Pretty much La Muerte Part Two, meaning that it’s classic Gorefest: Simple but punishing riffs, varying tempos, political lyrics, and bad-ass breakdowns.
15 years deep, and Age of Tyranny is quite possibly their most interesting release in years. I heard harmonies, I heard elongated solos, I was impressed.
Nightmarish soundscape black metal. Sounds like a horror movie from a room away on a stormy night, and the music often sounds like a cat walking across a piano.
Consistent and listenable from end to end, with some interludes and keys to keep it interesting. Nice leads, scary whispers, no sissy singing or orchestration.
Peccatum crossed with Emperor, stitched together by the occasional and brief prog metal tendencies of either of those that might be described as mainstreamy.
Whereas the first two Grand Magus full-lengths were doom with a bit of classic rock and metal, Wolf’s Return is a classic metal album with just a hint of doom.
Puree of Casey Chaos (Amen), Samoth & Faust (Emperor), Cosmocrator (Mindgrinder), and Happy Tom (Turbonegro) tastes sour, when it should be extreme metal gold.
Heaps of praise for this forward-thinking original Norse black metal “Viking” band, Enslaved, now with three beloved, multi-dimensional albums in a row.
In 2002, much respected-metal veterans Entombed played as the pit orchestra for some kinda fuckin’ ballet. This is the CD document of that live extravaganza.
Two discs of tedium and mediocre metal.I expected more from Callenish Circle. Both Flesh Power Dominion and My Passion Your Pain were fast, thrashy metal albums at their finest.
Swedish doom rock done right. Strong, clear production. Unlike a lot of “stoner rock” stuff, this has energy, strong vocals, and a few melodies will stick.
Female-fronted Gothic metal is as common as a cold, and even good bands are a dime a dozen, cuz a sweet voice and some plodding riffs are about all it takes.
Many fans will force themselves to sit through these two discs out of respect for Chuck, but the man deserves a much better retrospective than Zero Tolerance.
Stoner doom too stoned to try very hard or produce very well. Respected musicians from St. Vitus, Trouble, Eyehategod/Superjoint/Crowbar, Goatsnake/Obsessed.
Doom, with no apologies for atmospheric keyboards, angelic counterpoint to the monster bellow, and piano and acoustic guitar tinkering amidst droning guitar.
Still got that “classic” Swedish death sound: Unmistakably gnarly guitars, fuzzy production, semi-melodic riffs (but not Gothenburg melodic), and quick tempos.
Samoth and Destructhor have created a record where the songs have self-contained logic, the guitar tones are robust and bottom-heavy, and where Trym’s drum vibe is thick and warm.