Rings Of Saturn have been around for a bit perfecting their insane brand of techno death metal, and with this latest album they prove they can soar alongside current titans Infant Annihilator and Cattle Decapitation. 2019 keeps upping the vocal game and setting an insane standard that most just can’t compete with. Add an overgrown child prodigy of a guitarist and you’ve got the essence of RoS, it’s excessive… and fancy. Utilizing brutality with finesse rather than toxic bravado. I’ve heard so many albums try to reach this peak but fall short, so it’s not without pause that I consider this one of the greatest tech death works of like… the decade? Imagine if Dragonforce was good.
I love coming across albums that are very long, but feel like nothing. Albums you can just sink into and lose yourself in are the absolute best. A prime supplier of records like these are post-black metal and atmospheric black metal in general. White Ward fit this quite well with their new album “Love Exchange Failure” that eclipses an hour in length with only 7 tracks to its name.
I’m so excited to share this album with you guys, it’s an absolute gem. Moon and Azure Shadow is a solo project that mixes atmospheric black metal with Japanese style soundtracks. You have to listen to this with headphones on in a dark room to get the full effect of how grand this album is. As a fan of soundtrack style music and dark ambient, I’m so stoked to see that type of sound being so well mixed with the harshness of black metal.
I became familiar with Satta through IG as I follow a lot of dark artists suitable for band merch, Satta however has a classical approach to the style that outshines the rabble of common assets and lazy work ethic. His art is not just dark by subject, it embodies it fully, from conception to technique to completion. It’s a higher brow darkness. I also became familiar with the aussie OSDM band Aeon’s Abyss through instagram, who ended up commissioning Satta for their upcoming album Impenitent (Nov 1), a fortunate pairing sharing similar classic metal values. Here is an interview with the artist Satta in which we discuss influences, the upcoming album and living as an artist.
Progressive death metal is a very underrated subgenre. I think it’s sort of overlooked because it’s pretty hard to classify, I often think of it as all encompassing yet forward thinking death metal. Every year there’s at least one progressive death record that absolutely blows me away. Last year it was Where Owls Know My Name by Rivers Of Nihil, this year it’s The Door by Messora.
We kick the week off with the long awaited sophomore effort from Guttural Slug and it is in no way a sophomore slump, that’s for sure. In fact, it’s better than their debut, by a pretty big margin too. It has far better production, like seriously this album sounds massive. The riffs are crushingly heavy, and that awesome mix makes them sound larger than life. They also drop those stupid ass cricket vocals in exchange for these brutal gutturals and piercing screams. This is quality slam right here. Amazing album cover too. Big props to these guys.
Despite weed being illegal here (QLD), we sure know how to do some solid stoner rock and stoner doom, here and across the the rest of the country. Obviously South Australia is a bit ahead of the curb but those cunts have a bit more of a relax than we do, what I can I say. The Brisbane strain is a bit angrier and a bit grungier.
Swarn make some filthy raw blackened death metal. It’s got fuzzed out, loud, heavy riffs with a strong throttling low end. The vocalist employs these very evil sounding guttural growls that blend black metal and death metal vocal styling perfectly.
The drums are very well produced and performed, the snare sounds tight as hell. All of this is topped off with a dark dingy tone and atmosphere. They also take a death metal approach to song structure with fast furious songs and the album clocking in at just under 30 minutes.
This is one of those scenarios where you don’t understand Spanish but can identify enough words capable of setting a tone. Get ready for some psychedelic action from this Chilean doom trio that’s wet with distortion, I may have even heard an amp blow at some point – unless it’s a drum they’ve down tuned or a pedal effect. There’s a strange aspect to it that a lot of people would describe as “not music”, bordering on noise doom, but it works organically into the overall sound. It’s an interesting release made ever more so by its distinguishable album art created by the frontman Francisco Rivera who offered some insight to the story behind their art as well as their anti-fascist stance (included at the end).