Metalmance's Top 20 Albums of the Decade

20 of the best albums from 2010-2019.

Album of the Year lists aren’t enough this year. 2019 heralds the end of one of the best decades of metal. Emerging genres have really come to the fore in the past ten years (blackgaze anyone?) whereas we’re all surprised at how metalcore has survived and evolved. With technology advancing, the decade has also seen different consumer habits as well as advances in music technology as a whole. But that’s enough faff and chat. Without further ado, behold my Top 20 Albums of the Decade!


 

20. ORPHANED LANDAll Is One. Release date: 24 June 2013.

I’ve always enjoyed oriental music but hearing it in a metal context was a phenomenal concept to me. When I finally checked out Israel’s ORPHANED LAND I fell in love immediately. To me, they’re still the best ‘oriental metal’ band out there. They mix traditional instruments, metal elements and heartfelt messages so seamlessly it’s hard not to fall under their spell. All Is One is a superb example of the epic anthems they create to help reunite people of all faiths, race and genders. Tracks such as the title track, Freedom and Children emphasise their mission, all the while keeping tracks catchy and heavy. A must-listen for all.


 

19. SLEEPING WITH SIRENSFeel. Release date: 4 June 2013.

Now before you close this post and avoid my blog forever, hear me out here. Every track on SLEEPING WITH SIREN’s Feel is absolute gold. There’s a song for every occasion and emotion and it beckoned the start of their retreat from poisonous emo-pop-punk to the boring rock music they create today. With Feel they get it just right. Personally for me, this album dropped at a huge transitional period of my life so tracks such as Free Now, Congratulations and Satellites became anthems of this time. It’s not only teenagers who relate to Kellin Quinn and co. and their lyrics are more honest and relatable than many of their peers (FALLING IN REVERSE I’m looking at you).


 

18. TESSERACTOne. Release date: 22 March 2011.

I just had to include something by TESSERACT in this list. It was a tough choice between One and Polaris, but I chose One in the end as it was unlike anything I had heard in the metal world. Yeah there was PERIPHERY as well but for me, TESSERACT had a little something extra…mainly the vocal expertise of Daniel Tompkins. The first track I heard was The Impossible – Concealing Fate Part. 3 and I will never forget its melodies, djent and overwhelming atmosphere. In a way One signifies the innocence of the beginning of the djent genre before it became oversaturated by awful bands and copycats. Today it’s evolved into a whole new progressive metal beast but it’s good to look back on One and see how far metal has come.


 

17. AVASTMother Culture. Release date: 26 October 2018.

This decade saw the rise of blackgaze as a genre and it is one of the best things to have ever happened for metal. Mixing black metal and shoegaze to create highly emotive extreme metal is a dream come true. Only a handful of bands are getting the formula right and Norway’s AVAST is one of those bands. Last year’s debut album Mother Culture is a superb example of the heavier end of the genre. Tracks such as the title track and The Birth Of Man show some of the best that AVAST have to offer, but their instrumental tracks also trigger a strong emotional response. Powerful, climatic and devastating, Mother Culture is an important album.


 

16. MOTIONLESS IN WHITEReincarnate. Release date: 15 September 2014.

reincarnate

Metalcore is alive and well and MOTIONLESS IN WHITE have helped the survival of the gothic strain of it. Reincarnate saw the band at their most industrial, experimental and arguably…their catchiest. The guest features on this album are spot on, with the likes of Dani Filth, Maria Brink and Tim Skold making Reincarnate a goth’s wet dream. There is absolutely no filler on this album like a lot of their others, with tracks Break The Cycle and Wasp being some of the best keyboard-led metalcore for years. Now if only MOTIONLESS IN WHITE took the blueprint for The Final Dictvm for the latest albums…


 

15. TIMES OF GRACEHymn of a Broken Man. Release date: 18 January 2011.

I am one of those fans who think the new Jesse Leach-era KILLSWICTH ENGAGE has never surpassed what Leach and Adam D achieved with Hymn of a Broken Man. Yes, TIMES OF GRACE was always meant to be a more melodic and honest project, and remember Howard Jones was still in KILLSWITCH ENGAGE at this point, but Hymn of a Broken Man is one of the most beautiful albums created this decade and few have surpassed its melodic prowess. Live in Love, Where The Spirit Leads Me and Willing are some of the most stirring metal tracks this decade has seen. It’s just a shame the duo decided to lead the album with one of the weaker tracks, Strength in Numbers. Let’s hope they release a new album next year.


 

14. 65DAYSOFSTATICWe Were Exploding Anyway. Release date: 26 April 2010.

65dos

We Were Exploding Anyway was everything I wanted from 65DAYSOFSTATIC. The Sheffield post-rockers have always pushed the boundaries of the genre and have created the most phenomenal sounds. With this album, the band were their most ‘dancey’ and it even saw the inclusion of vocals on Come to Me, but they were very cleverly sliced and used as samples. Mountainhead, Crash Tactics and Piano Fights are some of the most genius songs 65DOS have written and the album as a whole is a delight from start to finish.


 

13. BLEEDING THROUGHThe Great Fire. Release date: 31 January 2012.

The Great Fire

Before the Orange County crew split up in 2014 (and reformed in 2018) the metalcore darlings dropped one of their finest albums to date, The Great Fire. This glorious slab of brutality incorporates every genre that BLEEDING THROUGH can execute so well, metalcore, hardcore, punk, black metal, melodic death metal…tracks like Goodbye To Death and Everything You Love Is Gone are perfect examples of their melting pot of styles. No metalcore band have achieved this again.


 

12. ABORTEDRetrogore. Release date: 22 April 2016.

retrogore

I must admit I was a bit late to the ABORTED fandom, but once I finally got there I was besotted. Retrogore was my first exposure to the Belgian death metallers and it’s still my favourite. Everything just seems to gel on this record and the blackened elements which play a big part on 2018’s Terrorvision come to the fore on this record. Termination Redux and Divine Impediment are brutal gems, dark death metal at its best. The band aren’t showing any signs of slowing down, constantly evolving to remain one of the most terrifying bands out there.


 

11. NORDIC GIANTSA Séance of Dark Delusions. Release date: 20 April 2015.

nordic giants

NORDIC GIANTS are always best to experience live, but 2015’s masterpiece A Séance of Dark Delusions brilliantly captures the intense material this post-rock duo create. The guest vocalists on this album are all outstanding with standout tracks being Dissolve (with SATURDAY SUN), Rapture (with Beth Cannon) and the superb Futures Dark (with Nadine Wild-Palmer). Each tracks tells its own story and every track with vocals could easily be a radio hit, making NORDIC GIANTS your favourite secret.


 

10. EIGHTEEN VISIONSXVIII. Release date: 2 June 2017.

XVIII

C’mon you knew EIGHTEEN VISIONS were going to make an appearance. This was the comeback of the decade for me. In true 18V fashion, their comeback album XVIII sounded unlike anything they have recorded before. The throwback references to earlier material (film samples, insects buzzing and the objects in the artwork) create a nostalgic record which still bludgeons you with modern, crunchy metal. Songs such as Oath and Live Again are the perfect tributes to the band’s roots and their late bassist Mick Morris (RIP). This is definitely an album for the loyal fans, but any lover of heavy, crushing metal will equally enjoy this album.


 

9. SOILWORKThe Ride Majestic. Release date: 28 August 2015.

soilwork

The kings of melodic death metal, SOILWORK seem to get better with age. The Ride Majestic is a sublime album by the modern version of SOILWORK. This is an absolute belter from start to finish. Some old school fans look down on it for not being Natural Born Chaos 2.0, but this album is the full package. The vocals, lyrics, instrumentation, flow of the album are outstanding. When their peers are crashing and burning, SOILWORK have evolved and grown to be the melodic death metal darlings they are today. The title track, Death In General and the stirring finale Father and Son, Watching the World Go Down are some of my favourite songs of the decade. The fact that the band are still going strong is a blessing.


 

8. BLACK CROWN INITIATE Selves We Cannot Forgive. Release date: 22 July 2016.

blackcrowninitiateselves

Selves We Cannot Forgive was my first ever Album of the Year when I started this blog back in 2016. It has stood the test of time and cemented itself as one of my favourite progressive death metal records of all time. There has been a surge of progressive death metal bands in the past few years and BLACK CROWN INITIATE remain one of the best. This album exhibits the best aspects of the genre, with tracks such as Belie The Machine and For Red Cloud providing the brutality, and the title track and Again providing the soaring melodies. This album has it all.


 

7. DYSCARNATEAnd So It Came To Pass. Release date: 27 February 2012.

and so it came to pass

DYSCARNATE’s last album With All Their Might topped my AOTY list back in 2017, but I couldn’t have two of their albums in my top 20 of the decade so I’ve opted for their phenomenal second album And So It Came To Pass. If you’re still unfamiliar with this death metal trio (yes, they’re a trio and still heavier than most bands) then you are seriously missing a trick here. A band haven’t been this brutally groovy since…well…forever. And So It Came To Pass is a tremendous example of this, with The Promethean, In The Face of Armageddon and A Drone In The Hive bringing the hardest bangers of the album. Fingers crossed there will be a new album in the new year!


 

6. DREAMSHADEThe Gift of Life. Release date: 25 January 2013. 

gift of life

DREAMSHADE are always such a treat. These Swiss metalcore lovelies are still relatively unknown yet every album is an absolute blinder. 2013’s album The Gift of Life saw the band hit their stride. Photographs, Your Voice and Consumed Future are some of the best metalcore tracks you haven’t heard yet. Not only do DREAMSHADE write catchy songs but somehow their riffs are hella catchy too. A super slick and polished beast, DREAMSHADE are currently working on a new album and it promises to be another stellar effort.


 

5. DISTORTED HARMONYChain Reaction. Release date: 9 July 2014.

chain reaction

Discovering DISTORTED HARMONY was one of the best things I did in the past few years. Their progressive metal is fuelled by melodies and heart. Their second album Chain Reaction has just the right amount of technicality and melody to make it a beautifully balanced record. The charm and passion oozes out of this record with tracks such as Every Time She Smiles, Hollow and Natural Selection being some of the most stirring. With the ever-growing prog metal scene it takes something special to standout from the rest of the pack these days, these guys have got it.


 

4. MAYBESHEWILLI Was Here For A Moment, Then I Was Gone. Release date: 30 May 2011. 

maybeshewill

So this is my third and final post-rock album in this list. I Was Here For A Moment, Then I Was Gone is my favourite of them all, for a number of reasons. The main one being, the album triggers the biggest emotional response of any album without vocals. It demonstrates the sheer, emotional power that rock instruments have. The melodies and climaxes are sublime, there’s no other post-rock albums quite like this one. Another reason why this ranks so highly is because MAYBESHEWILL were one of the pioneers of British post-rock and they are very sorely missed by fans. Just listen to the song Accolades, Critical Distance and Red Paper Lanterns and you’ll see what I mean.


 

3. EARTHSIDEA Dream In Static. Release date: 23 October 2015.

earthside

There are few bands who make a huge impact with their debut album like EARTHSIDE have. This is modern prog rock at its finest. But the thing that EARTHSIDE has that sets them apart from the rest is their expert musicianship. Each member is an incredibly talented musician and this talent can be heard in the ambition of their tracks. They execute their brilliance without any pretentious fluff and they scored some of the best vocalists in the business to elevate their tracks to new levels (see: Crater, the title track and Mob Mentality). With a new album being recorded as we speak, we can expect big things from the rising proggers.


 

2. MØLJord. Release date: 13 April 2018.

mol

It’s probably no surprise MØL have ranked so highly on this list, considering they were my Album of the Year last year. It’s been warming to see Jord resonating with other people so strongly. Songs such as Storm, Bruma and Penumbra are some of the most striking blackgaze tracks of the past decade. Their shoegaze riffs, black metal vocals and chilling melodies add up to a spectacular album. I’ve already written so many words about this album but I never run out of praise to say about it. Emotion and soul drip from every note and syllable screamed. A phenomenal album by one of the most promising acts around.


 

1 . ANAAL NATHRAKHVanitas. Release date: 23 October 2012.

vanitas

Behold, my album of the decade! ANAAL NATHRAKH have always been one of the best extreme metal acts from Britain, but 2012’s Vanitas shows the band at their most ambitious and polished. These songs are huge! I honestly don’t know where to start with this album. A lot of their albums prior (and after) have a few standout tracks and the rest are forgettable. Vanitas has banger after banger, with every track being its own individual beast you’ll remember for a long time to come. Yes, Forging Towards The Sunset and To Spite The Face are incredible, but can we just talk about album finale A Metaphor For The Dead? With one of the most climatic choruses the band have ever written, along with some of the most devastating riffs, it has gone down in history as my favourite album closer of all time. A strong statement I know but once you hear it for yourself, you may agree! Every great album needs a powerful closer and Vanitas concludes in such a roaring fashion, you feel compelled to start over again. After seven years no album has topped this for me.

Decay The Ocean – Hopeless

Self-release. Release date: 30 November 2019

If I gave Metalmance Awards for ‘Most Improved Band’, I would give this year’s to King’s Lynn’s metalcore younglings DECAY THE OCEAN. Second EP Hopeless is a major step up from their debut EP Mirror City, which was released after their formation in 2017. Gone are the adolescent lyrics and mediocre riffs, and in storms an unrecognisable maturity from the band and a raging fire of determination. Yes, their sound has a long way to go, but their potential is rapidly exposing itself. DECAY THE OCEAN still wear their influences boldly on their sleeve but they now sound less like a poor man’s A DAY TO REMEMBER and more like a band channeling their love of ARCHITECTS, KILLSWITCH ENGAGE and WHILE SHE SLEEPS.

Lead single Wake Up kicks off proceedings with strong KILLSWITCH vibes and energy. Big, crunchy, metalcore riffs are the deal of the day while front man Mike Jenkins screams and croons his way through the number. Wake Up isn’t the most original thing you’ll hear all year but it’s ballsy and catchy enough to maintain your attention.

Hopeless on the other hand is by far the best track DECAY THE OCEAN have ever written. The heavy brutality blasts out of nowhere and it’s refreshing as hell. If they write more material like this I would not be disappointed. With its big riffs, Jenkins’ spitting venom and a punishing pace, Hopeless is an unforgiving offering. Instead of trying to mimic their heroes, DECAY THE OCEAN sound like they’re unleashing their inner demons. More please.

More madness ensues in Peace of Mind. Chuggy riffs and aggression galore, it does go a bit southern and cringey in places, but the ambition is there. DECAY THE OCEAN are clearly capable of a huge sound but it does lose momentum towards the end. Things go a little post-hardcore with EP closer Before It’s Gone. The second half feels a lot more honest and genuine than the first. There’s a lot of mish-mash of styles happening in Before It’s Gone which sometimes makes it sound unfocused, but it is still a strong finale. The last minute trumps the rest and provides a late highlight for Hopeless as a whole.

DECAY THE OCEAN have produced a strong body of work but now need to focus on their strengths and nurture their sound. Adding every style into the melting pot won’t save them next time. The passion, ambition, and potential are there, the lads just need to tap into it and write from the heart. With a lot of hot talent emerging from Norfolk, DECAY THE OCEAN can’t risk being left behind.

Roundup – Oct & Nov 2019

The top releases of the past two months and soundbite reviews

So life got in the way and I didn’t manage to publish my October roundup. Instead I’m mixing both October and November ahead of my Album of the Year list which is in progress. This roundup also sees some ‘Soundbite Reviews’ of albums I wanted to review when I was on my blogging hiatus, but they’re too good to completely forget so I’m happy to share them with you now! Also featured is one of my favourite discoveries since the last roundup. Keep reading for a gem from the archive and see you for my AOTY!


 

Metalmance’s Discovery of October/November

DEVOTION

I have to be honest here, I’ve been aware of German post-hardcore group DEVOTION for a couple of years but never really followed them after the release of single Hiraeth in 2017. September saw the release of new EP Your Love Never Found A Home In Me and it is a collection of five heart-felt and emotionally stirring songs. From the powerful Apnea to the melodic Discordance, this EP blasts and shimmers its way through the realms of post-hardcore. The thing I enjoy most about DEVOTION is the sheer passion dripping from every screamed word and every note. This is one appealing feature of the genre anyway but DEVOTION get the balance of passion and power just right. Stunning and stirring stuff.


 

Metalmance’s Top 3 Releases of October and November

October and November have been absolutely mad for releases! There have been some disappointments along the way (LEPROUS for me) as well as some absolute bangers (IVY CROWN, LACUNA COIL, DESPISED ICON and VOYAGER I’m looking at you) so it’s been hard to pick just three across the two months.

1

HOUR OF PENANCEMisotheism. Release date: 25 October.

Even though I’ve been a fan of Rome’s death metal troupe HOUR OF PENANCE for a number of years now, I somehow forgot their eighth album Misotheism was being released this year. This only meant their album knocked me for six when it did drop in October, and I’ve felt sorry ever since. Easily their best body of work to date, Misotheism is everything HOUR OF PENANCE stands for, and more. Beastly riffs for days mate, but songs such as The Second Babel and Lamb Of The Seven Sins threatened to rip my face off with their sheer savagery. This is exactly how I imagine a DECAPITATED and ABORTED lovechild would sound like, but HOUR OF PENANCE makes everything sound more evil and brutal. Absolutely incredible, this is one album of the year contender for sure.

 

2

ABIGAIL WILLIAMS – Walk Beyond The Dark. Release date: 15 November.

The announcement earlier in the year of a new ABIGAIL WILLIAMS album sent me into a bit of a frenzy! Having been besotted since debut EP Legend, ABIGAIL WILLIAMS have always been one of my favourite black metal bands. They have never quite fitted into the scene which is probably one of the main appeals of them. Later down the line their sound ended up more expansive and experimental and new album Walk Beyond The Dark continues on this thread but with added vigour. The break has done the band good as tracks such as I Will Depart and Sun and Moon sound as ambitious and as devastating as ever. ABIGAIL WILLIAMS sound more focussed and ferocious than before. It’s so nice and refreshing that a comeback album doesn’t suck nor resort on nostalgia. All hail ABIGAIL WILLIAMS.

 

3

SIGNS OF THE SWARMVital Deprivation. Release date: 11 October.

I’ve always enjoyed SIGNS OF THE SWARM but I REALLY enjoy Vital Deprivation. Their slamming deathcore is up there with WITHIN DESTRUCTION for me and this new album exposes the band at their fastest, filthiest, most unforgiving and most punishing. An absolutely brutal ride from start to finish, it is another quality release from Unique Leader Records. Songs such as Malformed Dissonance and Tempting Death show some of the best material the scene has to offer. Now with a solidified line-up and quality albums under their belts, there’s no reason as to why SIGNS OF THE SWARM can’t invade the wider metal world.


 

Soundbite Reviews

Below are independent releases which I’ve been enjoying but haven’t had the time to dedicate a full review to. One thing I want to include more in my blog is coverage of independent releases. Over time due to receiving bigger promos I’ve lost sight of what I originally wanted Metalmance to be a platform for; underground and unsigned bands. Each release below deserves your attention. Take the plunge!

 

ISBJÖRGIridescent. Release date: 26 April 2019.

The Danes are leading the way in all sub-genres of heavy music it seems! What about piano prog you may be asking? Well, ISBJÖRG have you covered. Back in April, this talented group released their debut album Iridescent and it is an incredible effort. Emotionally stirring and ambitious, their songs are full of emotion and progressive drama. Vocalist Niklas Jespersen sounds like he was made to sing alongside Mathias Bro Jørgensen’s piano playing. Songs such as Stockholm Reversed are poppy and piano-heavy whereas While The Sunlight Grace The Mourning has a dark undertone and NORDIC GIANTS vibes. Sometimes not all the instruments and vocals quite gel, but the music is so honest and natural, it ends up being a part of the charm. Once ISBJÖRG have refined their sound, they’ll give the melodic prog-rock bands a run for their money.

 

GHOST ON MARSLost Signals. Release date: 9 October 2019.

Italian dark metallers GHOST ON MARS have unleashed their debut EP Lost Signals and it’s a bold and polished effort. Channelling the dark melodies and ballsy riffs of their fellow countrymen LACUNA COIL, GHOST ON MARS still sound like a band trying to figure out their sound but the songs are hugely enjoyable to listen to. Songs like The Black Rose and That Time I Saw The Moon feature huge MUSE-esque melodies, with the latter sounding more ‘genuine’ and therefore more easily digestible. For a debut release, it’s a really solid EP. It might be best if the vocalist avoided growling but the clean vocals are top notch. It’s clear all the band are talented musicians and the chemistry is flawless, each component merging into one. With a bit more experience and nurturing of their songwriting, GHOST ON MARS might prove to be a stellar band. 

 

MOON AND AZURE SHADOWAge of Darkness and Frost. Release date: 26 August 2019.

I do get a lot of emails from solo black metallers asking me to review their project and the majority of the time the music is almost too painful to listen to. Sean Yoshioka on the other hand has produced some absolute gold with MOON AND AZURE SHADOW. Seeking to combine aspects of Japanese soundtracks with atmospheric black metal, latest album Age of Darkness and Frost is definitely an interesting and different beast. The title track is a perfect example of this unique hybrid of styles and sounds like IHSAHN atop a Japanese mountain. It’s almost as if the word ‘ethereal’ was invented for this album alone. This is one solo project that you wish would expand to a full band, just to flesh out the sound to its full potential. Promising stuff from a talented and passionate black metal musician. More please.


 

From The Archive

If you follow American proggers EARTHSIDE on social media you will have seen the band are FINALLY underway with album number two. After their spectacular debut album A Dream In Static was released way back in 2015 I’ve been an avid fan and eagerly anticipating their next release! Back in early 2017 I caught up with guitarist/mastermind Jamie Van Dyck about the release of their video for the title track, featuring TESSERACT’s Daniel Tompkins. You can read a snippet of the interview below and follow the link to the original post:

I think music videos are inherently somewhat of an abstract art form, given the lack of dialogue and how the plot cut-ins are interspersed with band performance shots[…]A lot of our A Dream In Static album deals with the internal struggle of having these lofty seemingly unattainable dreams and then a self-doubt that sets in. Our character confronts the manifestation of her self that is a shell of herself, a fear of what she may become. But when you let that fear consume you, it becomes a self-fulfilling prophecy.”

Earthside – A Dream In Static Video, an interview with Jamie Van Dyck

Axiom – Metathesis EP

Release date: 25 October 2019. Self-release.

Instrumental, progressive metal can be a bit of a minefield, with some bands attempting to rip off pioneers such as ANIMALS AS LEADERS and INTERVALS, but ending up sounding like a band who fail at attracting a vocalist. Luckily, Birmingham trio AXIOM bring a refreshing stance to instrumental prog which is typically dominated by guitar noodling. On the same sunny edge of the prog spectrum as CHON, AXIOM also incorporate some awesome, funky bass to keep things retro and upbeat. The best thing about debut EP Metathesis though? It was all recorded live within 24 hours and it makes for an energetic and organic production!

Opening track Slumber builds up gently to a wonderfully steely riff. The title is apt as the instrumentation conjures the image of a ride through a cityscape at night. The neon lights are reflected in the dazzling riffs, with bold, slap bass accompanying the super slick guitar. Being recorded live makes the drums sound natural, with the cymbals providing a cascade of crashes which almost sound like fireworks amongst the metallic crunch. The melody throughout the verses is delicate enough to avoid being a long-winded guitar solo. After a couple of minutes Slumber launches into a striking wall of loud rock which the likes of MAYBESHEWILL would be proud of. A storming start.

Lead single Believe is easily the most charming track on Metathesis with its twinkly notes and fun bass hooks. Considering there’s only three members being recorded, the sound is huge, with oodles of energy. The riffs shine bright while the drums maintain the upbeat rhythm. After a groovy first half, it erupts into a progressive ruckus we haven’t seen since the likes of ARCANE ROOTS. Things escalate to a heavy, triumphant break before resorting back to the funky barrage of riffs. Serious progressive rock with a cheeky twinkle in the eye is the best way to describe AXIOM’s delivery and it is irresistible.

Scared is a sublime and heavy offering compared to its predecessors. A fluid, bass riff provides the foundation of a dreamy sequence before the guitars provide the sharp edge. With heavy riffs throughout it is outrageously rocky but somehow seems ballsier as it’s wholly instrumental. The hooks are stellar in every song on Metathesis but Scared boasts catchy hooks as well as a deeper depth to its overall sound. Seriously impressive stuff with only a live recording, it proves AXIOM’s quality as a band.

EP finale Serpentine gets even heavier and is definitely the most ‘metal’ track on Metathesis. The opening melody is a bold, metallic treat which lapses into a softer interlude. This is only the quiet before the storm as the riffs get heavier and crazier. The bass attempts to keep some civility to it but soon joins the assault. The last minute is a bludgeoning farewell and ends the EP with an impact. AXIOM bring the fun, groove and addictive hooks with Metathesis. In a time where bands try to out-tech each other, it’s reassuring that a band like AXIOM can still bring progressive goodness with plenty of heart while keeping the writing honest. Every track on Metathesis is a solid slab of rock. We can be confident that AXIOM will deliver a top-notch full-length. Watch this space.

Soulsplitter – Salutogenesis

Release date: 18 October 2019. Self-release.

Any form of artistic collective is bound to be chaotic and beautiful, Funnily enough, these two words easily describe Salutogenesis, the debut album by German progressive troupe SOULSPLITTER. The group consists of four members, but involves other musicians and artists to fulfil their creative vision. Expanding the collaborations pays off as Salutogenesis is a sprawling mass of intense and emotive rock. Incorporating different musicians and styles makes SOULSPLITTER exciting and unpredictable, with the music taking ambitious twists and turns. Salutogenesis takes a few good listens to process, like any good prog record should. I don’t even know if I’ve digested the album enough to write a review which does it justice, but let’s give it a go.

Opening track The Prophecy heralds the beginning of the madness. With a string arrangement akin to the accompaniment for a baddie at the ballet, The Prophecy is a raw concoction of organic instrumentation and unnerving spoken word. The chilling piano introduces the haunting soundscapes which are scattered across Salutogenesis. The Transition sees the start of SOULSPLITTER being at their progressive best. Full of energy and jazz elements, it’s a track full of interesting nuggets which never becomes too overloaded. An ambitious song at over eleven minutes, it ‘transitions’ from upbeat jazz to STEVEN WILSON-esque melancholy courtesy of the female guest vocalist and the musical brilliance of Trautonia Capra. If you have a friend who doesn’t know what modern prog is, show them this song.

Heaviness ensues with the utterly brilliant The Moloch. The tracks prior have had raw instrumentation whereas this offering boasts raw emotion. The harsh vocals and surreal piano notes collide with the heavy riffs for a WITHOUT WAVES-esque chaotic prowess. Easily one of the strongest songs on Salutogenesis, The Moloch will remain with you for a long time to come. The Maze‘s haunting melodies are some of the most bewitching on the record. Dipping into progressive heaviness which DISTORTED HARMONY would be proud of, SOULSPLITTER also venture into a theatrical climax. The passion of expression pours out of every outlet, creating an overwhelming, yet euphoric intensity. The Sunset provides another mesmerising instrumental interlude before we plummet into the second half of the album.

The Dream is blissful post-rock with classical instruments and jazz weirdness. The title is very apt as the mood is very surreal and other-worldly. Music should always have the ability to transcend you, and SOULSPLITTER achieve this with aplomb. The heavy sections are astounding but it is the ending which elevates the album to a phenomenal highlight. Absolutely breath-taking. It would take a lot to match The Dream, but SOULSPLITTER go down a different route for The Eye Of The Cyclone. Any eye of a storm will be the calmest moment and this is beautifully reflected on the stripped back artistry of this track. The male and female vocals are sublime and the piano is some of the most moving on Salutogenesis. It makes for a spellbinding penultimate track.

Album closer The Sacrifice is as ambitious a finale you could expect from a progressive album. Channelling old school prog tendencies and fresher approaches, SOULSPLITTER have created a colossal tune which would satisfy prog fans both young and old. With strong CALIGULA’S HORSE vibes, The Sacrifice ends Salutogenesis on a resounding high. SOULSPLITTER are exactly what progressive music should be about and their collaborations enhance the diversity of their sound.

In a time where new bands try to feature scene legends on their songs for some street credibility, it’s refreshing to hear under-represented talent in SOULSPLITTER’s work. The collaborations never detract from the progressive foundations, each component compliments the other. With other prog bands turning to pop for inspiration, SOULSPLITTER are turning to the arts and it’s incredibly inspiring and reassuring. This is the beginning of something special.

Singularity – Place of Chains

Label: The Artisan Era. Release date: 11 October 2019.

Technical death metal is experiencing such a heyday this past year or two, it’s been hard to keep up with all the quality releases. Here’s another for you though, Arizona’s SINGULARITY are releasing a contender for tech death album of the year with Place of Chains. Their first release since 2016, their absence has been well worth the wait as the band are now stronger than ever. The blackened and symphonic elements of their music is definitely one of their greatest strengths and adds a dramatic flair to their brutality.

It is the symphonic Bellum which kicks off proceedings. This instrumental opener is not quite as elaborate as SEPTIC FLESH or FLESHGOD APOCALYPSE, but it’s still enough to set a futuristic and other-worldly tone to get you in the mood for a technical romp. The pace quickens as Victory or Death bludgeons the senses with the ferocious drumming, fiery riffs and punishing vocals. The track also demonstrates the beastly range of growls SINGULARITY have to offer. Throw in an extra punishing riff and you’ve got a winner.

The menacing Sisyphean Cycle begins with a blackened riff and atmospherics alongside unsettling, whispered vocals. The blackened symphonies escalate in an ABIGAIL WILLIAMS style before the verse batters its way in. The beastly blackened breaks in the track make their brand of tech death irresistible. Things get really techy on Ritual of Regret with the symphonics matching the chaotic speed of the opening riff. The monstrous pace is not speed over substance, oh no, each second is dripping with fascinating depth and a myriad of textures, making this track an incredible feat.

Consume and Assume proves that the faster the riff, the better the song. However, the slower sections brilliantly contrast, making the pummeling riffs sound even more unforgiving. The blackened symphonics return for the stunning first minute of Desmoterion. This song boasts such dark depths, it is its own monster. Blackly bewitching, SINGULARITY’s savagery will have you in their clutches. With the addition of an acoustic refuge, this track is a rollercoaster of light, dark and downright evil. Serpentes, Eternal continues this violent monstrosity with such blackened vigour you’ll be praying for a small glimpse of light. One of the strongest songs on Place of Chains, it is its dips into blackened brutality which dims the prior highlights.

Penultimate track Dead Receptors is a beautifully ferocious track with the most striking drumming heard so far. The intimidating delivery of this track is not for the faint-hearted and strengthens the band’s case to be new legends in the tech death scene. After your ears are truly assaulted by the relentless Dead Receptors, album finale As Dark As This Nefarious Night continues SINGULARITY’s blackened voyage. Finally the bass joins its comrades into the mix and gives a glorious OBSCURA twang to proceedings. If Place of Chains has battered you into the ground then this closer will put you out of your misery for good. The dramatic chants provide such a spectacular climax, the haunting conclusion will leave you stunned and at the band’s mercy.

Place of Chains is set to launch these tech death nobodies to the forefront of the genre. Some bands can’t execute symphonic extreme metal without sounding like they’re using atmospherics to hide lack of substance. If you take the symphonics away from SINGULARITY you would still be left with one of the most brutal releases of the year. Place of Chains sees a band who have grown in confidence of their talent, to the extent that news of their unbelievable riffs are spreading like wildfire through tech death forums. Believe the hype. SINGULARITY are coming for the tech death crown.

Rivers of Nihil/Black Crown Initiate/Møl/Orbit Culture

The Dome, London. 2 October 2019.

Considering the show is starting early on a weeknight, there is still a generous crowd gathering for Swedish death metal troupe ORBIT CULTURE who are opening the show. Their riffs thump enough to get the audience in the mood for a night of blistering metal. However, it’s not until the band play new single Nensha that things start to get interesting. Once the band get more material and live experience under their belts then maybe they will have more of an impact.

It’s reassuring to see so many members of the audience wearing MØL tshirts tonight. Knowledge of their stunning live show has been spreading and there are many curious onlookers this evening. Front man Kim Song Sternkopf has not lost an ounce of his power and energy on this mammoth tour and is as captivating as ever. Screaming every word with such passion and intensity is incredibly moving as a spectator. A short spell in the crowd enables some fans to scream along with Sternkopf and everyone wants part of the action. The band play tracks from their debut album Jord – with the blackgaze sounding as equally superb and moving in the live setting. Guitarist Nicolai Busse Hansen is the contemplative counterpart to Sternkopf’s fiery persona, and the guitar notes shimmer over the crowd. Their live show is quickly becoming legendary. Surely we are due a MØL headline tour next?

After MØL stunned us into silence, it’s the turn of progressive death metal heavyweights BLACK CROWN INITIATE to pummel us into submission. Driving fans wild by playing the majority of their debut EP Song of the Crippled Bull and other older gems, the crowd were going fanatic! New song Years in Frigid Light sounds immense live and was lapped up gratefully by fans. Bassist Nick Shaw and guitarist Ethan McKenna spend the set flexing their faces making damn-good-riff expressions while drummer Sam Santiago proves he might possibly be an actual machine. Andy Thomas amazed with his impeccable voice, while front man James Dorton sounds as colossal live as he does on record, his penetrating growls commanding the crowd. With their long-awaited new album rearing its head soon, you can expect to see more (hopefully) from these prog death titans.

It’s been an epic night so far with MØL and BLACK CROWN INITIATE providing headline-worthy sets. RIVERS OF NIHIL had hard acts to follow but, my word, they were phenomenal! Listening to last album Where Owls Know My Name in full is always a treat, but hearing it in full live…? Nothing short of sublime. Throw in numerous spots by a real life sax man (a headbanging one at that) and you’ve got yourself an other-worldly experience. Front man Jake Dieffenbach is extremely striking in his unusual attire but his roars are formidable. With extremely brutal circle pits and a wall of death, the crowd were running riot. Being one member short tonight (guitarist Jon Topore was unfortunately in hospital) didn’t deter the band from delivering one of the tightest sets I’ve seen all year. After selling out The Dome and getting the whole venue moving, it won’t be long before RIVERS OF NIHIL sell out bigger venues. Watch this space.

Roundup – September 2019

Looking back at the hottest albums and singles of the month.

August might have been a mad month for mainstream metal releases but September has certainly seen its fair share of mammoth albums from the underground. This roundup sees the staple Top 3 releases of the month and then a look at September’s singles, of which there have been some huge releases! But to start things off I introduce my discovery of the month. If you stick around long enough you can dip into a highlight from the archive. See you in October!


 

Metalmance’s Discovery of the Month

IVY CROWN

I have to confess, Danish metalcore troupe have been on my radar for a little while now but after last month’s single Our Worst Days and the fact their debut album is out in October, I’ve been giddier about IVY CROWN this month! Previous singles Run and Lonesome and Cold (which features Kim Song Sternkopf from MØL) have been promising good things from IVY CROWN. Newest single Our Worst Days has an infectious sense of mischief and fun, but underneath each track is a dark undertone which makes this all-female group even more intriguing. Gaining momentum in the Danish scene, it won’t be long before IVY CROWN make their mark in the UK. With the forthcoming album being produced by Chris Kreutzfeldt (CABAL), vocal production by Mirza Radonjica-Bang (SIAMESE) and guest appearences from the Danish talent of Sternkopf and GHOST IRIS’ Jesper Gün, you can get a sense of what a big deal the women are becoming in their homeland. You’ll be silly not to check them out! 


 

Metalmance’s Top 3 Releases of September

This month has been hard to rank my Top 3. A special mention must go out to 65DAYSOFSTATIC and their amazing new release, replicr. This band always surpass themselves yet remain humble and create outstanding soundscapes. However, this month has seen some monstrous albums and here are the best three…

1

CAR BOMBMordial. Release date: 27 September 2019.

After releasing the singles Dissect Yourself and Scattered Sprites, I knew I was going to love this new CAR BOMB release. However, I had no idea how much Mordial was going to blow me away. It’s felt like a long wait since 2016’s breath taking album Meta, but the growth by CAR BOMB since that album is bewildering. I have seen a lot of mixed responses about Michael Dafferner’s clean vocals on some of the songs but for me, it adds a surreal element to their music, making them sound like a mathcore DEFTONES. Meta was always going to be impossible to top, and thankfully CAR BOMB haven’t given us more of the same with Mordial. Yes, their distinct mathy riffs are there, yes the songs are insane, but there is now so much depth to their textures and dynamic it is staggering. Second track Fade Out even has a pang of indie and shoegaze underneath the brutality and it makes for an interesting listen. CAR BOMB are still a band who are evolving after almost two decades in the game, and that is terrifyingly good.

 

2

BAESTVenenum. Release date: 13 September 2019.

If like me, you believe BLOODBATH should have called it a day after The Fathomless Mastery, Danish death metallers BAEST could easily fill the death metal void in your life. After last year’s incredible Danse Macabre, BAEST have stepped the menace up tenfold with Venenum. Each track drips with venom and malice. Reaping from old school death metal influcnces, the band conjure up filthy riffs and hellish growls. Main singles Vitriol Lament, Gula and As Above So Below do standout, but album highlights come in the shape of Empty Throne and Sodomize with their beastly grooves and violent lyrics. Causing a stir in the European scene after huge tours supporting the likes of DECAPITATED and next month ABORTED and ENTOMBED A.D., the band are constantly on the up. For the love of metal, listen to BAEST.

 

3

GODEATERAll Flesh Is Grass. Release date: 27 September 2019

GODEATER’s debut album All Flesh Is Grass is everything I wanted the new SHOKRAN album to be. The Glaswegians have nailed technical death metal with oriental passages thrown in but with an important environmental message too. Not willing to shy away from the planet’s climate issues, GODEATER are unleashing their views with their equally compelling music. The fast pace and brutality of their songs is mightily impressive for a new band, but the atmosphere they conjure would be the envy of bands twice their age. Tracks like Salvation and Inertia Haze also boast ABIGAIL WILLIAMS-esque blackened brilliance. Unlike some of their UK Tech Metal scene contemporaries, GODEATER write ridiculously technical songs, but with enough heart and substance to actually keep you interested. If the band have achieved this masterpiece with their debut album and so few shows under their belts, imagine what GODEATER will be capable of with album number two.


 

September Singles

It’s mad to think we’re still promised so many awesome albums before the end of 2019. Some of the tracks below are singles from forthcoming albums and they are a sign of the quality to come. If metal keeps up like this, then we’re in for a blistering end of year. Behold my top singles from September!

SCHAMMASCHRays Like Razors

It’s been a while since Switzerland’s black metal elite SCHAMMASCH have graced us with their infectious misery. Rays Like Razors hints at a progression in sound for the band. The dark atmosphere and intense black metal is still there, but the crisper production and polished madness somehow makes the band sound bolder and even more frightening. The mature sound on show here pushes the envelope of black metal. SCHAMMASCH have always been atmospheric but the tone here is absolutely suffocating with an edge of the progressive. By the end of the track you feel like you haven’t received the full blow of what the band is promising, but this hopefully means the band will unveil all that they have up their morbid sleeves on the full length.

 

END OF DAZEReach Out

Who said metalcore was dead? Harking back to the sound of the late noughties, these young Britons are channelling MOTIONLESS IN WHITE, ATREYU and ASKING ALEXANDRIA and other bands of that ilk, but with more heart and less make-up. Hailing from Weymouth, END OF DAZE is threatening to bring British metalcore back to glory. Even though their sound isn’t anything ground-breaking, Reach Out included, there is something so pure and brilliant about what they play, you can enjoy the music exactly for what it is – good, honest metalcore. The metal scene is so saturated with bands searching for likes and followers, if a band is sincere and write enjoyable songs then I’m all for it!

 

BLACK CROWN INITIATEYears In Frigid Light

You may remember BLACK CROWN INITIATE’s last album Selves We Cannot Forgive made it to the top spot in my 2016 Album of the Year list. So it goes without saying their forthcoming album is one of my most eagerly anticipated releases of the year. They finally released the first track Years In Frigid Light this month and I’m having mixed feelings about it. The vocals are too high in the mix and it takes a long while for the song to really get going, but the dissonant air is spectacular. Once again the clean vocals raise the track to new heights, but the impact is too late and underwhelming. After a three year wait, the song unfortunately doesn’t cut it for me.

 

KILL THE KONGInterstellar

Yet to make a mark on the British scene, Swedish metalcore outfit KILL THE KONG have been on my radar for a few years now and have been featured in my blog a few times. New song Interstellar sees the band further remove themselves from their dual-percussion element (thankfully, as there’s only so many tribal rhythms you can include before it starts to sound repetitive) and deeper into metalcore territory.  The energy is still infectious and it sounds like KILL THE KONG are finally hitting their stride. Bold, heavy and energetic, the Swedes should really start to gain more attention now. They’ve proved they have the staying power and ability to evolve, they just need to continue working hard and hone their sound to becoming something unstoppable. 

 

ABIGAIL WILLIAMSI Will Depart

ABIGAIL WILLIAMS mastermind Ken Sorceron has been teasing new AW material for a while now but this track seemed to drop out of nowhere. I Will Depart is the opening track for forthcoming album Walk Beyond The Dark and it spells a new era for the American black metal band. This terrific track sees the band return to the blackened brilliance of their glory days, but with an older and wiser air to proceedings. The technicality remains and the atmosphere is colossal, but the writing is more focussed making for a brutal assault. If the remainder of the album is as mesmerising as this, then we’re in for a right ol’ black metal treat.

 

LOATHEGored

LOATHE were responsible for one of the darkest and most chilling albums of 2017, The Cold Sun. If single Gored is anything to go by, then LOATHE will surpass themselves with their darkest and most furious material to date. Crushingly heavy and suffocating, LOATHE are not here to soothe your soul or ears. The dense riffs would make CODE ORANGE proud but it is the intensity of the band which always shakes you to the core. Vocalist Kadeem France sounds like a man possessed on this single, his unnerving vocals leading the way for the hefty racous of riffage which ensues. Truly spectacular, LOATHE have been going from strength to strength but this release will be sure to see them rocket to the Kings of the heavy British scene.

 

LEPROUSAlleviate

It’s a good thing that I’m a huge fan of Eurovision otherwise I might never revisit LEPROUS again after their new single, Alleviate. I love the song and the band, but I find it amusing how they’ve evolved from being the backing band for IHSAHN and now LEPROUS seem to be the backing band for Einar Solberg. Even if the band are going down a pop route, they still make better pop music than the majority of chart artists. The subtle elements happening in the verses keep things interesting but it is the catchy folk pop chorus which will continue to pull in new fans. Read below for a snippet of my first post about LEPROUS from the Metalmance archive.


 

From the Archive

After the recent release of two singles from LEPROUS’ forthcoming album Pitfalls, I wondered if I could have predicted their prog pop direction… 

Band to watch: LEPROUS

Deliciously on the melodic end of the metal spectrum, LEPROUS’ beautiful melodies are made the more spine tingling thanks to the incredible vocal talent of Einar Solberg […] There’s no denying LEPROUS add their own twist to proceedings and really push themselves to the front of the melodic metal pack.”

Weekly Roundup #3

Roundup – August 2019

The best discoveries, bands and albums of the past 31 days.

August has been an absolute mammoth of a month! With releases from metal heavyweights SLIPKNOT and TOOL there have also been stellar releases in the underground scene. Read below to find out my Top 3 releases of August! However, this roundup begins a little differently, featuring Metalmance’s discovery of the month, a band who I am very excited about!. Also in August’s roundup I feature a catch up of albums I’ve been enjoying on my blogging break. If you stick around for long enough you will also be reacquainted with a gem from the archive and a roundup of all my posts this month. Enjoy! See you next month.


 

Metalmance’s Discovery of the Month:

SOULSPLITTER

Almost ready to release their debut conceptual album Salutogenesis on 26th September, SOULSPLITTER have already secured a place at this year’s Euroblast as well as a European tour with fellow proggers HEAD WITH WINGS! The German band have been busy for the past three years writing the album and getting up to fifty other musicans and creative artists involved. The video for their first single Moloch (video above) which came out in May, features a hand painted animation by a group of Berlin artists and it is this sense of art and collaboration which really shines through the band’s ethic. Channelling the beautiful melodies of DISTORTED HARMONY and the madness of WITHOUT WAVES, there’s no telling which way SOULSPLITTER will turn. This month the band released new single The Maze and it’s a more melodic track similar to their future tour mates HEAD WITH WINGS and it hints at SOULSPLITTER becoming something special! If you’re lucky enough to check them out in Europe in the coming months, be prepared to be perplexed and blown away in equal measures!     


 

Metalmance’s Top 3 Releases of August

It was hard to pick my Top 3 releases of the month considering the quantity and quality of releases we’ve seen these past 31 days. Below are my favourite three releases of August as well as a special mention. Let me know what you’ve been enjoying this month in the comments!

1   

PIJN & CONJURER – Curse These Metal Hands. Release date: 16 August.

I am still totally enamoured with this brilliant EP by two of the country’s most promising bands! PIJN and CONJURER are both on Holy Roar’s terrific roster and Curse These Metal Hands is the result of a collaboration between the two for last year’s edition of ArcTangent festival. Luckily for us the bands have finally reworked and released the tracks into this musical masterpiece. Mixing the superb post-rock beauty of PIJN and the ferocious intensity of CONJURER, Curse These Metal Hands is a sublime concoction of the two and it has such a powerful nostalgic slant to proceedings I find it utterly irresistible. Every day I am inundated with songs and albums so it takes something extra special these days to really make an impression on me and stick. Curse These Metal Hands is one example and I will shout about how brilliant this material is for the years to come! Read my full review below for more thoughts.  

Pijn & Conjurer – Curse These Metal Hands Review

2

UNPROCESSEED – Artificial Void. Release date: 9 August. 

After last year’s amazing album Covenant, I was eagerly anticipating UNPROCESSED’s Artificial Void and it’s totally smashed all expectations! This album is bolder, more confident and more creative. Artificial Void is bursting with ideas but the band are experienced enough to deliver these ideas into one coherent album and the result speaks for itself.  The guitar work is stellar as usual, ANIMALS AS LEADERS and MESHUGGAH fans will be pleased, but what is so astounding about the band is the guitars sound so explicitly UNRPOCESSED which is an incredible feat for such a young band in the tech scene. Track Fear is a superb example of how the band are successfully entwining their revolutionary djent, TESSERACT vibes and atmospherics of NORTHLANE into an album which sounds so fresh in the midst of a stale which is at the risk of becoming stale. Absolutely stunning.

3 

HUMANITY’S LAST BREATH – Abyssal. Release date: 2 August.

One of my most eagerly anticipated albums of 2019 finally dropped this month, Abyssal by the heaviest band on the planet, HUMANITY’S LAST BREATH. It’s not higher up my Top 3 list as I thought it would be because after the initial joy of the absurdly heavy elements, it gets a bit samey. The insane tones and heaviness created with the usual instruments of metal is something to be desired. Unforgiving and punishing from the first track Bursting Bowel of Tellus to the haunting last track Dödgud, HUMANITY’S LAST BREATH are reinventing heavy. Unfortunately the band are still yet to translate their godlike live presence into record format, and that is one thing Abyssal lacks. Once HUMANITY’S LAST BREATH work out how to how to do just that then they will truly be unstoppable. 

Special Mention

KILLSWITCH ENGAGE – Atonement. Release date: 16 August. 

I might upset a few people when I say the last two KILLSWITCH ENGAGE albums with Jesse Leach back on vocals left me uninspired and bored but it is such a joy to listen to Atonement and hear the band have their fire back! Having Howard Jones do a guest spot on The Signal Fire was a genius idea, but throughout the album you can hear the band’s passion shine through and no other band quite matches their inner strength and optimism. Even though they’re the kings of metalcore (I don’t care if you hate that word) they’ve always tried to push their sound and no two albums sound the same which is something I really admire. With Atonement KILLSWITCH ENGAGE have harder metalcore twangs going on as well as groovier moments (i.e. Know Your Enemy) but the huge choruses are still their best weapon and this album is unsurprisingly chock-full of them. I’m going to be bold and say Atonement is the best album with Leach since Alive Or Just Breathing and I couldn’t be more thrilled.             


 

Metalmance Catch Up

Below are three more albums I have been jamming while on my blogging break. Check them out and make sure you don’t miss out too!

MYRATH – Shehili. Release date: 3 May 2019.

Tunisian metal probably isn’t everyone’s cup of tea but if you know me you’ll know I have a soft spot for North African and oriental metal. I love the fresh dynamics bands like MYRATH can bring to the metal community and it is extremely reassuring to see Shehili be enjoyed by metal fans across the world. The traditional instruments sit seamlessly beside the modern metal components and it always makes for stunning results. Often likened to Israel’s ORPHANED LAND, you can understand the comparison because they’re not your typical Western metal. However, MYRATH are less dramatic in the political sense and they sound a lot more classic metal than the extreme tendencies of ORPHANED LAND.  I hope you like huge choruses because MYRATH have a lot of them. Songs like You’ve Lost Yourself and Born To Survive may be deemed as cheesy to some but you cannot deny the impact MYRATH have with their heavy riffs and melodic moments. If you’re looking for something a bit different then MYRATH might be for you!

OSIAH – Kingdom of Lies. Release date: 3 May 2019.

I absolutely adored 2016’s album Terror Firma by deathcore merchants OSIAH. This year’s album Kingdom of Lies is even more devastating and brutal which is a terrifying achievement. Unlike some of their contemporaries, OSIAH have a bit of substance to their work which keeps you interested. I can’t quite put my finger on it yet but there is just a bit more ‘soul’ to their savagery. I don’t mean Dusty Springfield soul, but there is something underneath the layers which make OSIAH sound alive and not another deathcore puppet in an oversaturated scene. Also, their talent is unparalleled and the brutality is overwhelming. Jamie Graham (ex-HEART OF A COWARD) makes an unexpected appearance on Awakening which gives the song an extra something. Overall it’s just a bloody brilliant face-ripping album by a British band who deserve a listen.

ANY GIVEN DAY – Overpower. Release date: 15 March 2019.

There is something safe and familiar about ANY GIVEN DAY and I really don’t mean that in a bad way. They sound like a mash-up between KILLSWITCH ENGAGE, SOILWORK and EVERGREY (a glorious mash-up if you ask me) with their beefy riffs and melodic choruses. They’re not reinventing the wheel at all but not every band has to be. ANY GIVEN DAY are just a band who are very good at writing straight-up enjoyable metal and catchy songs. Overpower is the band’s boldest effort to date and has seen them earn headline tours across Europe. Tracks like Taking Over Me are a real stomper whereas opener Start Over exposes the band’s penchant for groovy melodic goodness. Check it out if you want some wholesome metal!


 

From The Archive

This month saw German slamming death metal troupe STILLBIRTH release Back To The Stoned Age, a collection of the band’s songs reworked with their current line-up and it’s a fantastic beastly package. Last year I reviewed their album Annihilation of Mankind, here’s a extract of what I had to say…

STILLBIRTH – Annihilation of Mankind. Release date: 31 August 2018.

“Fifth album Annihilation of Mankind is an evident step up in terms of brutality and groove – no wonder Unique Leader Records want a piece of the forthcoming carnage. Like its namesake, this record absolutely annihilates the lugholes.”

Stillbirth – Annihilation of Mankind Review


 

DON’T MISS…

Metalmance review of KILLERKORP

Killerkorp – PAIN EP

Metalmance review of CHAOS REIGNS

Chaos Reigns – A Horrific Accident EP

Metalmance review of KRYSTHLA

Krysthla – Worldwide Negative

Metalmance review of STILLBIRTH

Stillbirth – Back To The Stoned Age

Stillbirth – Back To The Stoned Age

Label: Unique Leader Records. Release date: 30 August 2019.

German slamming death metal band STILLBIRTH have been riding on the wave of success after signing with Unique Leader Records last year for their album Annihilation Of Mankind. Playing shows with the other hottest slamming stalwarts around (i.e. VULVODYNIA and WITHIN DESTRUCTION) has only raised their profile even higher. Mad to know then, that STILLBIRTH have been alive since 1999 and releasing albums since 2002! Before embarking on their next chapter, us lucky sods will be treated to Back To The Stoned Age, a collection of reworked songs from their back catalogue. Spoiler alert: it’s as fresh and as brutal as ever.

Killing it with Riot Auffer Buehne 2.0, even with the new mix is sounds like the filthiest detritus. With their CREPITATION-esque deathgrind moments and best pig squeals, this is one hell of a revisit. The slamming groove continues with Open Up This Fucking Pit 2.0 which features its genius gunshot breakdown and punishing slam riffs. An absolutely disgusting assault of a song, it still crushes today.

Endgame Is Near 2.0 is STILLBIRTH at their most unforgiving. The plunging depths the band go to with this track is something else entirely. Much like Human Parasite 2.0 which is immediately penetrating with its slamming groove and death metal bluntness. The demonic vocals harvest your soul as the riffs pummel you into oblivion. Chainsaw VS Face 2.0 is equally as relentless making sure you are unable to stop for breath for all its 49 seconds.

Beating Pacifists 2.0 is a dark and menacing track. Its pace is stepped down a notch which adds to its creeping lust for maximum damage. Add a feature by EXTERMINATION DISMEMBERMENT’s Vladislav Martirosov and you’re onto a punishing winner. The focussed savagery continues with Global Error 2.0 which boasts one of the filthiest breakdowns of the whole album (if not their whole back catalogue). When will the brutality end?! Thankfully not during Individual Related 2.0 which features the disgusting vocals of CUMBEAST’s Iiro Rosonen. This short but sweet track is a rollercoaster throughout and is a must-listen for any aspiring extreme metal vocalists. Incredible stuff.

Legalize It is a phenomenal example of all which STILLBIRTH have to offer (and their love of the green stuff). Beastly blastbeats, whirring riffs and guttural growls are the rule of the land here. The band maintain the pace with Steuerklasse 1 Und Keiner Sagt Danke 2.0 and its hard, metallic edge. This is what slamming hardcore thrash would sound like and we want more! The ridiculous Addicted To Abortion 2.0 is also a morbid treat, bordering on grindcore delights. So much is happening in this track it’s one to keep crawling back to!

BENIGHTED fans rejoice! Julien Truchan lays down his obliterating vocals for On The Edge Of Society 2.0 and it’s an absolute beast! Hard, fast and nightmarish it sounds like it was composed from the very depths of the lagoon itself. By the time Brootal Party 2.0 rolls round your ears will be at risk of turning to sludge after the battering they’ve been receiving. The energy and build-up of this song is unforgettable. Mix in a guest feature by VULVODYNIA’s guitar god Kris Xenopoulos and you’ll soon be begging for more.

Back To The Stoned Age is one of those rare records when the reworkings really do bring the material up to scratch to match the current material. A band full of fun with a tongue in cheek attitude but serious riffage is a winner. Hopefully when they drop their new album next year they would have climbed the slam ranks and gained the recognition they deserve.