Suffering so you don't have to!
Satan is the coelacanth of Metal. You’re probably wondering, what the fudge is a coelacanth? Well, my uneducated child, it’s a fish once thought extinct long ago, until we discovered it was still alive, swimming away, indifferent to our existence. The same goes for Satan, a band once presumed dead for decades, but since Life Sentence, they’ve made a remarkable comeback. The question now is: can Songs in Crimson continue this legendary run of heavy fun? Welcome again!
Whoever said that Industrial Metal is boring and commercial has clearly never listened to whatever Ævangelist has been up to. Do they even know what they’re doing? Ever since De Masticatione Mortuorum In Tumulis, the band has developed this bizarre blend of Death, Black, and Industrial Metal, all wrapped in the most lo-fi production possible. It’s such a dense listen that I was genuinely worried I might hate Perdition Ekstasis Meta. Was it because it’s so far removed from anything we might consider enjoyable, or because it lacks something previous it previously had? Either way, I came in ready to give this disturbing album a chance. Let’s go!
Well, this came out of nowhere—promo included! Not many bands can match Pyrrhon‘s ability to obliterate what little sanity the listener has left. The Mother of Virtues and What Passes for Survival are absolute classics, perfect soundtracks for puking while looking up (don’t try it at home, you’ll drown). However, Abscess Time left me a bit cold. I didn’t quite get it, which is why I approached Exhaust with caution. You can never be too safe with a band this volatile. In that sense, Pyrrhon had already succeeded in manipulating my expectations. But enough intro—let’s dive into the madness.
If you’ve been following us for a while, you’ll know that we love history at MER. We even do retro-reviews all the time. Not many music genres have as much reverence for the past as Metal does. However, we tend to focus on the big classics and forget the dirt, the crust, and the deep underground where bands live and die, hoping to evade oblivion for just a little longer. That’s why today we have a different type of review. Surrender to Death: A History of the Atlanta Metal Underground Vol. 1 features more than 20 artists. I know nothing about Atlanta except that it has a huge airport, but let’s learn about its old Metal scene, shall we?
You know my running joke: I judge albums by their cover. When I received Blighted Eye – Agony’s Bespoke, I had two thoughts: this is either going to be AOTY material or a typical 2.5/5.0. There’s no middle ground. When a band takes itself this seriously, things can either fly or crash and burn. Especially when there’s a plot in the album that’s heavily inspired by an extremely raw and depressing film (The Nightingale). Hence, I approached this release with incoherent expectations. Anyway, let’s see if Blighted Eye can pull it off.
Let’s face it: old-school Heavy Metal sucks. Now that I have your attention, let me tell you that Black Sites is the biggest exception to this rule. Ever since In Monochrome, this band has put out banger after banger, avoiding the common tropes and typical corniness of the genre. Plus, it has its Prog moments! And that never hurts. However, The Promised Land? comes in quietly, maybe because of all the comparisons it’s going to face with other great albums, or maybe because you haven’t done your research and aren’t hyping this band as much as you should. Either way, let’s see if this album delivers!
I’ll give something to Evilyn—it has a cool band name. One that won’t make you suspect the ridiculous beatdown it can deliver. And what if I told you this is a “debut”? Could you believe a new band would compete in a year plagued with great Tech Death releases? Except Mondestrunken wasn’t written by amateurs. It features former members from Defeated Sanity, Psycroptic, and many others, which actually gives Evilyn the feeling of being a discreet superband. Cute, but Tech Death lives and dies by how exciting it is. Can this album stand out? We’ll see!
Who is excited about this Nile album? Yay… nobody? Before you feel the rage, I just want to clarify that, like many of you, I agree that the older Nile albums are sacred in the death metal creed. Annihilation of the Wicked, In Their Darkened Shrines, and Black Seeds of Vengeance will always be timeless classics. No other band has sustained a gimmick so long and so well. However, Nile‘s recent efforts have left me cold and doubtful, so my expectations for The Underworld Awaits Us All were low. Let’s see if my hopes can join the army of the undead or actually meet Anubis once and for all.
Welcome to Retro-Reviews, a space where I indulge in my own nostalgic reveries, reminiscing about a time that never truly existed, but one that I’ve crafted through various random albums that hold significance for me. Whether good or bad, one thing is certain: remembering can be a bittersweet journey.
Welcome to Retro-Reviews, a space where I indulge in my own nostalgic reveries, reminiscing about a time that never truly existed, but one that I’ve crafted through various random albums that hold significance for me. Whether good or bad, one thing is certain: remembering can be a bittersweet journey.
