“Blending sludge metal and electronica make for fascinating bedfellows, and that’s exactly what instrumental outfit Modder brings to the table with Destroying Ourselves for a Place in the Sun. I don’t recall encountering this genre combo before, but the unlikely pairing fits together in compelling and novel ways. Destroying Ourselves for a Place in the Sun is one part early Mastodon and one part The Prodigy, and it works better in practice than I’d ever expect it to on paper.” Sun mode.
“I’ve always unfairly ranked Rorcal above Overmars. What can I say? I got into Heliogabalus and Born Again around the same time, enamored by both single epic song interpretations of hardcore vigor, pained dissonance, and pitch-black sludge. Still, Heliogabalus took the cake when it came to bottom-scraping hellish riffs, wailing, and gnashing of teeth. Themes differ, as Rorcal’s elegant storytelling added further majesty to their colossal attack, while Overmars’ scrappy commentary on injustice and religious trauma owed a more anti-establishment aura. Rorcal remains one of my favorite acts, while Overmars broke up in 2011. Out of sight, out of mind, but it wasn’t until now that Overmars has come back to haunt me in the form of Mütterlein.” Mütter in the middle.
“Dissocia is the brainchild of multi-instrumentalist Daniel R Flys (of Persefone and Eternal Storm) and drummer Gabriel Valcázar (Wormed and Cancer). On their debut, To Lift the Veil, the duo set themselves a challenge: blend extreme metal with synthwave and dreamwave elements to create a catchy, yet unpredictable, blend of genres that come together into a progressive package. Were this two complete unknowns presenting that vision, one would rightly expect a horrifically unlistenable car crash. However, given Flys and Valcázar’s pedigree with their other outfits, I had somewhat higher hopes (albeit with expectations carefully managed) for Dissocia.” Waves and waterlogging.
“How I came to pen this review is kind of a funny story. Upon entering our promo pit and undergoing de-lousing, this record was tagged as death doom. Whether that was an honest mistake or something more nefarious is an ongoing discussion. The advance material does tout a guest spot by Jaani Peuhu, briefly a member of death doom luminaries Swallow the Sun (more on that later), but Steel has also openly admitted he sometimes lays promo traps for unsuspecting writers to unwittingly claim metalcore. Spectrums, the debut full-length by Saudi one-man band Dusk, has nary a hint of death doom. I’ll give you one guess what it is.” Traps in the glooming.
“Maybe you thought I was joking when I claimed the mantle of weeniedom. I do sometimes joke, after all. But now you are coming to realize that Red Cain is not a death metal band. They’re not even a black metal band. Look them up, I’ll wait. Look at the tags down there. Oh, and the score. Yeah, see, it says power metal. You know why it says that? It could be that I’m a big weenie now.” Cain and the Weenies.
“It has been a scant nine months since I reviewed Mitochondrial Sun’s debut. Under normal circumstances, I’d be wondering whether nine months is enough to generate a new album’s worth of material. However, 2020 has finally banished any remaining illusions I may have had about the linear flow of time, and calendars are now meaningless.” The genuine pulsar.
“The brainchild of Frozen Crown’s Federico Mondelli and Sleeping Romance’s Federica Lanna, Volturian prioritizes fun over all. These tunes will get stuck in your head, you will kind of hate that they get stuck in your head, and you will be powerless to stop it if you give it the smallest opening.” Activate earworm lock!
“Thief is the pet project of Dylan Neal, a dulcimer player (dulcimist?) for the unconventional experimental black metal band Botanist. Thief’s music takes on a different theme entirely, however, from Botanist’s quirky style of environmentally themed “green-metal.” Map of Lost Keys, Thief’s sophomore album, swaps the hammered dulcimer for a myriad of electronics to produce late night music designed for haunted ballrooms and electric churches. While no traditional black metal demon shrieks or vicious tremolo picking can be heard on Map of Lost Keys, Thief remain obstinate in their attempt to appeal to fans of heavier genres.” Mischief managing.
“Songbird has a lot to answer for even before it begins, what with claimed influences as diverse as Animals as Leaders, Franz Lizst, and… Skrillex. Now before you take to the comments section crying for me to be CALLED TO ICE for even mentioning such a thing here, keep in mind that (1) you could produce a similarly worrying lizst group of artists to circumscribe Igorr, and (2) Madam X told me to review this so if anyone’s getting CALLED TO ICE, it should be my editors.” Angry Bird.
“I’m a big fan of The Algorithm’s first two demos, both sprawling and unpredictable mash-ups of glitchy electronica and heavy riffing. Adventurous and eclectic, The Doppeler Effect and Critical Error have stayed in my regular rotation for the better part of a decade, but after 2012’s Polymorphic Code, Rémi Gallego’s strange project fell off my radar. It wasn’t that I lost interest in the music – I just had bigger, heavier fish to fry, and record companies at the time were not the best at making their products readily available for perusal.” It’s a synth.
