when you commit to working within the confines of the genre, rather than, say, employing some gimmick like “black metal meets Barbie meets hardcore.” Yet within two albums, quietly standing out is exactly what mysterious Norwegian outfit Misotheist managed to do. Forging a path that threaded the needle between “accessible” and “dissonant as fuck.” Miso spooky!





































