Metal music reviews, top albums and forums (2025)

3.19 | 4 ratings

Kev Rowland

There is no doubt in anyone’s mind that Darkthrone are one of the most important bands to ever come out of the black metal scene, and their early albums are triumphs from beginning to end. Fenriz and Nocturno Culto have followed their own path for many years now, forsaking the need to play live or use external musicians and instead wrap themselves into their own world. This is their twentieth studio album, and their seventeenth in the thirty years since the departure of Zephyrous left them as a duo. It is also their fourth in just five years, and while they were renowned in their early years of being able to have a very high output with no loss of quality, one wonders if the same can now be said all these years later.

This is not a bad album, far from it, but it is also not a great album either and one cannot help but wonder if the kudos being heaped upon it is due more to the name on the front cover than the music contained within. To my ears the sound is just too clean, and while there are black metal influences here and there, we also get plenty of doom and also some power metal, all of which comes across as somewhat boring and tedious. There is an impression at times (take “Black Dawn Affiliation” for example) where it feels the band are marking time while trying to work out what to do next. The use of clean vocals care of Fenriz also just do not tie in well with what Nocturno is providing, and I found myself getting quite confused as to what the Norwegians are trying to achieve. True, they have brought in many differing metal styles over the years, but this album feels almost as if ideas are being thrown onto a wall to see what sticks best. The result is something which is enjoyable while it is being played but there is little here to make me want to play it again.

• 1 day ago
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• Report #880933

5.00 | 1 rating

adg211288

You Can't Improve Perfection...

...But You Can Do It Justice.

Blind Guardian re-recording Somewhere Far Beyond, one of their best and most beloved of albums that was originally released in 1992, has to be one of, if not THE most pointless of exercises that any metal band could set-out to undertake. The original album already has a remastered version done in 2007 and it still sounds as good as it ever did in 2024.

I get that the Revisited version of Somewhere Far Beyond is to be treated as something of a (slightly belated) 30th anniversary celebration but that is perhaps something better celebrated with the accompanying live version that is a full performance of the album. That has been released separately as a digital download otherwise it is found on disc in the boxset version along with a blu-ray of the same performance (Rock Hard Festival 2022) and one other (Hellfest Festival 2022). But there feels little reason to buy the Revisited album itself if you already own a copy of Somewhere Far Beyond. The original is power metal perfection. A new version just cannot compare.

But at the end of the day it is still Somewhere Far Beyond, one of the greatest power metal albums anyone ever made and giving it anything less than the full five stars would be mean-spirited. It's actually a cracking performance from a band who are more than three decades older and a couple of line-up changes down the line. They do it justice. There is a moment here and there where the ears pick up and something doesn't feel quite right but a lot of the time it can be forgotten that you're listening to a re-recording. The heaviness of the original hasn't been sacrificed. The production hasn't been too over polished in a modern way. Hansi Kürsch still sounds absolutely incredible, but hey, we knew that from their continued work including their last album The God Machine.

Is it worth owning? If for some reason you can't get your hands on a copy of the original album then absolutely. Definitely if you want the live stuff on disc and not just a download and doubly so if you want the blu-ray, which I think has to surely be the biggest draw the more expensive triple disc package. But I can't lie, I can't see myself personally choosing to listen to it over the original. Somewhere Far Beyond is one of my most played albums of all time. It ranks second on my Last.fm account where Blind Guardian is my most played band overall. To start listening to a new version more than it now would almost feel like some sort of betrayal. Not that Blind Guardian has betrayed their legacy by remaking it, but on a very personal level, for me, it would feel that way. Maybe other fans will get what I mean.

• 2 days ago
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• Report #880866

2.09 | 3 ratings

Kev Rowland

I must confess to have never seen an album so universally slammed as this one, and while I do understand where the reviewers are coming from, I do believe it has been somewhat over the top. Encyclopaedia Metallum has had 11 reviews for this album, average rating 0%. I had to go and look at the individual reviews to check there wasn’t an error as seeing a score like this was new to me, but yes, that is what people are saying. But why such horror at this? Firstly, for those who do not know the history of the band, they were formed all the way back in 1986 and their first two albums are very highly regarded indeed. They then broke up in 1994, with guitarist/vocalist Patrick Mameli reforming the band in 2006. The current line-up includes Michiel van der Plicht (drums), Rutger van Noordenburg (guitar) and Joost van der Graaf (bass), with the longest serving being Rutger who joined in 2019. Mameli decided it would be a good idea to re-record the band’s “greatest hits” with the current line-up.

The main issue here, and the most obvious one, is that of production, particularly with the bass which sounds as if it belongs on another album altogether given how clean it is. Mind you, the none of the other instruments hang together as they should either, with the result being a feeling that everything was recorded separately and with a major argument going on as to which instruments should be up in the mix, so none of them are. Add to that the vocals which are not as threatening or powering as they should be, and the inclusion of some songs from their latest album (which featured the same line-up) one has to wonder what was really the point?

This is death/thrash which is not nearly as bad as some would want you to believe, but with only two other studio albums in more than a decade one must wonder if these guys are running out of steam. If you want to hear Pestilence at their best that probably seek out ‘Mallevs Maleficarvm’ or ‘Consvming Impvlse’ as this is not really a true representation of them or their music.

• 2 days ago
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• Report #880859

4.00 | 3 ratings

Kev Rowland

It has been way too long since I heard Myrath, as the last album of theirs I reviewed was 2011’s ‘Tale of the Sands’ and there have been two more since, but at least I now have ‘Karma’ which is a blast of joy from the first note to the last. It is said that when the guys signed to Brennus to release ‘Hope’ back in 2007 they were the first band ever from Tunisia to be signed to an international label. I don’t know how true that is, but I certainly can’t think of any other bands from there (a quick check of PA’s charts for top albums from Tunisia finds them the only band listed). The only true description of their music is prog metal, but they have been through different styles and influences over the years and here we find them quite removed from their more folk influence norms, but they still find room for Middle Eastern touches here and there, plenty of orchestration and loads of polish. Guitarist Malek Ben Arbia has been at the helm for more than 20 years, founding the band originally under the name XTAZY (who released a demo in 2005), while bassist Anis Jouini played on the debut album, which was produced by Kévin Codfert. The following year they gained a new singer in Zaher Zorgati while drummer Morgan Berthet finalised the current line-up in 2011. However, before they started recording this album they lost keyboard player Elyes Bouchoucha, who originally joined XTAZY back in 2003 and had played on every release, but they found a guest replacement in Codfert. What this means is that since they became Myrath and a full recording unit they have had pretty a stable line-up, and that shows.

My only complaint with this is not in the songs, which are packed full of hooks, or the vocals (which are sublime) or any of the musicianship (which is superb) or even the use of strings to emphasise the Middle Eastern roots, but with the production. This has been polished within an inch of its life, and possibly more so, which means it is just too sweet and leaves something of an aftertaste in the mouth. It is still an excellent album, but if the production had been pared back and been less (dare I say it) American, then this would probably have been essential. It is an album which dares the listener to turn up really loud and join in, letting the music swirl as the beat and groove gets everybody dancing, but I just wish it was a little rawer and rougher around the edges.

What I do know is that it has been way too long for me to miss out on Myrath who are Angra taken in a different direction, and like the Brazilians are certainly worth discovering.

• 5 days ago
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• Report #880836

3.50 | 1 rating

UMUR

"Toxic Grace" is the fourth full-length studio album by US, California based thrash metal act Evildead. The album was released through Steamhammer in May 2024. It´s the successor to "United States of Anarchy" from October 2020, which was Evildead´s comeback after reuniting a second time in 2016. Evildead formed in 1987 and released an EP and two full-length studio albums before disbanding in 1995. They had a reunion in 2008 which lasted until 2012 before disbanding again (this period spawned only one recording from the band in the 2011 "Blasphemy Divine" single). The quintet lineup who recorded "United States of Anarchy" is intact on "Toxic Grace".

The material featured on the ten tracks, 40:39 minutes long album is a continuation of the classic US thrash metal sound of the direct predecessor, performed by seasoned scene veterans. If I should make a direct comparison to another contemporary act it would be Death Angel, but Evildead are generally a bit harder edged. But it´s in that ballpark Evildead operate. To my ears the sound production is a bit sterile this time around and especially the drums feature a flat and clicky sound, which doesn´t suit the otherwise powerful music, but other than that "Toxic Grace" is a well produced release, featuring both sharp and powerful sounding guitar riffs, blistering leads, and raw thrash metal vocals.

Other than the cover of "The Death & Resurrection Show 2024" by Killing Joke, Evildead won´t surprise longtime fans with the material featured on "Toxic Grace". It´s solid US thrash metal (both fast-paced and mid-paced) with nods towards traditional heavy metal and it´s ultimately relatively formulaic. That doesn´t mean it´s bad...far from it. It just doesn´t step outside the boundaries of the genre. This is good quality US thrash metal and a 3.5 star (70%) rating is deserved.

• 18 days ago
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• Report #880676

3.46 | 13 ratings

UMUR

"Prey" is the eighth full-length studio album by Swedish metal act Tiamat. The album was released through Century Media Records in October 2003. It´s the successor to "Judas Christ" from 2002 and features the same quartet lineup as the predecessor plus guest female backing vocals by Sonja Brandt.

Stylistically the material on "Prey" are a continuation of the goth rock/metal style of "Judas Christ (2002)". The psychadelic Pink Floyd influences which already decreased greatly on the predecessor are now only present on album closer "The Pentagram", which features a nice mellow psychedelic rock sound and some soaring Gilmourish guitar leads. The remaining tracks range from heavy and hard rocking to mid-paced, slow, and laid back gothic tinged rock/metal. Lead vocalist/guitarist/keyboard player Johan Edlund doesn´t have the most distinct sounding voice, but his delivery is pleasant and suits the music well. The tracks are well composed, relatively catchy, and feature a melancholic atmosphere. It´s not dark and depressive music, but rather a tasteful and melodic melancholic take on goth rock/metal. Similar artists would be contemporary Paradise Lost and maybe Anathema.

"Prey" is packed in a powerful, detailed, and well sounding production job, which suits the material perfectly, and upon conclusion it´s another high quality release by Tiamat. If you enjoyed the last couple of albums this is not to be missed. A 3.5 star (70%) rating is deserved.

• 7 hours ago
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• Report #880946

3.84 | 12 ratings

UMUR

"Better Off Dead" is the fourth full-length studio album by German thrash metal act Sodom. The album was released through Steamhammer Records in October 1990. It´s the successor to "Agent Orange" from 1989 and features one lineup change since the predecessor as guitarist Frank Blackfire (who left t join Kreator) has been replaced by Michael Hoffmann.

Stylistically "Better Off Dead" is slightly different from the preceding releases. Both "Persecution Mania (1987)" and "Agent Orange (1989)" were pretty raw and aggressive thrash metal releases and relatively similar in sound and style (the debut is another story I won´t mention here), but while "Better Off Dead" certainly is both raw and thrashy, the album also features a lot of traditional heavy metal elements and influences (Motörhead is an obvious influence). That impression is of course only enhanced by the inclusion of two cover tracks by Tank and Thin Lizzy ("Cold Sweat" was not included on the original vinyl version of the album), but it´s not only the two covers, which place "Better Off Dead" in a territory somewhere between thrash and traditional heavy metal, tracks like "The Saw Is the Law", "Resurrection", and "Stalinorgel", also reek of traditional heavy metal/speed metal. The slightly less raw and more detailed sounding production also contributes to "Better Off Dead" being a less savage affair than the releases preceding it.

Sodom still produce some pretty heavy music though, and lead vocalist/bassist Tom Angelripper has a nicely rough voice and delivery. Sodom are generally a well playing band, although I´m not so sure I think Hoffmann is as great a guitarist as Blackfire was. Upon conclusion "Better Off Dead" is a good quality release by Sodom, but to my ears it´s a step down in quality from the two albums preceding it. A 3.5 star (70%) rating is still deserved though.

• 7 hours ago
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• Report #880945

3.50 | 1 rating

UMUR

"Stone Cold" is an EP release by Swiss death metal act Silent Death. The EP was released through Massacre Records in 1995. Silent Death was a relatively short-lived act, releasing the "The Infinite Answer" demo in 1991 and the "Stone Cold" EP in 1995 before calling it quits. Not many people would probably have noticed them at all if it weren´t for the fact that lead vocalist Brett Hoffmann, who had just left Malevolent Creation, performs vocals on "Stone Cold".

Anyone who was disappointed that Malevolent Creation didn´t continue the style and sound of "Retribution (1992)" on the oft-maligned "Stillborn (1993)", should take notice of the existence of "Stone Cold", because not only does Hoffmann put on a great and commanding performance in his signature intelligible thrash tinged growling vocal style, the instrumental part of the music and the sound production on the EP, are also very similiar to the playing style and sound on "Retribution (1992)". It´s aggressive and highly energetic thrash tinged death metal, featuring loads of tempo changes, breaks, and brutal thrash oriented death metal riffing.

It´s arguably not the most original sounding release, as the Malevolent Creation connection and the worship factor are so obvious, but it´s still an effective and greatly enjoyable release for fans of artists like (of course) Malevolent Creation, Demented Ted, and Solstice. A 3.5 star (70%) rating is fully deserved.

• 7 hours ago
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• Report #880944

4.07 | 11 ratings

UMUR

"Chimaira" is the eponymously titled third full-length studio album by US, Ohio based metal act Chimaira. The album was released through Roadrunner Records in August 2005. It´s the successor to "The Impossibility Of Reason" from May 2003 and there´s been one lineup change since the predecessor as drummer Andols Herrick has left (tired of touring, he went back to college to finish his degree in music) and has been replaced by Kevin Talley (Dying Fetus, Dååth, Misery Index, Six Feet Under...etc.). Talley´s tenure with Chimaira would however only last until 2006 when Herrick returned.

The music on the album is energetic, heavy, and hard edged groove metal with elements of hardcore, death metal and thrash metal. The band are often cited for not appreciating the link to the term metalcore but there are moments on the album where the link is valid enough. It´s especially the aggressive and very raw "core" sounding vocals that lead my throught to the metalcore sound but the band also employ some crushingly heavy breakdowns in their music that also points in the metalcore direction (or heavy metal oriented hardcore...you decide). Although not quite as harcore oriented, the focus on heaviness and groove aren´t that different from a band like Hatebreed. Chimaira´s music on this album is groove laden, aggressive, and in addition to the above mentioned metalcore/hardcore elements you´ll also find plenty of thrashy riffing on the album (Slayer often comes to mind) and loads of blistering lead guitar work. A song like "Salvation" also displays that the band have a melodic sensibility with brief use of clean vocals. Chimaira never sacrifice power or energy though. There are some truly skull crushing riffs and rhytyms on display here.

The musicianship is high level on all posts. Tight precision playing all around and when you add to that a very well sounding and professional sound production, this is an album which deserves the high quality stamp. The songwriting can be a bit one-dimensional (using the same elements on most songs), but on the other hand Chimaira succesfully spice their music up with the above mentioned lead guitar parts and samples and keyboard effects, which help the compositions remain interesting. I could pick any track from the album, but I have to mention the opening duo of "Nothing Remains" and "Save Ourselves" as some of the most powerful, crushingly heavy, and quite intricate groove metal tracks I´ve yet encountered. A great album this one and a 4 star (80%) rating is fully deserved.

• 7 hours ago
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• Report #880943

3.00 | 1 rating

UMUR

"Split Seven Inch Record" is a split release between US, Nevada based hardcore/grindcore act Gob and US, Massachusetts based grindcore act Agoraphobic Nosebleed. The split was released through Bad Card Records in 1998.

The split features 10 tracks and a total playing time of 7:01 minutes. Agoraphobic Nosebleed are featured with 7 tracks and Gob are featured with 3 tracks. Stylistically the Agoraphobic Nosebleed material is powerviolence/grindcore while the Gob tracks are dissonant and chaotic sounding hardcore/grindcore.

The Agoraphobic Nosebleed tracks are worth a listen and they are quite interesting because they are from a very short period of their career when they adopted an ultra aggressive powerviolence style, which is pretty different from the grindcore style they are usually known for. The Gob tracks are a bit hard on the ears and a difficult listen, and I´m not sure who the audience is.

Upon conclusion "Split Seven Inch Record" is a decent split release and although my ears don´t agree to the sound of Gob, their music is still well performed. A 3 star (60%) rating is warranted.

• 7 hours ago
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• Report #880942

3.50 | 2 ratings

UMUR

"Crossroads" is the third full-length studio album by Swedish heavy metal act Portrait. The album was released through Metal Blade Records in April 2014. It´s the successor to "Crimen Laesae Majestatis Divinae" from 2011 and there have been a couple of lineup changes since the predecessor as guitarist Richard Lagergren has been replaced by David Olofsson and bassist Joel Pälvärinne has been replaced by Mikael Castervall. Lead vocalist Per Karlsson has changed his surname to Lengstedt through marriage, but it´s still the same man singing.

Both the band´s eponymously titled 2008 debut album and "Crimen Laesae Majestatis Divinae (2011)" were strongly Mercyful Fate/King Diamond influenced heavy metal releases, and "Crossroads" continues down a similar path. Everything from the riffs, the rhythms, the bass, the vocals, and even the sound production scream 1983/1984 Mercyful Fate. Fortunately Portrait are both skilled composers and musicians, so they can pull off writing and playing what in many ways is a tribute to the Danish heavy metal legends.

"Crossroads" opens with the beautiful acoustic guitar intro track "Liberation", but from then on you can expect to be treated to hard pounding heavy metal featuring a dark and occult atmosphere (at least until the closing track "Lily", which also features an acoustic opening). Loads of harmony and lead guitar work, an organic playing rhythm section, and the quite varied vocals by Per Lengstedt. Often high pitched or screaming, but almost just as often mid-range and slightly more gloomy. The whole thing reeks a dark atmosphere which is further enhanced by the ghost/horror story lyrics.

So upon conclusion "Crossroads" is another strong heavy metal album by Portrait, which is probably primarely aimed at fans of 1983/1984 Mercyful Fate, but should be able to be enjoyed by fans of 80s heavy metal in general. A 3.5 star (70%) rating is deserved.

• 1 day ago
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• Report #880939

2.00 | 1 rating

UMUR

Press and US, Ohio based sludge/hardcore act Sloth. The split was independently released in 1997.

Cattle Press opens the split with the 9:25 minutes long instrumental and experimental noise/sludge metal track "So That Threads Remain of What Will Be First Movement:Deeper Than the Sea of Ruin". It sounds like an unfinished demo and it´s not a particularly interesting track. Sloth follow with three tracks. The Sloth tracks also features what sounds like a demo quality sound production, and they are extremely raw and heavy. It´s repetitive, experimental, and chaotic sounding. The last track "A Serenade" is basically an a cappella cover of a Danzig song. So upon conclusion this is an odd and not particularly good quality release and a 2 - 2.5 star (45%) rating is fair.

• 1 day ago
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• Report #880938

3.50 | 1 rating

UMUR

"...a Splendid Chaos" is the third full-length studio album byh Italian death/thrash metal act Coram Lethe. The album was released through Punishment 18 Records in January 2009. It´s the successor to "The Gates of Oblivion" from 2004. There have been quite a few lineup changes since the predecessor as half of the original members of the band have jumped ship. Lead vocalist Mirco Borghini has been replaced by female vocalist Erica Puddu, and bassist Giacomo Occhipinti has been replaced by Federico Stiaccini. In addition to those changes the band have also opted to add a second guitarist in Filippo Occhipinti, making Coram Lethe a quintet on "...a Splendid Chaos".

The album features a music style which is heavily influenced by mid-90s Death (the band) but also features quite a few melodic death metal elements. So this is technically well played death metal with a melodic edge. Puddu has a high pitched screaming vocal style (spiced up the the occassional deeper growl), which is relatively similar to the vocal style of Chuck Schuldiner on "The Sound of Perseverance" (1998). Again the Death connections and influences are strong on Coram Lethe. "...a Splendid Chaos" features relatively memorable and powerful material and the band are well playing too, but they do lack a unique sound. It´s not a major issue, as they do what they do with both passion, skill, and conviction, but it´s not exactly a plus either.

The album features a overall well sounding production job, although the drums could have prospered from a more organic tone. Upon conclusion "...a Splendid Chaos" is a nice step forward for Coram Lethe and it´s a good quality release and recommended for fans of technically well played death/thrash with melodic death metal leanings. A 3.5 star (70%) rating is deserved.

• 1 day ago
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• Report #880937

3.00 | 1 rating

UMUR

"Enemy Soil / Agoraphobic Nosebleed" is a split release between US, Virginia based grindcore/hardcore act Enemy Soil and US, Massachusetts based grindcore act Agoraphobic Nosebleed. The split was released through Bovine Records in 1997.

Enemy Soil are only featured with 3 tracks on the split, while Agoraphobic Nosebleed are featured with 10 tracks, but the latter´s tracks are very short, so the two artists pretty much divide the 8:45 minutes long playing time between them. Enemy Soil play a fast-paced hardcore (not quite grindcore) style with aggressive shouting vocals. It´s well played and effective, but nothing out of the ordinary for the genre.

Agoraphobic Nosebleed deliver their trademark caustic grindcore attack. It´s violent, noisy, and brutal grindcore played using drum programming. It´s a more varied split contribution than the band´s contibution to the 1997 split with Cattle Press, and this is pretty great grindcore entertainment while it plays.

So upon conclusion the split is worth a listen or two. It´s not the most well produced release, but it´s decent enough. A 3 star (60%) rating is warranted.

• 1 day ago
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• Report #880936

3.17 | 2 ratings

UMUR

"Directions In Music" / Agoraphobic Nosebleed" is a split release between US New York sludge/hardcore act Cattle Press and US, Massachusetts based grindcore act Agoraphobic Nosebleed. The split was released through Bovine Records in 1997. It features around 15 minutes of music from both artists, and features 24 tracks and a total playing time of 31:17 minutes.

The 6 Cattle Press tracks are aggressive and heavy sludge/hardcore and often sounds like the most savage and raw Eyehategod releases (minus the stoner metal element). It´s pretty far removed from the heavy and brutal post-hardcore sound Cattle Press would play on their 2000 debut full-length studio album "Hordes to Abolish the Divine" only a few years down the line, but it´s consistent in style with the other minor releases from Cattle Press during their early years.

The 18 Agoraphobic Nosebleed tracks are high velocity, noisy, and aggressive grindcore. It´s like being put through a grinder. It´s such an intense and chaotic listening experience that it´s impossible not to have some sort of reaction listening to it. Personally I think they´ve released much better material, but this is still decent grindcore featuring drum programming.

30 minutes of music is quite a lot for a split release, and if that shouldn´t be a selling point in itself (which it of course shouldn´t if the music was shit...), especially the Cattle Press part of the split is worth the price of admission. A 3 star (60%) rating is warranted.

• 1 day ago
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• Report #880935