• MASSIVE REVIEWING CAPACITY • is our latest short review column focusing on stray quality releases a few times a month, or, roughly every two weeks depending on the current month’s release schedule. In an attempt to be more conversational these are easygoing and casual thoughts for the most part, so relax and think for yourself as I attempt to find something, anything to say about multitudes of new releases relevant to my interests. — If you find a record you dig go tell the band on social media and support them with a purchase. If you’d like your music reviewed, read the FAQ and send promos to: grizzlybutts@hotmail.com

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Gävleborg-borne death metal crew SORCERY have roots which extend all the way back to 1986 nearby the very birth of the sub-genre in Sweden. Initially known for a thrashing form of death metal per a somewhat obscure circa ’91 released LP they’d faded out of existence during the early 90’s and reformed in 2009, joining the legions of rebirth during a period of renaissance for the cause. If the four full-lengths they’ve released since reforming might be the loudest, maybe even the tightest set of performances from the group but they’ve not tweaked the classic Swedeath formula, or, their take on it much within the bounds of ‘The Immaculate Sin‘. Though they’ve never lacked in variety of pace and decent riffs to back their action up I’d say songs like “Paralyzed”, “The Exorcist” and “Stand As One or Fall Divided” offer above average material from these folks. Otherwise I wouldn’t consider their long-standing path altered or demented in any incongruous way, a solid result from a consistent name in Swedish death metal.

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Bergen, Norway-based black metal band DEATHCULT return nearly a decade beyond their last (and two decades beyond their first) full-length album to complete their trilogy with ‘Cult of the Dog‘. In continuation of their steadfast execution of classic riff-driven Norwegian black metal sounds they’ve once again recorded with Pytten and stuck to their guns in terms of raw sound, and a rocking n’ stabbing rhythmus. The big change here is probably the addition of second guitarist Lava known for contributions to Amok, Taake and early millennium Aeternus and I think the two guitar force here reigns loudest on Side A to start, folding more mid-paced storming into their gear ’til standout “Author of Caedes” beheads. The second half of the album leans into rowdier grooves and reaches for a few unexpected moves along the way. Not sure there is any brain-wrinkling analysis to offer a record in this style, not exactly straightforward (or, rote) but also steeled by the classic black metal spine it wields front to back.

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Mexico City, Mexico-based death metal quartet IN OBSCURITY REVEALED have been active since 2014 and released an admirably explosive debut LP back in 2018 but they’ve apparently undergone several lineup changes since the pandemic years. For this second full-length album they’ve taken on a near full restaff beyond founder F.M. (Cimmerian Possession, ex-Infesticide) though their efforts are no less rooted in a style of death metal which recalls the early Necrovore and Morbid Angel aggravation available to bands like Hacavitz and Degial. ‘Caustic Maelstrom‘ reflects this with a set of eight ~3-5 minute ‘old school’ death metal derived pieces which veer between throttled thrashing and mid-paced interspersion. To my ear some of these songs resemble ‘Cross the Styx‘-era Sinister more than anything else but also conjures doomed-out lurch (see: “Necrotically Gray Hand”) when called for, an exceptional classicist type of trampling and fuming dynamism. Best song here for my taste is probably the Incantation-esque spiraling of “Consecrated by Rot” but there isn’t a bad moment on the album.

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Back in 2023 Bologna, Italy-based quartet ORBITA released a demo tape that’d pretty clearly chosen stoner rock inspired doom metal as their stylistic focus but three years later they’ve arrived with a far, far more serious faced post-metal debut LP in ‘Farewell to All We’ve Lost‘. They’ve still got some elements of stoner doom sonic excess in hand, opener “Rotted Flowers” has a number of big fuzzier riffs carrying the load, but the whole of the album drifts in sombre headspace. Rather than simply rely on the riff, as I’d personally have preferred, their work leans into the heavy dramatism at hand for the bulk of its runtime as the middle two pieces glom together as they resign to a deep inner headspace. While the closer’s (“The Spear”) reprise is satisfying in conclusion I didn’t find the heavier rhythms or the cleaner strung inward seeking action of their gig standout in this ~post-doom metal space. Very ambitious for a debut and with a lot of potential for personality to be sure but the material didn’t call back for more listens.

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The great boon found within United States/Finland-based heavy metal troupe SMOULDER‘s second LP back in 2023 was a mix of slickened songcraft and marked improvement in their vocal directive. For this third LP, ‘Witch Wife in an Alien World‘, that focus appears to have scaled sustainably while imbuing their craft with a few shocks of ~extremity for additional character. Side A‘s kinda laid back 80’s metal trot provides plenty of room for vocalist Sarah Ann who commands with increased vigor, fully shedding the suite of effects that’d characterized their first record. The combination of a few blackened gusts from the rhythm section, some folken movement and a unique vocal cadence might be disorienting for some as there is a fair deal to focus on at once… detailing is high and all is righteously askew. As a result a few pieces fail to make clear their driving voice (re: “Empathy’s Wrath”) but these moments do ultimately detangle in mind beyond first impressions. Unfortunately the tension of the experience follows, making for a strident heavy metal experience with a “too many cooks…” point of muddle here and there. It is a more distinct creation at the end of the day but I think their second album hit the mark closer to my own taste.

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It might be off-putting to see the “post-doom” tag applied to Paris, France-based trio MARGARITA‘s debut album but this exists within the context of ruddy, organically wrought starkness where basement level psychedelic doom metal movement, rough-shod minimal sound and throat-stabbing vocal hoark create unease rather than glossy modern metal. ‘Abysses of Melancholia‘ isn’t an album foundered on dreamlike beauty but rather (earliest) atmospheric sludge metal intensity wherein the misery of experience is at the forefront of the band’s highly expressive performances. While the wallop through opener “Blood Incantation” had me uncertain what I’d walked into the grungy, howling pulse of “Melting Days” drew the album’s focus closer to some sort of stark but stoney 90’s inspired gloom. Rotten bass guitar tones, discordant and spaced dirges, and such all refuse to steadily rock and instead bear a noise rocking ugliness I’d appreciated, particularly “Abyssal Pain” and “Melting Days”. Otherwise the full listen is pure discomfort and catharsis, leaving me little to grasp upon when circling back on repeat.

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It has been nearly two decades since I’d heard anything from Silkeborg, Denmark-based brutal death metal quartet DAWN OF DEMISE wherein I’d been recommended their 2007 debut after I’d written a history of Exmortem suggesting few highlights from their realm. They’ve released five albums since then if we include this one and upheld their blurring of the lines between thrashing Jungle Rot style chunk and ‘old school’ brutal death inspired hammering, a sound I’d maybe compare to later 2000’s Netherlands stuff like Prostitute Disfigurement. Without context of some of their interim releases this return after ~seven years yields a familiar split between old and new brutality, moshable stuff which escapes modern deathcore bap for the most part. Otherwise ‘Feed My Absurdity‘ is a blast for my taste, a slow belted chain-gun of death metal grooves which is as miserable and chug-hot as it should be.

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