THE TOP 20 ALBUMS OF THE MONTH should be self-explanatory, an ordered ranking of twenty albums that’d resonated most throughout this month. If you’re new to the site, the tendency is heavy and/or surreal music. Choices are selected based on temporal immersion, personal connection, impressive style, point of view, aesthetics and with consideration for the lasting value of each selection. All choices are ultimately personal and come without consideration for populism, nepotism, cronyism, or any outside factors including perceived “relevance”. Writing about music is a passion I afford as much time as is manageable and I am grateful to have so much to choose from. Thank you.

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I. This month on MystificationZine.com included 24 longform album reviews, 27+ video reviews/features, 40 short album reviews, and I sent out ~5 short written interviews with a handful still in process. I enjoyed and would recommend the new High on Fire, Diocletian, The Vision Bleak, and Inter Arma records but couldn’t fit them into my schedule and/or didn’t receive a promo for review.

II. Mystification Fanzine Issue #5 “Torturous Effusion” is available digitally for $5.00 USD here. Keep in mind subscribing to my Patreon does not entitle you to back issues, only the current monthly issue. This issue has been the most ideal result to date in terms of this year’s monthly output.

III. In 2024 written reviews will now have a video component which will post at the bottom of each review or feature at the end of each week (Thursday or Friday) If you enjoy these please consider following on YouTube. We’ve recently hit 925 (!) subscribers and I’m hoping to hit the thousand mark in 2024.

IV. As always I’d like to express my gratitude for the bands, labels and PR firms who choose to work with me. Thank you.

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#1	Album of the Month
ARTIST:	EXHUMATION
TITLE:	Master’s Personae
RECORD LABEL(S):	Pulverised Records

Truly addictive and substantive death metal records have been few and far between per my experience as we’ve breached past the first quarter of the year yet ‘Master’s Personae‘, which is much more than just a death metal album, has been one of the more insistent and exciting records to have struck my skull not only for the sake of its arcane and obscure style but via the strong curation with which they present this work. Exhumation had arguably gotten this idea down on their third full-length so, this one only needed to amp things up and deliver with conviction and insight to succeed. Old ways, new insights, violent rituals, all of it pure class in presentation and vigorous application.

“Another grand dissolution and recombination event allows for the strength and stature of Yogyakarta, Indonesia-based death metal duo EXHUMATION to reinforce per this explosive and dark-arcane fourth full-length album. ‘Master’s Personae‘ is at once a streak of black lightning, an invigorating event, and a scouring death’s spell which lingers in the carbonized crater that it leaves. In a shock of still-thrashing 80’s conscious blackened death by way of 2010’s-twisted esoteric death metal sojourn here these folks stride closer to maniac personality by way of ancient vibrancy and alchemic mastery of their own mutated expressive forms. The resulting event should be revered as one of the most compelling and convulsive death metal releases of this year.“

>> FULL REVIEW <<

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#2
ARTIST:	HERESIARCH
TITLE:	Edifice
RECORD LABEL(S):	Iron Bonehead Productions

This New Zealand borne bestial death metal configuration returns after years of reconstitution and for my own taste this is one of the more substantial “war metal” adjacent records I’ve run into in quite a while. Heresiarch had always leaned a bit toward the grinding death metal side of things but the sense of atmosphere, pacing and general clarity of voice all help this album feel like a grand point of advancement beyond the long distant past on ‘Edifice‘. I’d be hard-pressed to name more than five albums in this style that’d called for re-examination or even repeated spins out of pure enjoyment and that isn’t for a lack of fandom but rather just material that sticks or finds a way to make their maze of riffs and tragedian ruination work as an experience.

“The primal aggression of an endtime siege and the doomed despondency resultant are captured here on the long anticipated sophomore full-length album from Wellington, New Zealand based bestial blackened death metal quartet HERESIARCH who return with newly tragedian extermination orders seven years beyond their last excursion. ‘Edifice‘ offers a potent leap and unforeseeable change which blurs the lines of war-metallic volatility into new realms of death and doomed decay, crafting battlefield and bloody aftermath alike within each of the ten scenes depicted herein. Commendable as this evolution is in its broader dynamic effect the harried-and-horrified mastery available to these pieces speaks to an inimitable fortitude, a confidence in the seat of command rather than the blindly strewn fare of an experimental leadership.“

>> FULL REVIEW <<

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#3
ARTIST:	COFFIN CURSE
TITLE:	The Continuous Nothing
RECORD LABEL(S):	Memento Mori

Without losing sight of the thrashed loose ten-riffs-per-song clobber fest that was their debut album Chilean death metal duo Coffin Curse make room for bigger grooves, tout sharper production values, and experience a general uptick in songcraft which still pulls from the late 80’s/early 90’s realm but also includes some late 90’s brutality and ‘dissonance’ in the mix. We can still identify their major points of inspiration and of course that is no shame when their work resembles the long-standing tradition of underground death metal groups inspired by Sadistic Intent, Morbid Angel and Immolation. This time around the production, or, the mix/master go a long way toward presenting a sound which feels decidedly less ancient in its render though their style continues its attack unflinchingly.

“A fevered dream of unseen forces engaging in deranged possession and infiltration of the remaining dregs of mankind at worlds end, the bloodied ichor of the damned flows throughout this sophomore full-length album from Santiago, Chile-based death metal duo COFFIN CURSE as they return for a second deeper exploration of classic death metal inspired mayhem. Though they do not shy from a mid-paced groove when called for most of ‘The Continuous Nothing‘ is jettisoned forth at ripping speed by way of a cruel hand, assuring the listener engages with the true hammering sound of late 80’s-cum-1990’s death metal and not its overtly commodified umpteenth generational revisionism. That isn’t to say that they’ve produced a plain retro act here but that their aim is above-average in its accuracy and the quality of their songcraft succeeds by way of masterful riffcraft above all else.“

>> FULL REVIEW <<

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#4
ARTIST:	BYTHOS
TITLE:	Chthonic Gates Unveiled
RECORD LABEL(S):	Terratur Possessions

BYTHOS is a Finnish melodic black metal project from members of Behexen and Horna with one major component being LRH whose own main band Night Shall Drape Us released a somewhat similar album about one week later in ‘Lunatic Choir’. Whereas that band is a bit more theatrical considering the two vocalists involved this one is much more traditional in its focus. That is to say that ‘Chthonic Gates Unveiled‘ is almost surprisingly accessible, tuneful at its core that it feels like it should be on a bigger stage and revered for being the rare band to maintain its cult appeal while reaching for pro-level songcraft. This is probably one of the finest albums in this style I’ve heard this year and the appeal of their work only seems to enrich from song to song. Either way, a huge improvement over their debut and a quick favorite on my part. Probably won’t make time to review this one but I definitely bought it within one or two listens, so, take the recommendation how you see fit.

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#5
ARTIST:	UTTERTOMB
TITLE:	Nebulas of Self-Desecration
RECORD LABEL(S):	Pulverised Records

Chile is probably more known for death-thrash and traditional death metal these days in terms of great underground stuff but at one point the scene had some serious involvement from bands taking inspiration from Incantation, Morbid Angel, and Immolation of a certain era and that is where I’d always slotted the intent of UTTERTOMB ’til this album reared its head and I could tell there was much more to their sound than that, though they’d been working with a style similar to say, Krypts, over the years until arriving upon this impressive debut full-length. There is a bestial death metal component to this heavily atmospheric yet wrathful record which creeps in and out of view as they play with surrealistic forms and hammer out both traditional and abstract death metal ideas. This was a quick favorite and will probably only rise on my list as time goes on.

“Santiago, Chile-based atmospheric “necrological” death metal quartet UTTERTOMB carry the wizened deterioration of time and experience in hand as they present their debut full-length album a decade and a half beyond their collective will into cult entity. Sporting a sound tested over the course of numerous minor cycles ‘Nebulas of Self-Desecration‘ acts as the first major orbiting tour of their morbid haunt, a voluminous yet fearsome act of abyssal death metal. Carrying dread through eight hypnotic pieces in exploration of its ~45 minute long stretch of cavernous, corrosive yet bestial riff-driven craft this grand introductory march does well to flatten the listener with exaggerated rhythmic shapes, wretched yet sophisticated spells depicting horrified attempts to cleave the soul from the flesh and transcend into death.“

>> FULL REVIEW <<

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#6
ARTIST:	ENGULFED
TITLE:	Unearthly Litanies of Despair
RECORD LABEL(S):	Dark Descent, Me Saco Un Ojo

No doubt if you are looking for balls-out, riffs on the table, headshot after headshot pure death metal this month there is no better option than Turkish cult ENGULFED who return with a further defining second full-length album which reinforces their own point of view while also carrying pure underground classic death metal influences which are largely ‘old school’ in design and wholly in spirit. I think the two things I’d wanted to note most here is that not only are the guitarists better and better with each release but the drummer really dominates throughout this album in a serious way, ensuring their work is all killer stuff front to back on this one. Though I’d kinda missed some of the floater, doomed side of the band’s debut this one just has the right attack and in a way brings a lot of the things I’d liked about Diabolizer‘s debut with a higher riff count in hand.

“Kadıköy, Türkiye-based death metal quartet ENGULFED return to further refine their craft on this crucial sophomore full-length album. Carrying on with their thus-far indomitable string of releases ‘Unearthly Litanies of Despair‘ once again offers the spellbinding work of this crew in the form of stoic mastery, presenting the highest standards for classicist death metal by way of riff and ruination which is familiar in shape yet signature in the details. A storm into view before steadily sinking into despairing tides this should energize any true death metal fan into deeper morbid enstasis with each listen.“

>> FULL REVIEW <<

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#7
ARTIST:	LIFVSLEDA
TITLE:	Evangelii härold
RECORD LABEL(S):	Norma Evangelium Diaboli

The third full-length album from LIFVSLEDA continues to work its way through the dark underground realms of Swedish black metal in its own idiosyncratic yet well-articulated methodology. Sure, if you are a fan of Sorhin and Arckanum you’ll understand and enjoy the death-worshipping sensibilities applied here but for me there is something spiritual yet nightmarish about this album, a thread of torment runs through it which I’ve yet to fully define beyond its pulse. Otherwise I think I like the overall production of this record beyond the first in terms of the guitar tone, it is a bit quicker to immerse into these mazelike yet tunefully violent songs. I’ll have a more complete and thoughtful set of things to say about it once the full review is finished.

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#8
ARTIST:	ARÐ
TITLE:	Untouched By Fire
RECORD LABEL(S):	Prophecy Productions

The most pressing thing to say about the maestro Mark Deeks‘ work in ARÐ is that it is original, at least in the sense that the application of vocal arrangements, conductorial experience, and a bigger-than-metal vision of the song transforms these doom metal pieces into cathedral-worthy hymnals. Vocally driven but not devoid of riffs and various melodic textures ‘Untouched by Fire‘ has been a consistent pleasure to return to as an example of “monastic” or chorally voiced doom which now receives the big production values their first record had begged for. I think I prefer the more down to earth stretches of the previous record but I have to admit this album stuck in mind much longer than the previous one had.

“For their sophomore full-length album Newcastle Upon Tyne, England-based melodic doom metal project ARРreturn for another tome of Northumbrian sainted lore, having more precisely secured their narrative voice in creation of music which represents place as its point of purpose. Honing in on the hymnal qualities of their sound for the sake of a songbook writ in biographical context of Christendom’s taming of the land, their efforts trade a loss of earthly grit for the sake of a boon in surety of self and a naturally cathedralesque presence. The self-governed task of biographical relay calls for consistent tonality in this case and as such we do not leave the temporal realm of performance for the duration, set in the pews of their auld cathedral taking in the resonance of this tale in one solid ~forty minute sitting. In this sense we begin to experience a shift from the theatre of melodramatic doom’s atmospheric extremes toward a unique sense of doomed melodicism (and rhythm) in application of devotional storytelling methods.“

>> FULL REVIEW <<

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#9
ARTIST:	PENTAGRAM
TITLE:	Eternal Life of Madness
RECORD LABEL(S):	Listenable Records

Of course I am stoked that this classic cult underground band returned years ago and their material to date has been excellent enough when taken in as an after-the-fact reality but lets not mistake the 2013 and 2024 full-length records from Santiago-based legends PENTAGRAM (Chile) as too directly related to the compositional simplicity of their teenaged demo tapes from back in 1987. These are far more complex groove-oriented mid-90’s style death metal songs which retain decades of muscle memory from their death/thrashing groove metal band Criminal otherwise. That said, I think this is even better than their debut and ended up loving this record despite a few somewhat unrelated or less interesting songs finding their way into this generous ~55 minute album.

“A decade deeper into their zombified reign Santiago, Chile-based thrashing death metal quartet PENTAGRAM return for a sophomore full-length album and, never a band to be rushed or careless with their in-hindsight popularity, find themselves sticking to the pure late 80’s/ early 90’s ‘old school’ death metal the fans want while still managing tuneful grooves throughout. Eleven years later ‘Eternal Life of Madness‘ once again graces us with a Bosch-esque cover and horrified ambiance as they go on grinding through this abundance of thrashing torment. They’ve fought off as much of the groove heavy torpor of their debut as possible for this second album, a feat which is outsized yet ultimately better attuned to the ecstasies of ancient death metal.“

>> FULL REVIEW <<

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#10
ARTIST:	NUCLEAR TOMB
TITLE:	Terror Labyrinthian
RECORD LABEL(S):	Everlasting Spew Records

Compared to everything else thrash metal related I’ve geeked out on this year NUCLEAR TOMB have all the vibrancy, the biggest blitzkrieg-assed sound, and a real explosive and fire-sword swinging take on weirdo death thrash metal attunement. ‘Terror Labyrinthian‘ has its gripes to get across, it has a lot to say and plenty of riffs to attack you with but their work still manages to avoid sounding naive and/or pretentious. Another example of a band who’d put in the work, the time and gotten the experience they’d needed before cutting a definitive full-length statement. The results really speak well for themselves, though I wish there were more folks truly invested in this niche… or, earnestly bringing new life to thrash at all anymore.

“In the trenches of the northeastern United States underground and putting in dues for over a decade now Baltimore, Maryland-based progressive death/thrash metal quartet NUCLEAR TOMB have reached a point of readiness for their rare-form agenda. Achieving righteously grit-scrubbed render and a singular personae that best facilitates their fastidious yet loosely slung ‘old school’ extreme thrash attack these folks show the exponential benefits of putting in the time, in rehearsal and on the road, as they present the focused yet eclectic charge of ‘Terror Labyrinthian. Cerebral as often as it is referential these folks aim to show their work and their passion for the far side of weirding thrash-craft, the stylized sling of riff and skronking abstraction as it applies to the most diabolical age of creative mass for the sub-genre.“

>> FULL REVIEW <<

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#11
ARTIST:	KAWIR
TITLE:	Kydoimos
RECORD LABEL(S):	Soulseller Records

After some trials and tribulations during the pandemic, a near complete revision of their line-up and some key hires changing their sound a bit we find that the soul of KAWIR has some new additions to its collective but still retains its auld spirited exploration of mythos. ‘Kydoimos‘ will stand out quite a bit if you’d only just discovered this band’s sound through their 2017-and-beyond work since they’ve added the distinct touch of Dis Pater (Midnight Odyssey) on keys and a new drummer who kinda cranks it throughout the first half of the album. No doubt the stand out pieces are obvious on this somewhat overlong record and in that sense we’ve got some of their most tuneful songs in a while but they’d definitely needed to trim back some of the length here to keep it all potent and sharply stated.

“Athens, Greece-borne pagan black metal legendry KAWIR return as a sextet for a ten-chaptered and nigh ~hourlong tome writ for the sake of musing upon ancient battlefields, thrilling over the details of heroic epics, and taking stock of all souls fallen to the fray. A ninth full-length album from a well-proven, adaptive entity unafraid of fluxion ‘Kydoimos‘ is among the most ambitious and tonally rich works from the now three-decade strong artist as they enter the next stage of their ascension. The challenge of a work presented by a band with such a vast exploration behind them is containment, where and how to hone the spiritus of an explorer of cultural mythos into one representative chapter, yet we find this latest hydria happily overflowing with its inspiration first in embodiment of escalating fracas and then in a multi-part narrative of heroic mythos. In the process their banner is flown for a successful campaign, demonstrating might within a feat which naturally reinforces and builds upon their greater legacy.“

>> FULL REVIEW <<

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#12
ARTIST:	WITCH VOMIT
TITLE:	Funeral Sanctum
RECORD LABEL(S):	20 Buck Spin

On this third full-length album WITCH VOMIT have taken a left-hand turn, wheeling in the opposite direction of expectations and done well to integrate elements of melodic black/death metal of the early 90’s Swedish variety into their sound. You’d think this’d make for a catchier, song-oriented approach but they’ve applied so little repetition to the experience that most pieces (at best) present a simple enough hook before bashing out a few quick riff ideas and moving on. This’d prompted many repeat listens for the sake of identifying what is distinctly their own point of view with regard to their previous two LPs and what is a new vision they can apply to the future. They set the scene well at the very least.

“Portland, Oregon-based death metal quartet Witch Vomit brave the precipice of heat death as they peer into the vast and untapped pools of possessed proto-melodic black/death metal, siphoning the bleak romanticist glow of the past into the recesses of their third full-length album. In pursuit of a canonical linkage rather than a forced juxtaposition of forms ‘Funeral Sanctum‘ finds these now weathered fellowes marrying dark melodic advent with primordial death metal traction without losing any relevance to their travels thus far. In pivoting into still classicist yet unexpectedly traversed realms for a brief yet finely crafted expedition these folks rediscover a well buried, long-lost sect of morbid and dramatic death metal which they’ve taken notable command of herein.”

>> FULL REVIEW <<

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#13
ARTIST:	VULTURE
TITLE:	Sentinels
RECORD LABEL(S):	Metal Blade Records

“Dortmund, Germany-based speed metal quintet VULTURE were quick to rise in the realm of throwback early-to-mid 80’s styled craft for the sake of taking their frozen in time style seriously beyond the usual cursory study of the past. In direct contrast to the slower, easier pacing of their previous album ‘Sentinels‘ feels like a well worn in pair of jeans, an expansion of where they’d caught fire and all it’d taken was a few more wailing and riffing pieces to keep the energy up, most of them blazing by at a kicking clip. That said, some of the best songs on this new album take their time and amp up the 80’s metal dramatism (“Der Tod Trägt Schwarzes Leder”, for example) and this only leads to a better rounded, even more traditional feeling stretch of retro speed metal flexing. I particularly love how over the top vocalist L. Steeler is on this album as it really helps to sell the whole deal. Much as I love their debut for the time and place that it’d dropped this is definitely my go-to Vulture record from this point.“

>> SHORT REVIEW <<

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#14
ARTIST:	FUNERAL LEECH
TITLE:	The Illusion of Time
RECORD LABEL(S):	Carbonized Records

FUNERAL LEECH have done well to iterate yet improve upon the successes of their debut full-length within this impressive second album. A feat of existential nihilism at its core ‘The Illusion of Time‘ should still be pure pleasure for the ‘old school’ inspired death/doom metal fandom though they’ve worked in more faster paced and aggressive movements this time around. The only major notes that I’d had for this album were essentially speaking to how they’d improved on the foundation of the first record without differentiating too harshly and I see no evidence of trend-hopping or anything less than fixated interest in the best possible, meaning-rich form of miserable death metal. The only reason this isn’t higher on the list is that I haven’t had the impulse to return to the album yet.

“New York-based death/doom metal quartet FUNERAL LEECH return for a sophomore full-length album which devotes its entirety to the revelation of existential erosion, bitterly acknowledging impermanence through morbid death music. After a near decade together these folks have done well to hone their void-craft managing a thoughtful, practiced presence capable of slow-swung dynamism at every turn while grinding along the path of classics-mindful death/doom metal. ‘The Illusion of Time‘ speaks to an ideation many years in the making, a knack for both sides of the sub-genre coin additionally compounded by the trials and tragedies which serve to inspire its themes.”

>> FULL REVIEW <<

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#15
ARTIST:	TAROT
TITLE:	Glimpse of the Dawn
RECORD LABEL(S):	Cruz Del Sur Music

“Tasmanian troupe TAROT return with their first recording since 2016’s debut LP ‘Reflections‘, a long tended shift from ‘epic’ heavy psychedelic rock toward the steadier rocking and increasingly tuneful Hammond organ tapping side of heavy progressive/psychedelic rock a la cited inspirations Deep Purple, Rainbow and Uriah Heep. This comes with a somewhat indulgent side, particularly by the hands of the two organist/keyboardists who feature heavily throughout most every piece, but only for the sake of adding flourish to the exuberant spectrum of sound explored. Granted the best choice they make here is to ease off the keys when needed, such as the extended Atomic Rooster-esque breaks in standout “Dreamer in the Dark”. Though they’d hit a certain standard on their debut this one feels like a considerable leap in terms of musicianship, songcraft, and the general ability to wrangle well-enriched layers for a bigger event which is amped up by class but still gritty enough production values this time around.“

>> SHORT REVIEW <<

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#16
ARTIST:	NOGOTHULA
TITLE:	Telluric Sepsis
RECORD LABEL(S):	Self-Released

The more distance I have from ‘Telluric Sepsis‘ the less I can remember about it yet the moment I return to its gnarled branches of blackened death metal the aggressive, vile yet finessed touch of NOGOTHULA‘s work justifies the hype I’d lain upon it. The deeper juxtaposition here is newer black metal textures and classic death metal structure and brutality torn up into violent yet cerebrally chopped-out death metal songs. In some ways it is a very serious feeling death metal record but also an act which are mostly secure in their work but willing to still bend and flex ’til they find the right distinct sound. This leaves some of this work as repetitive or less stylized than other parts yet the whole of it is one admirable debut worth taking note of.

“Cincinnati, Ohio-based blackened death metal quartet NOGOTHULA are readied up with their debut full-length statement, by all accounts a point which they’ve arrived upon with seeming relative ease. With no growing pains to show and a decided-upon sound which shows little need of tweaking for posture or presence it is clear that ‘Telluric Sepsis‘ comes from folks who’ve got plenty of experience under their belts and largely pre-existing chemistry to help ’em speed past the learning process right into gear. Though they’ve blackened the skies upon introduction here you’ll find pure and pummeling death metal of considerable quality throughout this album, a feat sure to psych the skulls of old heads into action and show the fumble-chug crews of today the superior brutality and thrashing groove United States death metal was once known for while putting their own modern (but not too modern) spin on the blackened side of the fence.“

>> FULL REVIEW <<

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#17
ARTIST:	SELBST
TITLE:	Despondency Chord Progressions
RECORD LABEL(S):	Debemur Morti Productions

When approaching the work of this Venezuela by way of Chile-based black metal group’s vision of modern black metal we find the sinew is dissonant, the blood melodious, and the bones post-metallic yet the total organism is driven by emotional streaks just as dark metal of yore often is. Where SELBST get my attention most is in their movement between righteously connective moments and others where their interest in social congress is rescinded, there is a tentative relationship with openness and self-preservation at the heart of their work which is interesting to me, otherwise it is ambitious moderne black metal with quite accomplished hands weaving its wares. I think I’ve consistently been more impressed with this record over time even if it isn’t a hundred percent my kind of thing.

“Entrenched in the loathe of Sisyphean absurdism and the postmodernist need to parse the cold indifference of the natural world in relation to human self-importance Venezuela-borne and Santiago, Chile-based black metal act SELBST continue to divine the self through contempt of exacting and prescribed formae. At the emotional peak of this exploratory gouging comes the clearest-yet exposure of the embattled psyche at the heart of all of their work which does not necessarily intend to escape the throes of choosing between connectivity and rescission of the self. A post-metallic stretch of hesitant embraces and distantly threshing observations ‘Despondency Chord Progressions‘ does well to represent the inner self pulled outward in these dual-reactive states without allowing the mind to escape into either point of potential rest. The choice to connect or withdraw is darted between in order to convey the struggling vacillations of an existentially questioning mind as it is variously fascinated and revolted in a descending spiral, a beauteous shape and an entirely uncomfortable state of being as a quasi black metal experience on decidedly modern terms.“

>> FULL REVIEW <<

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#18
ARTIST:	SARCASM
TITLE:	Mourninghoul
RECORD LABEL(S):	Hammerheart Records

Though I’m not sure this record will last in my collection compared to their earlier work in terms of its greater impact there is yet something steeling about seeing SARCASM thrive within such consistency, and seemingly still flush with ideas even after several post-reunion albums under their belts. ‘Mourninghoul‘ could rightfully be seen as the realization of the oeuvre explored by their last two records in earnest combination of forces. Otherwise the pace picks back up a bit, their performances still read ripping fast and aggressive, and yet the more ‘epic’ side of the group still prevails.

“This fifth full-length album from Uppsala, Sweden-based melodic blackened death metal quintet SARCASM once again links concreted past with amorphous present as their sustained resuscitation continues its trajectory in escalation. Powered by harder kicking speed and gloom stricken lows ‘Mourninghoul‘ refines the scope and the impact of their classic-yet-outlier bound approach, polishing off a bit more dust and accessing some old and soaring atmospheric font in passage. The result is arguably less hook intensive but lacks none of the spectacle available to past works thanks to an increasingly well-rounded stylistic reach and crystalline render.“

>> FULL REVIEW <<

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#19
ARTIST:	VØIDWOMB
TITLE:	Spiritual Apothéosis
RECORD LABEL(S):	Avantgarde Music

Though I think it would be fair to suggest that these northern Portugal-based folks are still somewhat “green” in terms of developing their signature and this accounts for some of the growth applied beyond their 2021 EP ’til this debut full-length but this doesn’t hinder VØIDWOMB from getting their point across. The raw energetic course of ideas applied over the span of the first three or so songs is impressive and though the full listen doesn’t uphold that standard throughout the lot of ’em are still convincing, energetic, and ruthless in their subversive atmosphere.

“This debut full-length album from Viana Do Castelo, Portugal-based black/death metal quintet VØIDWOMB concerns itself with a sojourn toward the “divine”, some manner of enlightenment or transcendence of the flesh as it phases between states of matter in real time. Unpredictable and even self-interruptive when the opportunity strikes there is some manner of amorphous non-corporeal quality to the affect which these folks bring to ‘Spiritual Apothéosis‘. This sensation of uncertainty of form allows their work to prod the mind with its wraithlike fingers and vex beyond an otherwise atmospheric death-tinged, motorized push toward occult black metal muse without ever settling into any one definite groove with any security. Restless but not rawly challenging, green in practice yet wizened in its vision this album entertains for the sake of its mystic uncertainty and slow-to-reveal yet entirely attainable experiential value.“

>> FULL REVIEW <<

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#20
ARTIST:	BARBARIAN SWORDS
TITLE:	Fetid
RECORD LABEL(S):	Base Record Production

“The dark side of Barcelona, Spain-based crew BARBARIAN SWORDS‘ two album overflow, ‘Fetid‘, offers the atmospheric dread and filth-ridden stalk of black/doom metal which they were originally known for. A remarkable swap made beyond the black-thrashing aggression of ‘Anti-Dogma Megaforce‘, this album returns to the sinister dread and hellish landscapes which they’d been perfecting since 2011 and as such this album feels remarkably confident in its riffcraft and the poisonous wrath of its vocal cadence. As with all of their efforts a taste for raw, abrupt ‘old school’ sounds and ancient atmospheres all factor into the mayhemic motions here though I’d found find this to be their best produced and most refined recording to date. While I was already familiar with what these folks had done in the past this and their complimentary but different 2023 release have made a fan of me in further development of each sound.“

>> SHORT REVIEW <<

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