…FROM THE TOMB is a weekly feature in the form of a list grouping albums from the current weeks new releases with short reviews for each. These albums were overlooked for full review for any number of reasons with the most common reason being constraint of time. I try to cover as much of everything I receive in some form, be it mini-review or full-feature, so don’t hesitate to send anything and everything my way.
Here I present a grip of new releases from this week [March 21th through March 31st, 2020] with no specific genre focus or theme. This ends up being the most effective way to cover as many releases from 2020 in a timely fashion so things don’t bottleneck at the end of the year. Most of these albums made it here to …FROM THE TOMB due to time constraints for processing long-form reviews or because a paragraph or three’s worth of insight was all that was necessary. If you’re not into the selection this week, relax! This’ll be back every 7 days with more new releases from different styles, genres, etc.
Hey! Don’t dive in thinking this will all be shit just because these records aren’t getting full reviews. Quality control is an important part of this process and the focus of each entry places emphasis on expressive, meaningful, and ‘heavy’ releases that have some potential to hold value. I might not always be the target but you could be. Thank you! I am eternally grateful for the support of readers and appreciate friendly and positive interactions. Think my opinions are trash and that I suck? Want to totally tell me off, bro? Click away and let’s all live more sensible lives full of meaningful interactions.
|Title [Type/Year]||Ceremonious Extinction [EP/2020]|
|Seeing Red Records||BUY/LISTEN on Bandcamp!|
Ashtabula, Ohio-based brutal thrashers Subtype Zero fly their banners for late 80’s style thrash, the kind of riff-slingers that’d crop up more frequently as death metal became more visible and ‘South of Heaven’ had folks figuring they could slow down and still chop off just as many heads with big riffs. These guys aren’t Demolition Hammer, though, think more along the lines of Burnt Offering, Baphomet (Germany) on ‘No Answers’, and Silent Scream‘s sole album. Slayer influenced and often mid-to-fast paced bands that were too thrash for death metal and too heavy to put on a bill with a power/thrash band. Sweet spot to be in if you love Slayer or the masses they’d influenced beyond though Subtype Zero really only resemble that ’88 attack and some vocal phrasing, and some of their influences are either fairly modern or they come from other Bay Area tools of the trade. The drumming they whip out on ‘Ceremonious Extinction’ often flings over to the death/thrash side of things without laying into the double-bass with any real frequency, couple that with a maniac on vocals and tons of riffs these Cleveland area thrashers are onto something pretty slick that is a bit old in mindset and just slightly new in its expression.
If you’re already familiar with ‘The Astral Awakening‘ (2018) and its kinda claustrophobic sound, know that Subtype Zero have at least pushed themselves out of that cave of compression and allowed themselves room to breath on ‘Ceremonious Extinction’. I know, I know… who gives a shit, how are the riffs? Great. Opener “Esoteric Illusion” blazes its ass off and introduces the moshable Slayer influenced whip they’ve excelled at since they were named Cringe back in the first half of the last decade. Lots of whammy abuse, dives, and miles of ominous chunking thrash metal to spare. I almost enjoy the shorter length of ‘Ceremonious Extinction’ than I do their full-length if only because it gets in and out fast and leaves their most impactful stuff to stick. They’re not death metal, they’re not retro thrash, but there is a middle ground created here that sounds remarkably authentic even if the material isn’t massively original. I greatly appreciated the straight forward rip of Subtype Zero‘s late 80’s fundamental core experience and could basically leave it on repeat all day. If that sounds like your jam go for “Six Paths of Pain” and “Esoteric Illusion” for the heaviest hits and best leads on the record.
|Title [Type/Year]||Demo Tapes [Compilation/2020]|
|Dying Victims Productions||BUY/LISTEN on Bandcamp!|
One of Detroit’s finest hidden gems of retro heavy metal and hard rock traditions Midas formed just a couple of years ago in 2018 but they’ve already put out two fine demo tapes which’ve proven quality enough to set on either side of a fine piece of wax (or CD, I guess) by way of Dying Victims Records. Side A has the ‘Solid Gold Heavy Metal’ (2019) demo and Side B includes ‘Still Hungry’ also from 2019. You’ll hear the intended nods to early-to-mid 70’s Thin Lizzy throughout the first demo, it is the strongest influence beyond the Tank-esque opener “Clash of Steel” but this band are really at their best when they swing for early 80’s Maiden-esque catchy metal songs and while keeping those dual leads swinging.
When “Sands of Time” kicks off the second half of the compilation I’m much more inspired. Vocalist/guitarist Joe Kupiec has just a bit of that bluesy ungh to his inflections with just an inch of Algy Ward in his tonal DNA, think of Pulver or Angel Sword if they were just a bit more mid-70’s laid back and not so over the top. The only thing missing from the two demo set is their cover of Riot‘s “Swords and Tequila” from the original ‘Solid Gold Heavy metal’ demo. Not a huge deal, I figure the licensing could be a bummer and it isn’t the most amazing cover. “Street Night” is probably the best middle ground between the 70’s heavy rock spirit of Midas‘ songwriting and early 80’s stuff a la ‘Point of Entry’-era Priest or ‘Diamonds’-era Enforcer without the cranked production.
They’ve written a few clever songs here and I see the appeal of their style though I don’t know if the balls are entirely swinging here. The whole of ‘Still Hungry’ is pretty damn solid I just think they’re being way too ‘polite’, sounding subdued for the sake of the melody without really showing any teeth. More Parasite + Quartz than they are Helstar + Hexx, if you will, and there is nothing wrong with that. A promising heavy metal band and a solid collection of their work thus far.
|Title [Type/Year]||Love Like Machines [LP/2020]|
|Kozmik Artifactz||BUY/LISTEN on Bandcamp!|
This fourth full-length from Memphis, Tennessee psychedelic rock band The Heavy Eyes finds their high-energy brand of heavy blues and stoner groove expanding by a fourth magnitude. Now a quartet and reaping in the extra lifesblood provided by engineer, and new second guitarist, Matt Qualls for sure the fuzz is just as thick and the bluesy step they’re known for lock The Heavy Eyes into a familiar headspace but this time around the band have thier own shoes to fill, having not been making their gig a big deal (beyond a live album in 2018) since 2015’s ‘He Dreams of Lions‘.
They’re a bit more psychedelic, far more chill, soaked in watery effects and cranking an even more desert rock apropos guitar buzz but, that doesn’t meant they’ve softened or lazed out. If anything this is a more ambitious, more emotionally drained and leaning into it kinda deal where the quartet aren’t stringing together their good ole big n’ blues busters left and right. ‘Love Like Machines’ is a more well-rounded vision and that means it isn’t that huge a departure from the past considering they’ve made leaps before, such as the distance between their first and second album. This isn’t a project I’ve paid much mind in the past, so I couldn’t necessarily consider ‘Love Like Machines’ a reminder of who The Heavy Eyes are but rather a worthy showcase of what they’re all about that shows for how far they can bend in a good direction.
You’ll be feeling the burn as poignant opener “Anabasis” strums in, cranks up, and floats away already showing the all the fresh new skin they’ve got to flash. I was so impressed with this piece, the visual artistry of its lyrics, that it’d built me up for an album far more different than what ‘Love Like Machines’ actually ended up being. They’ve simultaneously broken away from plain stoner rock/heavy blues and honed in on the classics, which sounds awkward on paper but it means turning to classic rock of the 60’s and 70’s for varietal inspiration; This ends up swerving away from current trends of extended stream-of-consciousness jams towards hard rock numbers that’re one part mid-70’s psych rock and one part 90’s desert/stoner rock, something along the lines of recent records from The Sword and maybe Graveyard. Whereas old contemporaries like All Them Witches, King Buffalo and Greenleaf have all leaned towards longer jams, looser more subtle structures, The Heavy Eyes are raunchier and far more catchy by design. “God Damn Wolf Man” is a fine example of this, with its Zeppelin-esque base still speaking to the bands delta blues spirit well and true. The Heavy Eyes deliver the goods here for established fans and folks in the know, and though this album comes with a heavier spirit they’ve provided a finely balanced experience that’ll appeal to just about anyone into heavy rock.
|Title [Type/Year]||Peril [LP/2020]|
|Testimony Records [Dark Descent Records distribution]||BUY & LISTEN on Bandcamp|
Nerve Saw began as a solo project from Finnish musician Markus Makkonen who is best known for his death/thrash metal band Sadistik Forest and some time spent as bassist for Hooded Menace in the mid-2010’s. Now expanded into a trio and releasing their debut full-length, ‘Peril’, the project reaches for a more broad range of influences in achieving a sound that sews together classic HM-2 overdriven Scandinavian death metal tones with punk rock, grind, and a hint of black metal entrails. Rhythms are driven by some clear love for the simpler side of 90’s metal riffing, from Carcass to Dismember and some analogues held fast within classic European hardcore. Though this doesn’t sound like it’d be anything worth a damn, more often than not Nerve Saw manage something unexpected around every corner despite the chunking death/crust sound we’re all so accustomed to.
Makkonen‘s vocals go a long way to distinguish the full listen, rasping and yelping as if some kind of odd black/death take on the death n’ roll of the mid-90’s. Think of Entombed‘s ‘Inferno’ crossed with Carcass‘ ‘Swansong’ and if you’ve not vomited at the thought yet, this might be your jam. I’d definitely viewed this album as completely not my thing to begin with but looking past the simpler riffing there is a fairly catchy death/metalpunk record here that swings fairly hard a few times within the full listen. Biggest songs to recommend here would be the big grooves on “Empty Heart” and the somewhat unfortunately titled “Life Goes On… Not” where some major hooks and hardcore thumps help the fairly short record standout.
|Title [Type/Year]||Where Vultures Know Your Name [LP/2020]|
|Raw Skull Recordz||BUY/LISTEN on Bandcamp!|
You can’t go wrong with most death/doom metal from the Netherlands and South Holland quartet Graceless are no exception to that rule, a fine punch of pure death metal at a mid-pace with strong use of Bolt Thrower inspired lead guitars and double bass drumming. Though they might appear as a ‘new old school’ death metal band at a glance most of these guys have been around since the mid-90’s in bands like Xenomorph before forming Nailgun Massacre and finally Graceless. It is a natural lineage when listening to each discography in a straight line but the basal influences are different with each step. Graceless in particular was founded by guitarist, vocalist and main songwriter Remco Kreft who, along with drummer Marc Verhaar, joined the reformation of Asphyx spin-off Soulburn in the last half-decade where their unique vision of blackened death/doom has been somewhat underrated.
What these guys do differently than their associated project comes with their focus upon Bolt Thrower influenced mid-paced death metal that is moshable first and foremost, ‘Where Vultures Know Your Name’ differentiates a bit more while steering further away from death/doom tirades towards a more grand feeling, adding an extra 30-45 seconds to their average song length and bringing in more lead guitars. Their previous album ‘Shadowlands‘ (2017) had a bit more of the slower paced songs and maybe a slight Autopsy-esque lean by comparison. I’d say they’ve managed far more impact with this slightly faster and still ‘old school’ death metal sound and I’d found myself listening to this album. Slugathor comes to mind (see: “Commander of Christ”) along with some of the more lithe records from Jungle Rot, all for the love of 90’s death metal but I’d suggest ’95-’98 death metal as the most classic ways phased out for the sake of emergent brutality. That isn’t to say Graceless aren’t brutal but that songs like “Retaliation of the Wicked” stand out because of their deliberate pace and chugging, moshable riffs set beside a familiar approach to lead guitars.
‘Where Vultures Know Your Name’ is at its strongest when the riffs circle and sway in place, the brutal forward marching moments are thrilling enough but the bass-heavy mix often blurs Graceless‘ intent. “Embrace the Rain” stands out above some of the muddier moments by way of its slow and bristling pace, on repeat listens I’d really enjoy how this track circle back to the opener, though I don’t think “Lugdunum Batavorum” makes the strongest first impression possible.
|Title [Type/Year]||Loose Sutures [LP/2020]|
|Electric Valley Records||BUY/LISTEN on Bandcamp!|
Almost definitely named after a Fuzz song and living up to their raw name, super-soaked fuzz’d and fucked up garage rock band Loose Sutures hail from from Sardinia yet there’ll be no idyllic paradise envisioned on thier self-titled debut. Stony, manic, just a bit psychedelic and all garage all day this trio take it to the dark side of deranged mankind pretty much right off the bat. ‘Loose Sutures’ is an album dedicated to the subject of sordid sexual appetites, calculated serial killers, and anything folks’ll do when pushed over the edge by their own proclivities. Distorted over the top vocals, fuzz for miles, strong flushes of punk rock and shout along garage burners make this record a damned good time. Where I’d get irked comes with the numbered interlude tracks, which are often confessional tapes with some jammed ambiance, that’d flow alright on a full listen without adding a great deal to the experience. To add to this morbid and surreal experience, “Lies!” includes Obituary guitarist Trevor Peres adding some soloing over the piece though none of it is indicative of his rhythm work in the death metal world. Great energy overall, a fine record with several memorable moments.
|Title [Type/Year]||Emanatism [LP/2020]|
|Iron Bonehead Productions||BUY/LISTEN on Bandcamp!|
Taking some pointed interest in dissonant black metal has had the odd effect of rekindling my interest in noise rock in the last decade but I find myself needing a stronger fix with each release, else the addiction can no longer satisfy. Paris based anonymous black metal project Amnutseba would not seemingly provide anything beyond the norm at the glance: Blurry sound, modulations that rise and fall at once unto chaotic guitar passages, and fearsome vocal insanity are the status quo for this style of music that now bleeds across the black skies of extreme metal. So, where does an album like ‘Emanatism’ stand in terms of entertainment value? They are a swarm rather than an abyss, hurling forward rather than downward while occasionally stewing in a cloud amongst that which they would kill.
I’d greatly appreciated my first several spins of this record due to how well it’d deliver the spirit of their first two demos, an ugliness collected as ‘I-VI‘ back in 2018, without losing the vitally foggy atmospheric values and abrasive ruminations within. That said, I have a lot of records in this style and don’t often find myself picking them up without some extra insight or influence applied. The experience is above average though there is no element that’d pull me back into ‘Emanatism’ with any purpose or great investment and much of this reaction is due to the lack of really compelling riffs. Technique is unquestionably strong, though, “Ungrund” being a great standout doesn’t help the slightly weakened state of “Dislumen”, though “Tabula” raises the bar back up soon after. By all means when I am headed down a rabbit hole and chasing after good dissonant black metal record I’ll come back to this one, although I would not say it ends up being a great standout just yet.
|Title [Type/Year]||The Holy Flesh [LP/2020]|
|Caligari Records||BUY & LISTEN on Bandcamp!|
The Holy Flesh is a solo black metal project from an anonymous gentleman that’d risen to form within the United Kingdom in the last year or so, at least publicly. His style of black metal generally focuses on subtle psychedelia, eased-into rock beats, and post-rock textures for effect. The remarkable craft applied here is a wondrous event, a being that can only be described as a shadowy dream, or a dream-like state carved of sleepy arrangements and an insistent pace that avoids most of the dull tropes of crescendo heavy post-black metal. The guitar techniques quickly become the main focus, as was the case with earlier Jordablod and similar bands who’ve first found their niche in the jam room and worked out the most powerful variations for a grand debut. I hear some influence from Icelandic black metal first and foremost in the guitar work, particularly the finale of the four part “Emissary” side of the record.
The really soupy, ultra-psychedelic stuff chimes in on the “Vessel” side of the tape where more synth/keyboard and guitar washes create an atmosphere comparably huge when considering Side A‘s relatively straight forward focus. The four “Vessel” tracks are the main source of excitement for my own taste and I’d end up listening to that side most often after some considerable time spent with the tape. An entirely brilliant debut out of the blue eh, red in the sky. Not mind-blowing in any violent sense but, gorgeously thought-provoking and sinister in its watery crawl. A moderately high recommendation for this tape, should be a vinyl edition soon as well.
|Title [Type/Year]||Metaphora [LP/2020]|
|Aural Music||BUY & LISTEN on Bandcamp!|
As a stoner/sludge metal band who’d managed some impressive integration of progressive metal elements across their first two albums Ravenna, Italy based quintet weren’t have pushed toward their modern prog influences even more on this third album. ‘Metaphora’ might open into some Mastodon-esque appropriations but their ambitions tend to lean away from commercial prog-sludge resemblance towards their own brand of serious, melodramatic and sludgy prog rock. Think of it a bit like later Alchemist without all the psychedelia and an Italian accent. Fans of progressive metal should rejoice a bit if inclined towards surreal and often serious doom-tinged variations upon the genre when hearing songs like “Iron Mouth” and “Unfair Judgments”. Nonetheless, change is good and there is a lot of it that’d lead up to, and expresses within, ‘Metaphora’.
My only major criticism here comes from the loss of sludge’s stylistic influences as the band primarily retain the tonality of the sub-genre within their rhythm guitar sound. I’d felt like ‘New World Order’ (2015) was remarkably arranged and I’d still say the same of ‘Metaphora’, a record that is less ornate for the sake of compositions that breathe along with the vocalist/guitarist, Andrea Burdisso, who becomes more distinct with each release. New membership from Nero di Marte‘s fine bassist Andrea Burgio and keyboardist Momo (Pie Are Squared, Postvorta) bring a much more professional but slightly less personal level of ambition to the table here and I think it’ll alienate some fringe sludge fandom for the sake of greater prog metal enthusiasts. I particularly enjoy the bass work on this record, their showcase and percussive presence in songs like “Modern Man” and “Iron Mouth” bring a lot of wonder, and texture, to the full listen. Where I disconnected with ‘Metaphora’ in the long run came with not being a huge fan of the progressive lean of their style, which is expected on my part. It is a fine album all the same.
|Title [Type/Year]||Deeds of Ruthless Violence [LP/2020]|
|Agonia Records||BUY & LISTEN Bandcamp!|
Deranged are often referred to as “Sweden’s Cannibal Corpse” though I think that undercuts the fact that they were the first notable band playing the style in the country with any (arguable) seriousness in the early 90’s. Much like their proposed contemporaries Deranged are not so much ‘generic’ as they are fixated on the exemplar simplicity of the death metal genre, working with texture and extreme feats of musicianship to convey reckless and murderous capability. Drummer Rikard Wermén is the glue for the project and the only original member remaining after their dissolution in 2008 saw the rest of the band entirely restaffed. His work on the drums is satisfyingly ‘old school’ and a point of distinction for Deranged over the years. On the bands tenth album, ‘Deeds of Ruthless Violence’, the new guy in town is vocalist Johan Bergström who features in melodic death/doom band Pandemonium as well as grindcore band Resonance Cascade, both of which feature current members of Deranged. Though his presence does bring a bit more of a bluster, a really solid roar, to the fray this is exactly the kind of shove you’d expect from Deranged following a four year span between records.
The guitar work here is moshable, occasionally technical, and still holding pretty steadfast to the worlds created within records like ‘Butchered at Birth’. There are a few standouts that come somewhat unexpected, specifically the ‘Domination’-era Morbid Angel chunk and squeal riffs of “Carnal Provision for the Rotten Masses” where Deranged really go for a “Where the Slime Live” kinda crawl. It was a moment I’d really loved but I could see why some might not feel like it fit alongside the other tracks. The lead flourishes on “Through Stages of Putrefaction” aren’t necessarily mind-flaying but it did help to mark the start of the second half of the album as the brutality ramps up and dips into some of the more complex arrangements on the album. The deep sea plunge of the rhythm guitar tone here is absurdly heavy and it’d begin to feel like the song lost its harried push because of how bottom-heavy the riffing was. Though the attack of certain songs disintegrates in my ears a bit when the chugs go too far, I did enjoy the relentless shoving that Deranged provided therein.
|Title [Type/Year]||Cum, Coke & Blasphemy [EP/2020]|
|Witching Hour Productions||BUY/LISTEN on Bandcamp!|
One-man blackened punk n’ thrashing metal act Golden Blood is the work of Austrian musician Erech Leleth who arrives with this debut EP, entitled ‘Cum, Coke & Blasphemy’, a teaser for his upcoming full-length debut and a set of songs intended to be an ode to black metal and his favorite heavy metal classics. Golden Blood do a reasonably sharp job of fusing classic black metal atmosphere with a solid classic thrash metal guitar tone. Think along the lines of Midnight inspired metalpunk but thrash metal from the perspective of someone in tune with modern extreme metal. The press materials suggest Truchło Strzygi as a reference point but there is a bit more black metal in these songs, often dipping into pure Norwegian stuff for guitar leads and second wave black metal in spirit while still keeping the metalpunk vibe going. It works most of the time, the vocals lose some of their control during intended melodies, such as the horror punk influenced “Nightfall”. It took about an hour of listening before I’d really “got it” and realized these songs are fairly catchy and well constructed. The riffs aren’t amazing but it is a sharp introduction to the project thus far. Looking forward to their LP when it comes.
|Title [Type/Year]||The Diving Bell [LP/2020]|
|Seeing Red Records||BUY/LISTEN on Bandcamp!|
It might’ve landed upon me late last year but there was no question that this second album from Sacramento, California atmospheric sludge/post-doom metal trio Chrome Ghost belonged on my Top 50 of 2019 releases list. Their impact is immediate, cathartic, and pours from the speakers as an ethereal fog, an emotional drowning that I’ve welcome every time it catches my eye. Here in late March this fine album finally receives the 12″ vinyl LP treatment via the venerable Seeing Red Records who’ve done a great justice to the incredible cover art and music within its righteous platter. How to describe the evolution of the bands sound? Think of Floor‘s inhuman-but-glossy heaviness, Katatonia‘s sourly gripped melodramatic soul, and a healthy dose of Pallbearer in there too for pacing and gracefully shifting movements. Imaginative, beautiful music and a real breakout release for the band. A huge recommendation on my part as I’d picked it as the 39th best out of at least a thousand records I’d listened to last year.
|Title [Type/Year]||We Are All Atomic [EP/2020]|
|Blues Funeral Recordings||BUY & LISTEN on Bandcamp!|
If you’re intending to lie within a waking dream and imagine the four walls receding into infinite light then you’re going to need better drugs and perhaps this ‘doomgaze’ EP from post-metal band Spotlights who’ve long combined elements of shoegaze, dream pop, atmospheric doom textures, and a generally open-sourced post-metal ideology to dramatic effect. ‘We Are All Atomic’ is a recess of the mind in contemplation of its own tumultuous existence in four parts. Don’t think you’re getting a sleepy, fuzzy stoner record, though, as the guitars crank unmercifully toward shouts and smothered beauteous tones. Much like Chrch, Jesu, or even Chrome Ghost the experience leads toward the sublimely ethereal but there are cuts into experimental noise, atmospheric dread, and all manner of ingenious play as the whole of the EP progresses. The opening into “Part II” would end up being a particularly effective shift from one world to the next, emphasizing that each part of the whole brings a new dimension of what Spotlights are capable of as a trio. I’m more inclined towards the sonic rain “Part IV” and “Part II” but I wouldn’t enjoy them as much without the respite of the space the other pieces create in between. Highly recommend this one.
|Title [Type/Year]||Não Gosto! [LP/2020]|
|Helldprod Records||BUY & LISTEN on Bandcamp!|
Although this Rio De Janerio, Brazil based quintet is labeled as thrash on the archives, has ‘thrash’ in their name Thrashera are most definitely a Satanic speed metal band in my mind and definitely belong in a category with classic bands like Vulcano and Whipstriker. Not a big deal either way you suss it out, they’ve got the spirit of the 80’s in their ‘drunken evil’ riffs and little has changed in the span of their three full-length albums as they celebrate their tenth year as a band. ‘Não Gosto!’ occasionally recalls early Dorsal Atlântica and the sort of bands you’d associate with a pre-‘Schizophrenia’ (and ‘I.N.R.I.’ for that matter) South American thrash reality where booze, violence and rock n’ roll were at the heart of many heavy metal movements but tightly wound riffing or extreme metal brutality was not always the point. These guys are having that kind of fun and I enjoyed this record, it is all kind of ‘one note’ but still a good time.
|Title [Type/Year]||The Alchemist’s Vision [LP/2020]|
|Crown and Throne Ltd.||BUY & LISTEN on Bandcamp|
Austin, Texas black metal band Black Vice seek melodic value within raw forms, revving a chainsaw of howling dread and horror and setting it to work on several siren songs aimed at the elite heart. This could entail a brimming anti-cosmic melodic black metal opus or an unusually lucid occult black metal spurt but in every case the wretched voice of a vulture sings a beautiful song. ‘The Alchemist’s Vision’ is much more than it seems, or, exactly what you’d expect if the resolution of your focus is properly attuned. Though the general impression of this record hails on in as a typical entry the subtle squishing bulge of its psychedelic elements begin to ooze mid-album where “Creation” goes overboard and things spiral into cavernous harassment and eye-crossing blasts on “Attainment”. What appeared neurotic on a normal scale soon tweaks itself just enough to align with a different but expected level of expression. I enjoyed the mix of raw textures, trailing mountainous riffs, and well blended atmospheric elements though I’d only wished the melodic devices deployed resolved in more commanding ways rather than often trailing off into the distance with some repetition. A fine second album from the band and I hope for several more.
If I missed your favorite album from 2020 already, whoa! E-mail me or hit me up on twitter if you want me to review it. If you’re in a band and you want a review of your latest, hit the Contact page and send me a copy, I’ll consider it.
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