Suffolk symphonic metallers GHOSTS OF ATLANTIS continue the epic saga they started with debut album 3.6.2.4, by adding tales of Pandora’s Box, titans and portals in their ambitious second album, Riddles of the Sycophants. It’s easy for bands to lean into a gimmick and release mediocre music, but GHOSTS OF ATLANTIS actually have the talent and chops to be more than just a band in fancy dress.
Riddles of the Sycophants also features some impressive guests including James Stewart (VADAR/DECAPITATED) and Christian Älvestam (ex-SCAR SYMMETRY) among others. Despite the symphonic and blackened elements, a strong metalcore thread can be heard throughout, with strong metallic riffs in tracks such as the colossal opener March of the Titans and the riff-tastic The Lycaon King.
Tracks such as The Alkonost and Behind the Wall will appeal to fans of ENSLAVED and INSOMNIUM with their melodic death vibes and underlying sense of melancholy. At times during the album, the clean vocals are jarring, but other times they elevate the track from dark depths.
The title track finale is just the right amount of epic without being obnoxious, and every aspect of GHOSTS OF ATLANTIS has its moment to shine. The cinematic influences nestle comfortably amongst the heavy instrumentation and this is the band’s strength; avoiding clichés while churning out the metal. Good stuff.
Fraud is the perfect title for a song full of visceral venom. DEAD SLOW hold no prisoners with their new track; from the immediate energy release to the unforgiving lyrics (i.e. “all my heroes are dead”) Fraud is a real tour de force of relentless punk. DEAD SLOW seem to have unlocked the ability to expertly mix energetic, metallic punk (see: CANCER BATS) and sludgey, hardcore grooves (think of the brutality of MASTIFF) and it’s an irresistible combination. Their relatable song topic covers the realisation that your constants in life may actually be false or harmful to you. The raw aggression and urgent pace of the track really capture the rage felt at the discovery of false idols, and the tight production helps the band to hammer the point home. If Fraud is anything to go by, then DEAD SLOW will remain fearless when tackling the heavier topics.
Post-Bloom. Release date: 26 October 2023.
Much like the unforgiving Fraud, DEAD SLOW once again hit a sore spot with Post-Bloom which will be released a month after the first single. Post-Bloom hones in on our insecurity of our lack of personal achievements. If that isn’t raw enough, then DEAD SLOW’s big riffs will seal the deal. The pace isn’t urgent, much like our slow meanderings to our goals, but the grooves and energy towards the end of the track hint that with a bit of effort (and kickass punk rock) we can turn things around. Post-Bloom once again showcases DEAD SLOW’s ability to pen accessible hardcore punk, with their big riffs, no-nonsense songs and memorable grooves. There’s a gap on the market for this old-school cutthroat delivery and DEAD SLOW are proving they’ve got the guts and riffs to fill it. Brighter things are blooming indeed.
Behold, the new Doom Lords of East Anglia. Norwich doomsters ACID THRONE have slowly been garnering a reputation as a fierce live act over the past year, but does their dark energy translate onto record? Thankfully, ACID THRONE‘s debut album Kingdom’s Death captures the cavernous depths of their doom and gloom, along with rich, organic production to boot. One of the band’s biggest strengths is their frequent dips into black metal and post-metal. It is this crossover appeal which will see ACID THRONE gain a loyal legion of fans.
Opening track Death is Not the End is the perfect example of their black metal-tinged doom, with its raw, textured sound, chilly ambiance and slow and distorted guitars coupled with breaks of triumphant riffs. The way the track gradually erupts into a crypt of noise is subtle yet effective. Second track River (Bare My Bones) boasts slow grooves, rumbling basslines and the doom equivalent of a catchy chorus, while King Slayer is a metallic beast of epic proportions. War Torn is a ballsy affair with a groovy swagger and a brilliantly blackened climax, and this confidence and flair continues in the bold Hallowed Ground.
ACID THRONE close the album with Last Will & Testament, an ambitious slab of metallic doom which hints at a potential progressive edge. ACID THRONE certainly mean business with Kingdom’s Death – will you swear loyalty?
To pre-order Kingdom’s Death, check out ACID THRONE’s Bandcamp.
German metalcore rising stars ANNISOKAY continue to go from strength to strength with each release. 2021’s album Aurora was a bold move for the band as they re-established themselves with a new line-up and a bolder sound. New EP Abyss Pt 1 continues this progression and boasts the most confident version of ANNISOKAY to date.
Melodies have always been one of the band’s strengths but they are utterly off the chain on this EP. That’s not to say the heaviness has been replaced, absolutely not. Once again the German metallers expertly straddle being the heavy and the melodic, with stunning results.
Opening track Into the Abyss is an epic introduction to the EP which harks back to the cinematic influences on Aurora. ANNISOKAY showcase their perfect hybrid of heavy and melodic with the storming Human; huge choruses, cinematic electronics and intense vocals all make for an unforgettable (and a classic ANNISOKAY) track.
The band shake things up with Ultraviolet which has a fun, nu-metal spin to proceedings, while brutality ensues in the powerful Throne of the Sunset. ANNISOKAY provide us an absolute bop in the form of Calamity, which is a reworking of Remedy, a song by German pop star LEONY, but it has to be said that a poppier leaning really suits the band… The EP ends with Time, another catchy anthem by the masters of melodic metalcore. Another sublime effort.
London-based misery merchants CALLIGRAM have returned with their blistering new album Position / Momentum – and it is an abysmal delight for any fan of blackened punishment. Like black metal? You’ll love the desperate howls of vocalist Matteo Rizzardo and the chilling atmosphere. Is post-metal more your jam? Look no further than the blackened riffs and monstrous soundscapes conjured on this album. How about blackened hardcore? You’re gonna love the ferocious pace and raw textures.
CALLIGRAM kick off with the relentless bludgeoning of Sul Dolore, which is followed by the urgent intensity of Frantumi In Itinere. Eschilo is an ambitious slab of rich, textured metal, while Tebe quickens the pace with its metallic tones and triumphant riffs. So far, CALLIGRAM have proven their blackened savagery, but they flex their diverse muscles in the acoustic and brass fuelled interlude of Per Jamie. The band switch it up once again in the storming black metal romp, Ostranenie which is easily a standout track with its dives into metal extremities and contrasting instrumental breaks.
Penultimate track Ex-Sistere doesn’t hold back with its fervent blackened delivery, but closing track Seminario Dieci is a brooding masterpiece which indulges the listener with waves of nostalgic post-metal twists and turns of chaotic black metal. CALLIGRAM have well and truly thrown their hat in the ring with this effort to become extreme metal’s new darlings. Absolutely superb.
Sometimes a band comes out of nowhere and completely side-swipes you with an album. This is absolutely the case with Danish shoegaze, post-metal band A HORRIBLE DEATH TO A HORRIBLE MAN and their debut album Days Gone By. Read that again…their debut album. This is one of the most mature sounding debuts of the year. The band expertly mix post-metal riffs with melodic doom vocals and the results are striking and unforgettable.
Opening track Other is a superb example of this, with colossal CELESTE-esque riffs and vocals in the same vein as the clean vocals of SHORES OF NULL. It’s a winning combination. Standout track Too Soon really ramps up the blackened shoegaze vibes with its sorrowful guitars and ethereal vocals. The band channel their inner MØL on First Light as unforgettable blackgaze riffs are the order of the day and a focus on building a haunting atmosphere. The instrumentation really shines here, but the song is completed by the resonating vocals nestled amongst the layers of sound.
The title track is an epic journey of emerging soundscapes, mournful lyrics and spectacular pacing – this is truly a remarkably mature piece of song-writing. A HORRIBLE DEATH TO A HORRIBLE MAN change tack a tad with the laidback closer, Breathe. The stripped back textures make for a track to get invested in, and the pay-off is hugely rewarding. Days Gone By is destined to be an album which causes small ripples at first, but will rapidly grow in popularity once the word gets out about how accomplished this album is. An astonishing achievement for a debut album.
New Zealand tech death metallers BLINDFOLDED AND LED TO THE WOODS dazzled death metal fans with their last album Nightmare Withdrawals back in 2021 with its relentless savagery. This year, they’ve returned stronger than ever with fourth album, Rejecting Obliteration with new label, Prosthetic Records. With this album, the band are set to launch themselves into the greater collective conscience of metal. Their unforgiving brutality, innovative riffs and blackened tones make for an absolutely gripping experience.
The band wear their NIGHTMARER influence on their sleeve in opening track Monolith, but with an extra cutting edge thanks to the metallic guitars and the progressive flair. Second track Methlelem sets the bar high with its infectious grooves, disorientating riffs and Stace Fifield’s punishing vocals. Hallucinative Terror doesn’t hold back with its subject matter or intense execution. This is the definition of present day BALTTW; unafraid, ambitious, ferocious and progressively extreme.
The band completely side-swipe you with the blackened masterpiece Wraith, before taking a dissonant dive into Cicada. The technical madness continues through the album, including the jarring riffs of penultimate track, Hands of Contrition before Caustic Burns closes the album with an absolute masterclass in dissonance. BLINDFOLDED AND LED TO THE WOODS have finally tapped into their full potential with Rejecting Obliteration, but with the levels of talent and commitment on display, it’s clear the band still have so much to offer.
After soothing souls with their debut album A Book About Itself back in 2021, Swedish proggers KARMANJAKAH have decided to tease fans with a new, four-track EP, Ancient Skills. Since the release of their self-titled EP in 2016, the band have always been able to tug on the heartstrings of fans thanks to their moving melodies and shimmering music – so much so the band have developed an ever-growing loyal legion of fans.
KARMANJAKAH have used A Book About Itself as a springboard for this new collection of songs, as they continue with the sunny vibes with an additional dollop of feels and chilled vibes. The song titles are charmingly simple and tie in with the title of Ancient Skills as it feels like the band are exploring what it means to be human and coming back to ourselves. The music also reflects this, with tranquil passages to promote reflection.
Opening track Breathing is the KARMANJAKAH we know and love but with a maturity and underlying stillness that is the sound of a band utterly confident and comfortable with their art. Jonas Lundquist’s vocals and Vìggo Örsan’s guitars beautifully entwine along with the harp and keys. Like breathing is fundamental for survival, the fluidity between instruments is fundamental to KARMANJAKAH.
Flying is easily one of KARMANJAKAH’s finest songs written to date. Like the concept of flying, the song is wistful, dreamy and has a streak of vulnerability thanks to the charming piano notes throughout. The djent is present but it provides a much needed contrast to the light and airy vocals. Writing is a glimpse at the musical expertise of the band, with a long instrumental passage which allows the music to breathe and allows the listener to become immersed in the KARMANJAKAH universe.
The band surpass themselves however with Listening, their most ambitious track to date; a track filled with oriental moments, heavy riffs and expansive textures. Four tracks may not sound enough but these four tracks certainly feel enough. At this rate, the second album will crush us all.
Deathgrind masters CATTLE DECAPITATION have always had their finger on the pulse when it comes to our impending apocalypse. Who could forget the defining album of the band’s career Death Atlas in 2019 and its uncanny premonition of plagues and mass deaths shortly before the world got turned on its head… With their new album Terrasite (the title being a play on words of ‘earth-eater’ and ‘parasite’), the band explore the concept of humanity causing the destruction of the planet. In the short-term, CATTLE DECAPITATION will certainly cause the destruction of your eardrums and any lingering optimism you may have.
Music-wise, everything is once again on point, but there has been a slight shift in direction and more ambient textures can be heard on Terrasite, especially on the blistering closer (and standout track) Just Another Body. But we’re getting ahead of ourselves here. Terrasite opener Terrasitic Adaptation is business as usual with Travis Ryan’s diverse vocals, vivid lyrics, flawless drumming and death metal riffage with a smattering of blackened brilliance.
We Eat Our Young features some of the grooviest death metal riffs you’ll hear this year, while The Storm Upstairs is a strong, nostalgic punch in the guts with machine-gun riffs. …And the World Will Go On Without You is the epitome of contemporary CATTLE DECAPITATION; a superb mix of straight-up death metal, grind bursts, thought-provoking lyrics and sparse, clean vocals. A Photic Doom leans more into blackened territory, but Solastalgia reigns supreme with the atmospheric textures and triumphant riffs.
Ten albums into their career and CATTLE DECAPITATION still prove they are constantly evolving to remain the masters of their brutal craft. Another stunning offering.
2023 is shaping up to be a good year for Essex death metal darlings, EXISTENTIALIST. After joining the roster of Seek & Strike (also home to the likes of EXIST IMMORTAL, KROSIS and MONASTERIES) and a string of well-received singles, the band celebrated the release of their second album The Heretic at the end of April with a sold out show in their hometown of Colchester, Essex. Now fresh off a tour with labelmates DRACONIAN REIGN, things don’t seem to be slowing down for EXISTENTIALIST anytime soon! Drummer Olly Winn kindly took some time out of their busy schedule to answer some questions about the new album and the year ahead.
Reflecting on the highlights of the past few months, Winn says the high points have been making all the announcements and releasing their new singles and album, “We’ve been sat on some of The Heretic’s tracks for over two years. So to finally showcase them and start getting such positive feedback has been great. Similarly, the signing was all wrapped up in November, so keeping that all under-wraps has been hard work.” Winn continues to say about how important timing is for a band keeping a lid on their secrets but the end result is worth it; “It all builds up like a dam of impatience and excitement so to finally release the river on everything has been one massive string of highlights.“
Prior to the release of The Heretic, EXISTENTIALIST released two blistering singles in the form of Embers Upon Calvary (feat. Jason Evans of INGESTED) and The Zealot’s Demise, both of which are a major step up from the band’s debut album, Prophet of Ignorance. What were the biggest changes during the songwriting cycle for The Heretic? Winn explains, “There are both more (and less) of us involved. With Prophet of Ignorance we had material that was written primarily by just Jonny [Flack, guitar] and also some that had been influenced or co-written by a previous member too. Then when Sam [Berriman, guitar] joined, material was written by both but without having previously worked together, Sam and Jonny’s style didn’t always interact cleanly.” For this cycle, Flack and Berriman had had time to bond musically and each had written tracks for the album, along with Winn. Once in the studio, the group wrote tracks together and collaboratively edited. This time round, Winn and vocalist Patty Kolasa worked together for the lyrics to create a clearer story arc for The Heretic.
Where Prophets of Ignorance was written out of anger and frustration at the end of the world, The Heretic is more melancholic and allegorical. Winn explains the concept behind the new album, “It tells the story of our protagonist becoming disenfranchised from their religion and turning to hatred and blame towards it for the suffering they see in the world. Towards the end, they realise that the religion has nothing to do with the suffering. It’s the people that use their religion as an excuse to do evil.” Winn continues to share that he thinks this is a thought process many should consider; “The world is very divided at present, and religion is considered one of the core reasons for that. As such it’s easy to become xenophobic towards the followers of the religion you deem is ‘to blame’. But regardless of if you think their holy texts are true or false, the majority of the followers are just regular people wanting a peaceful happy existence. Your hatred towards their faith exacerbates the issue rather than helps to heal the divide. The album’s overall message is one of tolerance and coexistence. To be on theme, it’s a very existential message.”
The concept extends into the band’s artistic vision for The Heretic album run, with the cryptic sigils for the artwork and the morbidly dark music video for Embers Upon Calvary. Winn elaborates on the influences behind The Heretic‘s aesthetic, “I think metal has always been a reflection of its times, politically, ethically and socialogically speaking. The general mood in the UK and the rest of the world is currently one of great darkness. Mental health is a huge public issue, one that is close to our hearts, and politically there is a great amount of unrest too. A lot of this material was written during the end of the pandemic, and I think the social and economic decay that people have felt as a result of that has heavily dyed that material.” Winn also notes these types of events see people self-reflect and return to their roots or old habits. For EXISTENTIALIST this included looking back to their love of black metal, “Olly and Jonny were (still are) both hugely into black metal, and Patty grew up listening to a lot of the same, so combining these roots with the general mood of us as individuals, and the wider issues the world is currently facing has forged this much darker vibe.”
The darker vibes Winn mentions is demonstrated in a more blackened sound on The Heretic, compared to Prophets of Ignorance. The singles were early evidence of this, with the blackened riffs and a boost in orchestration. The band’s aim with the orchestration was treat it as a single entity, rather than just ambient noise. Winn explains, “At times we’ve learned to pull back the guitars and let the orchestra lead, then bring the guitars back forward and let the orchestration drop back. This has definitely helped ‘up-the-epic’ but we feel also helps keep the music interesting.” It is Winn himself, along with producer Alex Coombes who is responsible for the orchestration, often taking inspiration from Berriman’s lead guitar parts or piano. The orchestral magic is immediately thrown at you in the dramatic opener, Shrouded in Darkness.
Other than blackened riffs and orchestration, what else can listeners expect from The Heretic? Winn gives the lowdown, “As we hope you all expect, there is also plenty of breakdowns, fast trems, double kicks and blast beats, and all styles of screams from Patty. I don’t want to say we’ve matured, because that’s often code for ‘got lazy’. I feel our writing has become more complex but considered, both lyrically and musically.” But where do their musical influences come from? Winn shares it is a mixed bag, “I don’t think we can say there’s one main influence. All five of us come from different corners of the metal-pentagram. The constant theme has been that we want our sound to be epic, intense, heavy, technical, and to force ourselves to become better musicians. We’re always learning new techniques, having to practice to play faster, or improving by analysing other musical styles for ideas.”
EXISTENTIALIST have just wrapped up a successful tour with DRACONIAN REIGN but the band will no doubt have more shows and tours planned soon. What can fans expect from an EXISTENTIALIST live show? Winn explains the band’s hopes of creating an atmospheric and emotive live show experience to match the darker vibes of the new material; “We’ve been working on our stage show to help create the atmosphere we desire. Our album was designed to take the listeners on a musical journey, so we hope that the live experience will do the same.” The band certainly executed this at their hometown album release show in Colchester last month. The flawlees live show, coupled with the sigil branded banners and shirts on stage, all made for an intense live experience that the band and fans won’t forget in a hurry!
Essex has been starved of a thriving metal scene for years, but EXISTENTIALIST’s hometown show highlighted the strength of the current scene with each support act being from the region, including COLLECTED, RAD PITT and BEYOND EXTINCTION. Winn gushes over his fellow Essex peers; “We were honoured that everyone on our release show said yes to playing. We look up to all of those bands, particularly BEYOND EXTINCTION, but they’ve all been on the scene longer than us. There are loads of other bands we’d have liked to ask too, but because it’s Metal to the Masses season, we didn’t want to draw crowds from any of the bands that might be competing. Plus, having three Bloodstock bands on the bill is dope.”
After winning M2tM themselves last year to play Bloodtsock, EXISTENTIALIST haven’t forgotten what the local scene means to them. Winn also namedrops other East Anglian bands to watch out for; “MECHROMORPH are coming up strong with their unique and crushing slam style, and our friends in REGICIDE have just dropped some great new material too. DISPUTE from Ipswich are also making big waves in the hardcore scene all over the country.”
Looking ahead to the reminder of 2023, the band hope to continue to increase their fanbase and gain recognition on the global scene so they can play larger shows and support bigger bands. All this can’t happen without their fans and Winn closes the interview with a heartfelt message; “I don’t think people realise how valued shares and shout outs are on social media to bands. We genuinely love seeing people repping our merch, sharing our music or even just commenting and liking our posts. It can often feel like writing and producing music is a futile process, so those little hearts and notifications really do remind us that what we do is worth while. From Olly, Sam, Patty, Jonny and Phill [Morley, bass], we’d like to say a massive thank you, and we hope you all enjoy what’s coming.”
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