Suffering so you don't have to!
Elyna Kahn
It is the year of our Lord 2013. The world bid farewell to Nelson Mandela, the South African leader who championed the fight against apartheid and racial injustice. In Southeast Asia, Typhoon Haiyan wreaked havoc, claiming over 6,000 lives in the Philippines. Meanwhile, in Bangladesh, the tragic collapse of the Rana Plaza building resulted in more than 1,000 fatalities. Right, the Metal…
Pegah
Medusian, a Swedish symphonic Metal band, has unveiled its new EP Library, featuring seven tracks that each weave a distinct and engaging narrative. Themes range from mythology and revenge to personal experiences and identity, with each track telling its own story. The cover art captures a solitary figure in a vast library, ascending a staircase toward a glowing, blue-lit window—a symbol of life, prosperity, and an ideal state. Framed by rich purple curtains, this imagery evokes power and mystery, serving as a fitting visual metaphor for the EP’s thematic exploration.
Is January the month of Northern Folk, or what? I know Wardruna isn’t exactly a Metal band. If anything, it’s Metal in spirit. Either way, there’s a significant overlap between you, my dear readers, and people who enjoy this shamanic music. Birna is my latest attempt to leave my comfort zone and review something outside the usual themes of heads chopping or sadness spiraling into madness. Yet, it’s still rooted in nature and folklore, so it’s not entirely unfamiliar territory. Let’s see if Wardruna has delivered something satisfying or if we’re leaving this feast hungry.
Well, I guess this is what the people voted for on Instagram, and since I still believe in democracy (when it suits me), here we are. Honestly, I’ve been procrastinating on this review for a while. I’ve been into Saor since Aura, back when the project was limited by the constraints of being a one-person endeavor. Since then, I’ve enjoyed everything it’s released, even though Origins felt a bit predictable to me. That said, I’m willing to believe that Amidst the Ruins is exactly what Saor needs to continue its evolution. How much more Scottish can these guys get? Like, haggis Scottish? It seems impossible!
Stargazer Scholar
Every genre has its stalwarts—the defining bands. Artists who pioneered the movement or managed to establish themselves as a beacon of quality for everyone aspiring to navigate similar sonic terrains. Poland’s Obscure Sphinx, with three excellent full-length albums and a few live releases under its belt, may be standing on the shoulders of the giants that came before, but the uncompromising, visceral talent of this Atmospheric Sludge Metal combo should have long ago earned it a place in the genre’s pantheon. But since the band, true to its name, remains underground, let me try to right this wrong by covering its newest mini-album.
What? Are you surprised that MER Industries is covering such a mainstream band? You’ll dare to call us not Metal anymore. As if we care. What we do care about is giving even the most commercial band a fair chance. I’m sure those of you with a love for anything Gothic will know Lacuna Coil needs no introduction and that despite my skepticism for Sleepless Empire, I’m willing to suspend my prejudices for a few hours while I analyze another album from a now ancient band.
Here we go again! It’s one of my reviewer’s favorite niches—German Black Metal—which, according to them, has become synonymous with quality. (Honestly, I think that applies more to German Post/Black, but I’m being a snob.) Anyway, Urfeind is a band that attempts to represent this harrowing and deranged Black Metal school of thought with pride. Dauþalaikaz is an album with that kind of attitude and art. It takes itself seriously, and the real question is if we, the plebs, can take it seriously too.
I promise I have no Central/Eastern European agenda this year—it’s just what makes sense to review as the quiet month of January moves along. Watch My Dying is a Hungarian band with a long career, and at first, I wasn’t sold on the idea of listening to some strange industrial experiment. But Egyenes Kerőlő caught my attention when I read in the promo that they had collaborated with Thy Catafalque. You know we love anything that project puts out. Still, I wasn’t expecting a bootleg of that band—I wanted something more!
I should’ve asked Ixione to review Putred‘s Megalit al Putrefacției, since my Romanian is next to non-existent. Either way, you don’t listen to rancid, heinous Death Metal for the lyrics, right? What? You do? Please, go get some help if that’s the case. But I digress. We have our first “new” Old School Death Metal album of the year, and though my expectations are realistic, I’m more than ready to get destroyed by some nasty riffs from the land of horror.
With a band name like Cerebral Hemorrhage, you’d be inclined to think that Exempting Reality isn’t about being a teen trying to find your place in the world while dealing with your angst. You’d be right because this act is all about bringing old-school Death Metal to its real roots. I’m not talking about the retro-Death Metal we’ve had over the last 10 years. I mean Death Metal from the era before computers—when the USA and Sweden were battling to see who could produce the most poorly recorded piece of violent music. Enough with the history lesson!
Metal Eclipse Reviews 