This post collects the reviews posted to Instagram for the week. They cover mostly metal, but other genres might be considered. Blog exclusive reviews from other writers are featured, as well.
Scuttlegoat's Curmudgeonly Critiques
Seum - Double Double
Genre: Stoner Doom / Sludge
Label: Independent
Release Date: 02-02-2022
The concept of the band with reduced instrumentation is not new. Punk bands have done the two piece act for forever. I once saw a single dude with a drum machine in the backroom of a bar playing horrible Grindcore songs, so it is not unheard of for heavier music, either. Seum have chosen a minimal setup for their Sludge band: Double Double only has bass, drums and vocals with no guitar to be found anywhere. More often than not, I am skeptical of acts like these. Yet, particularly in their chosen genre, there is a precedent for it: Bands like Wizard Rifle, Mantar or the fantastic Big Business have figured out two-dude sludge and found unique ways to not only make it work, but be a worthwhile listen even beyond the gimmick.
It is nonetheless true that a band needs to work hard to overcome the issues connected with the limited instrumentation. A particular issue is often the sparseness of sound. Seum have very little between the rhythm section and the vocals with wide parts of the frequency spectrum being left unoccupied. This issue is exacerbated by the singers chosen vocal style, who has chosen a raspy croak that sits somewhere between classic black metal vocals and the self-destructive punk shouts of Mantar. This is somewhat frustrating, as the band actually knows what they are doing for the most part: The material grooves a lot and, while it can't overcome the lack of guitar or fill its space, has a damn nice bass tone. I suspect the band is aware of the lack of sound, as they will on occassion add an overdubbed second bass guitar. Particularly the moments with wah on the bass do wonders to add some variety and different timbre to the sound and they do make the album sound fuller than before. Ultimately, the band can't overcome the issue though: It does not need to be guitar, but replacing something with nothing is rarely the ideal move.
Rating: 5/10
Earth - Even Hell has its Heroes (Original Motion Picture Soundtrack)
Genre: Stoner Doom / Americana / Drone
Label: Independent
Release Date: 01-01-2022
Soundtrack albums are a peculiar thing. I go into more detail about this in my review of Chat Pile's Tenkiller Soundtrack, but consuming the music alone often feels hollow because the thing it was made to accompany is missing. Even Hell has its Heroes is a differrent beast altogether, though. Even Hell has its Heroes is a film about the band itself and hones in on Dylan Carlson's life, surroundings and the effect Earth as a band had on the world - at least that is what I suspect, as I haven't yet seen it as of the writing of this review. Usually, a documentary like this would utilise preexisting songs from the bands catalogue, but in this albums case, the band composed new songs and rearranged old ones, meaning all of the album is debuting material. This leads to the unique case of a band trying to contextualise themselves. The music of Earth becomes a meditation on Earth itself.
Fittingly, the material on this album appears somewhat of a retrospective on the band. While the band doesn't outright return to the styles of old, a lot of it is surprisingly upbeat and very much Stoner Doom inspired. If this is the band attempting to score livelier sections of the film or dwelling on their beginnings, I can't quite say at the moment but it makes the album more digestible than a lot of their other albums - certainly more digestible than the long runtime of over an hour would suggest. The soundtrack syndrome of songs appearing fragmented is less pronounced here than on other soundtrack albums, as most of the tracks do at least crack two minutes. I suppose a band with a glacial pace dictates a slow paced film, as well. Overall, I mostly look forward to seeing the film now and don't know how likely I am to pick this one up again. But as a teaser for the film, it certainly did its job.
Rating: 6/10
Ὁπλίτης - Ψευδομένη
Genre: Blackened Mathcore
Label: Independent
Release Date: 01-01-2022
I know some people really cringe at the thought that the media people make can be grouped by their criteria into what we call "genres". "It's all metal" they yell, turning up the volume for Parkway Drive or Babymetal so they cannot hear my reply. As a musician - and one that has talked to many musicians because of it - I can tell you that most musicians do care about genre. There is a history to genre. There are tropes. Knowing how a genre works and ticks is really the only way how to subvert it and not make the same thing over and over and over again. Similarly, being aware of what genre you are playing can make you have a certain attitude.
What if the attitude doesn't match the chosen style and the goals that an album from the genre should generally have? Ὁπλίτης has this issue. It has been common among Black Metal fans to play up the Black Metal content of the albums that they like and call things Black Metal that plainly are not. For Ὁπλίτης, the metallic, somewhat mathy hardcore element, seems to be dominant with the Black Metal element relegated to a couple sections of tense tied chords, occasional tremolo and the chosen vocal style. But Ὁπλίτης seem to fully believe that they are a Black Metal band. Songs drone on too long, lack the necessary groove and jerkyness and do not build a sufficient atmosphere. Originally, I was fond of parts of what the album were doing, but the albums weaknesses became greater frustrations as I delved deeper into it. Unfortunately, the album also feels unfinished with some songs ending abruptly in ways that don't quite work. I do not know if this was the bands attempt at unpredictable writing (you know, Mathcore), but the execution makes it fall flat on its face. A genre mixture usually only works if a band knows what they want to take from each genre. It seems like Ὁπλίτης take the wrong things.
Rating: 5/10
Metalligatorrr's Chomping Commentaries
Esoctrilihum - Funeral
Genre: Progressive Black Metal / Blackened Death Metal
Label: Independent
Release Date: 02-1-2023
Esoctrilihum are to me one of those bands that have always been intriguing but never fulfilling. Astaghul often opts for an abrasive sound, frantic bursts of Blackened Death Metal and winding song structures in a way that does not quite come together, likely because the man produces so much material at a high pace. It should be said that no Esoctrilihum album seems to do the same thing entirely, yet they all share the same flaw in that the songwriting is less important than the general sound of the music. For some this will be great, a mood to have in the background that sounds equal measures grand, pummelling and mystical. Funeral quickly sets itself apart by again trying out new ideas with the 12 minute long title track being some of the slowest and most atmospheric material I have heard from this act. What hits first is the production, which is sharp, loud and annoyingly trebly on the metal side while being a good fit for the symphonic and dungeon synth like melodies in the background. Everything sounds grand and when the guitars spend time outside of what they usually do in an Esoctrilihum song, the material is successful in conjuring some real atmosphere. This symphonic side is something that has sat in the background on previous efforts yet come up front and centre now. You could call this Esoctrilihum's most melodic work to date.
Lest you be fooled by the slow pace of "Funeral", the following track ramps up the intensity and much of the album continues the battle between these two moods. The symphonic parts carry a lot of this album as they add a component of mood to the chaotic riffing that has been rare in Asthaghul's past work. This change makes the material more varied and if this was all I would be prepared to call this the first truly good album I have heard from Esoctrilihum. Alas, after releasing an actually well cut album last year, Astaghul has let go and filled this album to the brim with material; the other key flaw for the band returns with a near 80 minute runtime. It is a lot of material to take in with this kind of sharp production and intense music. There are riffs and song ideas here that I enjoy, as usual. But they are offset by moments going on for too long and the usual chanted vocals that are as annoying as ever, cleanly sung or not. Starting out 2023 with an Esoctrilihum album I do not dislike is not something I expected and I will see if it grows on me throughout the year. For now, the usual flaws make that seem unlikely.
Rating: 6/10
Рожь - Всё
Genre: Post Black Metal / Shoegaze
Label: Independent
Release Date: 02-1-2023
Shoegaze and Post influences in Black Metal are not my favorite, despite my love for bands like White Ward and Agalloch. It is sometimes hard, then, to tell if one's dislike for bands that use these influences is because of preference or if the band in question are not capable of performing the style well. Рожь (pronounced Rozh) certainly seem competent enough instrumentally and strive to make mood music with some swelling builds. The intent is not to rip and tear like regular Black Metal but rather to present something that is either epic, sorrowful, atmospheric and/or ethereal. The bass is audible and the drums' higher end are drenched in the wet reverb of the cymbals crashing, making the sound overall pleasant on the ears. The guitar almost fades into this production, becoming one with the general direction of the music. The word "pleasant" sticks in my mind as this music seems to be made to have on in the background. "Истина" features a folksy mood while "Навсегда" breaks out in the end with a tragic melody that more resembles Atmospheric Black Metal and" Аминь" ends the album on a Doom Metal song. But for all this the album still feels very uniform and is easy to get lost in.
If you'll like this release is simply down to if you want your music to disappear in the background as active listening yields very little. As much as I can recognize the pleasantness of the production and melodies, I ultimately tire of this kind of thing easily. The uniform character of this album does not stick with me like The Mantle or Ashes Against the Grain, neither does it set me on fire like False Light can. It is unfortunately very forgettable and there are bands that have done this style much better.
Rating: 5/10
As is tradition on The Goat Review, every January Scuttlegoat commits to listening to every album with the Slam tag released to bandcamp in January. This tradition has been going for one (1) year.
Intracranial Laceration - Scene Sluts sewn in Half
Genre: Slam
Release Date: 01-01-2023
It is that time of the year again. Slam fills the sewers of bandcamp and I am here to listen to all of it. Up to a pretty typical start, Intracranial Laceration (who I have unfortunately heard before) serve up the usual talentless Slam, where everything is a faux Deathcore breakdown and the guitar tone shows a complete lack of understanding of how to dial in an amp. Bass drops, air horns, decent vocals. Way too long and the only attempts at variety make the album more annoying - like the club music interjections. Rating: 3/10
Hoarding Corpses - Bus Stop Abortion
Genre: Slam
Release Date: 01-01-2023
Another project I remember, if only because the dude made an album about his dog that has helped him through some bad times. The album is too short to get upset at, but it also flies by so quickly that there are few things to pick on. The guitar tone is somewhat serviceable, at least and the drums sound somewhat decent, even if they could use some lower IQ element to them. Not as good as his doggo effort, either. Rating: 5/10
Perky Macabre - Ways of the Flesh
Genre: LoFi Goregrind
Release Date: 01-01-2022
Give it to my man Perky Macabre. He took a short break for new New Years Eve but he's back to grinding out worthless micro EP's. And another thing to give him: When I say micro, I mean micro. This EP doesn't even crack 2 minutes and I will take this over something that overstays its welcome - like Intracranial Laceration - any day. Rating: 3/10
Drowning in Phemaldehyde - Dead Blood is the Thickest
Genre: Brutal Slamming Death Metal
Release Date: 02-01-2022
On a level of competency, this might be the best one yet. Occassionally, Drowning in Phemaldehyde will find a slam that grooves, play it for the right amount of time and then move on to something serviceable. Make no mistake though, this is still very much January slam and there is little reason to seek it out. Rating: 5/10
Coffin Blood - Coughing Blood
Genre: Goregrind
Release Date: 01-01-2023
The type of Goregrind that approaches a wall of sound. As usual, best when it slows down and shows a hint of groove. I appreciate that it's not an outright cacophony like Last Days Of Humanity (a clear influence) but the sample game is too strong! Not even 5 minutes but the sampels severely interrupt the flow. Rating: 3/10
Peeling Flesh - PF Radio
Genre: Slam / Memery
Release Date: 02-02-2023
Inserting Slam with a bunch of ironic but utterly unfunny EDM seems to be this years trend. The gimmick around this album, consisting of the idea of switching the radio channels constantly, doesn't quite work as the styles just shift without being edited in any way to appear like the radio. Most of the used styles are EDM, except for one indie ballad in the end - ripe with crowd laughter, so likely recorded at a get together. Isn't it weird how things are always funnier for the people who make them than the listener? Rating: 2/10
STINKRAT - who cares?
Genre: Incompetent Slampunk
Release Date: 01-01-2023
The jokes write themselves:
"Jay Sherman used to say: IT STINKS! IT STINKS".
"'who cares?' is aptly titled. After all, if the artist doesn't care, why should we?"
And many such permutations. I don't feel any jokes are needed as the album is laughably bad just by itself. Calling itself "Blackened noisy & messy slam-punk" is a clear giveaway that the artist doesn't quite know what they are, what they want to do or how to do it. The guitar tone is at odds with the writing, the drums sound horrible (and often use handclaps instead of snares) and despite the low tempo and simplistic writing, the music is horribly sloppy. Woof. Rating: 1/10
Kryptoxik Mortality - Symbiotic Assmilation / Monument of Depravity / Ravenous Mutilation
Genre: Brutal Slamming Death Metal
Release Date: 02-01-2022
Yeah, you're seeing that right. Kryptoxik Mortality dropped an album and two EP's on the same day. What motivated them to do this? Did they just have to get them out to the world before taking their own life? And if it was so important, why didn't they fix the typo in the album title? Either way, Kryptoxik Mortality is fine for the most part. The guitar tone is serviceable for once and the album is relatively tight (for January slam). The thing dragging it down the most is the awkward pacing, with many songs attempting the sudden full-stop-into-a-breakdown trope but utterly failing at executing it in an enjoyable way. Could have probably used some refinement, but now the artist is dangling from the ceiling.
Rating: 4/10
[Note: for the sake of formatting we are only including the cover for Symbiotic Assimilation. You are not missing much.]
Gortrocity / Sustenance - Immiscible Domain
Genre: Deathcore
Release Date: 04-01-2023
Ah, it has begun. The usual dynamic of trying to pass of Deathcore as Slam or Brutal Death Metal. Now, to be completely fair: This is fine. The trend of injecting Nu Metal elements into Deathcore and Slam can work, as the Dark Prison Massacre has proven. Here, it lacks the necessary tongue in cheek attitude and the sense of fun that comes with it. Especially Gortrocity wants you to believe they're a real band, with layering those tense, faux-tech solos over the crunky breakdowns. Sustenance is a bit more traditional, but similarly forgettable. Rating: 5/10
Butcher of Sodom - The Annihilation of A Butchered Heart
Genre: Brutal Death Metal
Release Date: 01-01-2022
The album is an attempt at a relatively modern style of Brutal death metal, involving some unimpressive guitar theatrics and a very straightfoward, even pace. The album is severely hurt be the production, which is muddy, too bass heavy and often has details lost in a mix that robs it of all its impact. Worst of all: I don't think there were any slams on it.
Rating: 4/10
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