Category Archives: Albums

The King Is Blind – We Are The Parasite, We Are The Cancer (Review)

The King Is Blind’s previous album Our Father was a high-point of 2016 and it’s very pleasing to have them back with a follow-up so soon. And their second album We Are The Parasite, We Are The Cancer doesn’t just follow up their last release, it also follows on the imaginative and thorough God/Satan concept that has ran through all of the band’s music. This time the story brings us up to modern day: the pesky Satan pledging the destruction of mankind and, drawing power from our abuse of sin, sending seven plague princes to generally stir things up and give us all a hard time. Serves us right.

Like its predecessor, WATPWATC blends a bunch of extreme metal approaches – death, black, doom, grind – into a crushing, grooving whole. But this is a more threatening and foreboding outing: the rage and intensity is ramped up and the superb production adds layers of nightmarish, urban ambience. The highlights are many: Patriarch is a furious and discordant opener, Bolt Thrower/Memoriam frontman Karl Willetts lends his wonderful vocal thuggery to the filthily-anthemic Mantra XIII (Plague Avaritia) and Godfrost (Plague Invidia) is just pure carnage. And any album with a hidden Mano-quote is fine by me!

The band is on burly form throughout. Guitars and drums are hit thick and hard and Steve Tovey sells each song with intense and committed vocals. But the album is not without its flaws. I find the Gojira-esque harmonies on Like Gods Departed (Plague Acedia) a bit dull but the track’s awesome Candlemass riffing and its building excitement render that a minor complaint. And, although the increased brutality means that the album doesn’t quite sink its hooks in like Our Father did, the cathartic impact and the almost Floydian atmosphere of tracks like As Vermin Swarm (Plague Ira) and the acoustic-laden The Burden Of Their Scars leave a considerable impression.

With WATPWATC, The King Is Blind continue to impress: honing, intensifying and adding depth to their own brand of monolithic metal. It’s a bold statement of intent and I reckon this promising band still has more to offer. In the meantime, the latest chapter of The King Is Blind’s story will please old fans and attract new ones. And I guarantee a growing legion of devotees will be waiting to see what these British bruisers, and that Satan, get up to next.

HMO Rating: 4 out of 5

**We Are The Parasite, We Are The Cancer will be released on Oct 13th and can be purchased here**

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Kingdoms Disdained – Morbid Angel’s New Album Due 1st Dec 2017

Some surprise release news towards the end of the week there, with a big announcement from death metal veterans Morbid Angel. Their new album Kingdoms Disdained is due out on 1st December 2017 and the band has also unveiled the cover art and a new track Piles of Little Arms.

Kingdoms Disdained follows on from the band’s last album, the disastrous (if oddly-enjoyable) Illud Divinum Insanus* and the eventual dissolution of that album’s line-up. Now, joining the mercurial and ever-present Trey Azagthoth, we have returning bassist/vocalist Steve Tucker and new members Scott Fuller and Dan Vadim Von on drums and guitar respectively. And, strengthening the link to the band’s past, ex-guitarist Erik Rutan has taken on production duties too.

Given the controversy surrounding the previous album, this upcoming effort is already being subjected to a ton of scrutiny. Many aren’t happy with the artwork. I think it’s a bit too similar to the artwork for The Grey Eminence, the most recent album from Steve Tucker’s other band Warfather. I’d be more excited if they had come up with something a bit more unique but I don’t mind it and, until I’ve seen it on a physical edition, I’ll reserve judgement. The latest track Piles of Little Arms is also OK, if not particularly remarkable. What do you reckon? 2017 has been a banner year for death metal. Do Morbid Angel still have what it takes to lead the pack in such a competitive climate or are they set to become also-rans?

We’ll find out for sure on December 1st.

(Thanks to Nick Green for the heads-up about this!)

*This leap from “I” to “K” means that the 2015 RSD release Juvenilia has been counted as part of the official Morbid Angel A-Z canon.

Cradle Of Filth – Cryptoriana: The Seductiveness Of Decay (Review)

Cradle Of Filth are a British institution, one of the most recognisable and successful extreme acts to come from these shores. But, while they are loved and loathed by many, they’ve never made a huge impression on me either way. I’ve bought and enjoyed a fair few albums of theirs over the years but I’ve never had that phase where I’ve obsessed over them, where they were my band. Until now.

Although I was late getting to it, I was thoroughly impressed with 2015’s Hammer Of The Witches, and the band’s latest album continues in that vein. Themed around the Victorian obsession with death, Cryptoriana: The Seductiveness Of Decay is a darkly fabulous romp of hard-hitting gothic metal, delivered with expertise and passion. The overall approach is still the band’s patented blackened Hammer Horror style but there’s a whole wealth of approaches employed. Heartbreak And Seance’s romantic melodrama, thrash fury on Wester Vespertine, You Will Know The Lion By Its Claw’s pitch-black savagery and there are wonderful trad metal gallops and harmonies throughout (most thrillingly in The Seductiveness Of Decay). Best of all, vocalist Dani Filth puts each song over and then some: a spirited and veteran performance of considerable taste, breadth and character.

Hammer Of The Witches reached some peaks of excitement that aren’t quite reached here but its a nano-gripe about a near-flawless album. And, on the flip-side, the latest album has none of the excess that detracted from its predecessor. For all its expansive grandeur, Cryptoriana… is tight and direct. The pedal is to the metal at all times and the band’s cinematic flourishes are weaved and layered skilfully throughout the songs with no boring intros or interludes to be found. The style is familiar but the album is fresh and stakes its own unique place in their canon. An utterly wonderful release from a veteran band at the top of their game. My band.

HMO Rating: 4.5 out of 5

UPCOMING ALBUMS: Cradle Of Filth, Enslaved, Samael and more

It’s time for another nosey through the release schedule. Here’s a selection of some upcoming albums that are taking my fancy.

Cradle Of Filth – Cryptoriana: The Seductiveness Of Decay

I’m properly out of touch with Cradle Of Filth’s career but their newer material has been getting a lot of praise and I’m in a Filth-y mood lately so it’s about time I got bally well caught up. Good timing too as their latest album is due on September 22nd 2017 and their new track Heartbreak And Séance is an insanely likeable taster. I wasn’t expecting to be looking forward to this one so much.

Enslaved – E

New Enslaved albums are always noteable but I’ve not been totally diverted by any of their albums since Vertebrae (which I totally love). I’ve bought all the subsequent releases but I tend not to get much more out of them than a couple of good tracks. I hope that Es are indeed good and this album bucks that trend but, on the basis of new track Storm Son, I’m not expecting much.

Samael – Hegemony

I’m new to this band and I’ve only heard their (superb) earlier material. I gather their style has come a long way since then so wasn’t sure what to expect from their current stuff. The new track Angel Of Wrath has got me right onboard though. A bit like modern Satyricon, it seems uninteresting initially and then BAM. I’m hooked. And the more I hear it the more I like it.

Fleurety – The White Death

The avant-garde Norweirdos return with their first album in an age. Fleurety feature former members of Mayhem and Dødheimsgard while Czral-Michael Eide of Virus/Aura Noir is now in the band too. If that’s not enough to get your attention, check out new song Lament Of The Optimist. Compelling, eccentric, addictive stuff. Release date: 27th October.

Spectral Voice – Eroded Corridors Of Unbeing

Unfamiliar with this band’s music but know their name from their connection with Blood Incantation, whose album Starspawn made my Top 10 last year. And it seems like Spectral Voice’s debut album (released on 13th October) might be this year’s equivalent: filthy, guttural, otherworldy death metal. My kind of thing.

Europe – Walk The Earth

The Swedes are one of a dwindling number of classic rock acts that I still give a fuck about. The last album War Of Kings was a pretty sterling effort with a few monster tunes. And the new single has the epic feel of that album’s best stuff so I’m up for this. It’s out on 20th October and the digibook features a bonus documentary on DVD.

And that’s quite enough for one post. There are other exciting albums due but I’ll hold off on those until there are songs available to sample.

Paradise Lost – Medusa (Review)

Medusa – Out Sep 1st!

The recent reissue of 1997’s One Second harked back to Paradise Lost’s “experimental” electro-goth era but, although the band has since returned to metal, they are no less experimental today.  2015’s The Plague Within featured the surprise reintroduction of doom/death metal and growled vocals to the band’s modern style and on their latest album Medusa the veteran band continues their increasingly extreme trajectory. This is Paradise Lost’s sludgiest, trudgiest album since 1992’s Shades Of God.

The album kicks off with Fearless Sky, Gods Of Ancient and From The Gallows. All crushing slabs of epic misery with crusty riffing, mournful harmonies and Nick Holmes’ increasingly impressive vocal snarl. Anyone expecting the UK band’s traditional melody and immediacy might find this opening trio uninviting but repeat listens prove rewarding and reveal the kind of compelling emotional depth that is the hallmark of great doom. The entire album follows in this imposingly bleak vein but, as it progresses, the band factor in Type O-style clean vocals and anthemic, gloomy hooks in songs like the stunning title track, The Longest Winter and Blood And Chaos. The skillful pacing and variation preventing the album from buckling under its own miserable weight.

Fans of the band’s earliest albums and tracks like Beneath Broken Earth from The Plague Within will find Medusa very satisfying indeed. Fans of One Second are advised to be patient. Whereas that album offered easy and immediate songcraft, it has proven a shade disposable over the years. By comparison, Medusa is a difficult album to get on with but it’s an uncompromising work of substance that will continue to repay dedicated listeners. It’s another wonderful offering in the stellar career of these fearless, ancient gods.

HMO Rating: 4.5 out of 5

Akercocke – Renaissance In Extremis (Review)

It’s been ten long years since Akercocke’s reign of progressive death metal terror reached a thrilling and diabolical climax with Antichrist. Although the band has lain dormant for much of the intervening decade, a vibrant scene has grown in their wake: superb “ex-Akercocke” bands like Voices, The Antichrist Imperium and Shrines forming a growing family tree that has been the source of much of my favourite music of recent years. But despite my huge love of the related bands, I’ve had a growing longing for an Ak comeback and here they are with their new album Renaissance In Extremis, the most highly-anticipated and exciting release of 2017.

Given that they reached peak Satan-worship on Antichrist, it is unsurprising that the ever-evolving British band has taken up new themes. This is a more personal and emotional Akercocke that combines topics of depression, grief and suicide with rampaging positivity and self-improvement. Complex structures and varied moods evoke the subject matter. The shimmering and colourful guitar textures would make Queensrÿche and Rush proud and it’s all given an energetic kick up the arse with an array of wonderful tech thrash riffing in tracks like Disappear and Insentience. And tracks like Unbound By Sin and First To Leave The Funeral find the band’s black/death malevolence of old is still intact.

Band photos by Tina Korhonen © 2017, all rights reserved.

The whole band performs with distinction, sounding sophisticated and polished but also raw and live. The riffs and guitar solos are sublime throughout: the guitar duo of Jason Mendonça and Paul Scanlan combine old and new metal styles with wonderful flair. It’s also especially good to hear Mendonça’s uniquely charismatic and varied vocals again. A couple of wobbly-pitched moments only add to the crazed, natural feel and Jason leads from the front like few extreme metal frontmen can.

There’s very little to quibble about here and this is a superb comeback album overflowing with originality and creativity. Progressive in the proper sense of the word, Akercocke have created another unique album to add to their discography. And one that has enough variety and maturity that many fans of classic metal fare may find it a gateway into a more extreme musical world. For those of us that already reside in that world, Akercocke’s Renaissance In Extremis is a joyous and welcome return, wholly deserving of the most diabolical and infernal praise.

HMO Rating – 4.5 out of 5

Avatarium – Hurricanes And Halos (Review)

Avatarium – Hurricanes And Halos (2017)

Avatarium were originally devised as a combination of crushing doom and 70s prog. But on their third album Hurricanes and Halos there’s very little doom left at all; the focus is now firmly on retro rock stylings of swirling Hammond organ and sultry psychedelia.

Into The Fire/Into The Storm is a bold opener that makes full use of Jennie-Ann Smith’s forceful, dramatic lung power and The Starless Sleep is a wonderful mix of dark fable and summery 60s pop. But there’s a sense of diminishing returns on album number three. Although it’s one of the doomier tracks, Medusa Child is overlong with cheesy child vocals. And the breezy, bluesy When Breath Turns To Air and the closing instrumental parp of the title track barely register. The album’s uneven second half is saved by the stomping Uriah Heep worship of The Sky At The Bottom Of The Sea and the ominous beauty of A Kiss (From The End Of The World), one of the band’s best tunes to date.

It’s another strong effort from the Swedes but it finds them veering away from my own taste. As the band dial down the doom I find myself less engaged. But the band’s charismatic and summery take on classic 70s rock will win them more fans and appreciation than they lose. And those listeners may well find this the band’s most accessible and enjoyable album so far.

HMO Rating: 3.5 out of 5