Akercocke "Choronzon" (2003)

Here is a record I would have enjoyed immensely in decades past. Devilishly artistic, its flourishes of darkly esoteric wonder, today plays countermand to a tired breed of blunt Death Metal akin to Dying Fetus. Tight, dry, anechoic drums batter against dense worming distortion riffs. Over top, the narrow guttural belching pig squeals lack that absurd sense of fun they once bestowed in this listeners enthusiastic youth.

Choronzon is a deeply cryptic record, continuously seeking devious creativity. Defying convention, its architecture continuously meanders through a seemingly unending arsenal of riffs and eccentric musical ideas. This theme remains grim and abrasive throughout, almost confrontational in its extremity. Yet frequently does the record find moments of nebulous worldly sound and shadowy acoustics to venture through.

In these expansive strides, melody and tone tilts to the Doom and Gothic Metal sounds of that era. Despite similarities, Akercocke put their fiendish demonic spin on anything familiar. With unpredictable structure, their songs traverse this hellish landscape with sudden pivots and excursions who's excitement rarely fades. Its simply jam packed with bizarre satanic oddities and sinister guitar bending riifs.

These days, I'm instantaneously partial to its lighter touches where raw aggression subsides. The constant scowling and traumatic blast beats taking a measure longer to come around to. Although burned out on this brutal sound, I'd have to admit the record houses some of the genres better riffs, especially when breaking the conventional mold and looking for a vicious, snarkier peruse into that dimension of extremity.

Lurching between its obvious metallic constructs are the keys, either Symphonic or Electronic in texture, they play a fantastic yet easily overlooked role in characterizing its best departures from extremes. I would have loved to hear more of this strand. As the record grows on, its form tends to condense more into that brutal form. However, it closes on Goddess Flesh, a short composition showing off the talents of keyboardist The Rizz. Intriguing record, as already stated, I found it at the wrong point in time.

Rating: 7/10

Nils Frahm "Spaces" (2013)

One for your tone tweaking, mood mellowing, ambience altering playlists, German composer Nils Frahm's "Spaces" turns an approach to traditional Piano music on its side. Harnessing a traditional aesthetic beauty the timeless instrument offers, then yielding its charm through a structure more common to electronic music. With droning repetitions of boldly struck notes and melancholic chords, the music gradually drifts its way through soft lush groans, vivid harmonious blooms and dense emotional swells.

Some of its songs end to applause from a live audience, the authenticity of these performances and analog tape recordings reinforce its organic nature, only amplifying the exquisite performances on display. In dexterous strides of swift complexity, one could mistake the seemingly robotic execution of notes for virtualization. Even within these strides of virtuoso, the endearing imperfections only humanize its dynamic.

Counterpart to its animated flushes, the record will happily croon into elongated explorations of ambiguous sound, where the piano takes a backseat through this unique exploration of sound. The exchange is masterful, never rushed yet can ruminate with class, venturing to all temperaments between. At seventy six minutes, its a rich offering of ideas, feeling more like a compilation of ideas than a full cohesive vision. Give it a spin and within you'll find your moments of magic to revel with.

Rating: 7/10

Angine De Poitrine "Vol.II" (2026)

Striking while the iron is hot, French Canadian duo Angine De Poitrine drop another six Math Rock, Microtonal jams to sway you under their peculiar spell. Although not much has changed to the structure and composition of their loop pedal driven drones, a noticeable elevation in magnetism pervades as these musicians refine their craft.

Most noticeable, thick driving baselines that power these numbers rattle with texture. They lock in with the occasionally intricate and often animated drums, ramping up intensity as the guitar layers stack. Utzp infuses some Eastern Polka-like vibes with its pacey staccato guitar jabs. Apart from that stylistic distinction, its business as usual.

The eventual swell still yields the most gratification, their formula seemingly unable to wrangle much else out of the loop pedals. Opener, Fabienk is by far their best song. Its two halves quell the droning as a midpoint reset sways past their alien voices into the grooviest assemble yet. Groove being key elevation felt across this brief record.

Rating: 5/10

Atlantean Sword "Ironmaster" (2025)

 

Adjacent to our beloved Dungeon Synth niche comes another genre microcosm! Inspired by Conan The Barbarian, we get a stream of Fantasy synth music akin to Might & Magic. Its safe, heroic, triumphant. Honour conquers evil without indulging in the menace of such an infernal foe. So much so that Atlantean Sword's music carves itself a clear distinction. One perhaps overpronounced on this, their latest record.

Ironmaster oozes with heavy layerings of metallic synth. Gleaming horns, militant percussion and organ drones pack together a dense atmosphere. Rigidly marked by the clattering of metal strikes and deep gongs, its aesthetic design lumbers along within its own crammed production. Intention is clear but often feels smothers by its own tone. The finer persuasion of melody struggling to break the massed mold.

Lead instruments do arise, hearty harps and fulgent flutes sparkle animated melodies. There sudden emergences also feel somewhat stiff and cramp. The music ebbs and flows with sudden dramatic shifts that lack a charm despite serving the bigger picture well. Its progressive nature plays into the unfolding Fantasy narrative. Epic chord arrangements can be heard evolving a songs direction yet often competing for focus.

For this sorry listener, Ironmaster never quite pulls one into its clearly vivid, fully realized world. Aesthetic design and musical intent is clear. For whatever reasons, it comes together a touch forceful and overplayed. Hard hitting instruments, lacking subtleties, rubbing up against starkly repetitive percussive strikes. It dispels a magic that could have been. A fair, intriguing listen but not much to return for.

Rating: 4/10

Труп Колдуна "Prophecy Of The Bleeding Bloom" (2026)

 

Труп Колдуна returns victorious with a captivating set of esoteric bedroom composer songs. Split into two distinct halves, Prophecy Of The Bleeding Bloom hits a stride as the quirky Dungeon Synth motif collides with cryptic Fantasy tunes in pleasing union. The record kicks of with a string of alluring mystical instrumentals, unusual and enchanting, almost lullaby like with an undercurrent of daker obscurity yet to unravel.

The glistening Stellar Citadel perks ones ears. Star twinkling melodies bestows the arrival of drum machine percussion. Its pounding bass kicks embus a driving Synthwave alike energy that will frequent the second half of its runtime. On the proceeding All In Vain, scowling howls enter the fold, empowering this lurking dark underbelly to come forth as its final songs lean into this obscure union of sound.

A curious dance energy accompanies the abrasive echoing cries. Melodies melt in its wake. The whole thing feels held together with duck tape, yet it works wonderfully. Exploiting simple rhythmic pleasures, twisting and corrupting tunes in heresy, a charming abomination blossoms. Although I don't feel a sense of lasting impact, this is a delightful, entertaining, yet brief encounter with a truly bizarre oddity of sound.

Rating: 6/10

Emyn Muil "Túrin Turambar Dagnir Glaurunga" (2013)

For fans of the Austrian visionaries Summoning, here plays a love letter to their cast of Tolkien led Black Metal. With passion and talent in stride, originality is not of question. Embracing the blueprint of metallic extremity, keyboard symphonics and synthesized percussion, Italian musician Emyn Muil dispatches us upon an epic voyage across Middle Earth. With triumphant roars from shrill guitar leads and mighty horn sections, we frequent triumphant emergences from the guttural howls and bleak tremolo guitars that bark through nostalgic low fidelity origins. This genial balance is striking, as songs command the horrors of this fantasy realm, yet offset it in stride when gleaming Fantasy melodies arise, trumping the burdensome mood with majestic narrative. 

The record rarely falls a spell to its sullen side. Darkly twisted distortion guitars lurch in narrow spaces, wretched screams flail above. A heroic element always accompanies. Colorful keys singing noble war songs, the marching drums of battle hang the struggles of good and evil in balance. Delightful passages frequently develop out of different origins. My personal favorites include the warmly embraced drum machines with deep reverberated floor toms. The music can seamlessly weave between them and traditional drum patterns for the genre. As an album, it thoroughly entertains.

Its ten songs naturally ebb and flow with varying intensities and many melodic themes enchanting along the path, yielding much joy. As its stride concludes, Path Of The Doomed and Death Of Glaurung are gems providing much gratification as finality approaches. They soar to new heights in gallant stride. I'm left invigorated by the revival of a sound I loved decades back. The fantasy realms of Middle Earth are brough to life again in this flavor I adore. Excited for the next chapter, this is just the first of three!

Rating: 8/10

Gate Master "In Pursuit Of Forbidden Knowledge" (2024)

Gate Master makes an impressive introduction attuned to my tastes! In Pursuit Of Forbidden Knowledge plays as a mysterious exploration of esoteric fringes. Pulling at either ends of the spectrum, spurts of ferocious low fidelity Black Metal chime off against lonesome Dungeon Synth wanderings. Accompanied by worldly renaissance voicings strikingly akin to Brendan Perry of Dead Can Dance. Such a treat!

So to does guest vocalist Anabelle Iratni conjure such immersive suggestions. Her record opener performance of wretched witchy howls and spectral screams over haunted gong strikes creates a bold opening statement. Proceeded by the title track, we are plunged into a raw descent of gritty distortion, some Sabbath-esq evil melody lurches over its sluggish Doom guitar riffs that erupt into a frenzy of 80s extremity.

These shades of darkness do return again. The Parallax fuses some classic heathen Bathory vibes into its stride. However the rest of these blasphemous offerings drift into a meditative strain, where its mystical instruments skirt the occult, landing within an arcane, curious limbo. A niche that gets me every time, especially when so masterfully executed as done here. In Pursuit Of Forbidden Knowledge may be rough around the edges, a blemished gem but what lies beneath its rugged exterior, entrances and encapsulates one with excellent song writing and a distinct vison of darkness.

Rating: 7/10

Angine De Poitrine "Vol.1" (2024)

Currently riding a wave of hype, Angine De Poitrine splay shock and awe, exposing a young generation to microtonal music and a helping of rhythmic rebellion. Its nice to see people get excited, they deserve as much. The anonymous personas, alien voicings and bizarre cosmetics add to the mystique yet I find myself not as enthralled by this unusual end result. As a duo operating through loop pedal compositions, the musicianship is mightily impressive yet hounds these songs into repetitious drones of cyclical noodling. Quirky melodies, jumpy rhythms, angulating riffs and psychedelic looping. Each song arms itself steadily, layering up, building upon one another.

More often than not, the most gratifying strides arrive in the densest, loaded instances of these droning drives, yet the journey too and beyond can be a touch maddening. Its the nature of the loop pedal composition wearing one down as the novelty of its between note licks and odd grooves hammer on. I much preferred the KEXP live shows. Seeing it in action adds an impressive aura, the double guitar and pedal manipulation in action exposes how much magic is extracted from this pair. The talented duo of Angine De Poitrine are a class act but not quite my cup of tea. Their music sits firmly in the realm of novelty. A fun exercise in creativity and rejecting norms but not much in the way of a deep connection is formed through the entertainment. And I definitely was entertained!

Rating: 4/10

Scarve "Irradiant" (2004)

Browsing the depths of the metal scene, with the blink of an eye this album cover threw me back to my youthful years. Perhaps it once adorned my Nuclear Blast Records magazine? I was exposed to so much great music through that free mail-in mag. Scarve also happen to fit right into the European scene of that era. Perhaps best labeled as the "Future Fusion Metal" genre that never quite took hold, they sound like a soft fusion of early Mnemic and Meshuggah with touches of classic Darkane in their melodic musicality. All these bands I adore, Its no surprise I had little trouble taking a liking to Irradiant, the second album a brief existence that ended a few years later.

Pulling from the power and menace of Metal in its extreme forms, French musicians Scarve stretch apart those frays, extrapolating melody and dissonance through shifts in momentum. Thus its songs explore the ridges of aggression, flirting with rhythmic experimentation and quite often retreating into calmer spells to introduce metallic acoustic guitar melodies or unusual lurches of "the riff". In some instances they go hard, like the Death Metal inspired pummel and pound of a vicious Molten Scars. On the following Fireproven, we unseemingly drift into an Industrial atmospheric break to showcase some lead guitar flair before flashes of color erupt in a magnetic closing riff.

These complexities and technical nature delight but have a simplistic appeal on the surface. The best songs deal with the collapse of aggression they march from the relentless into curious expanses of atmosphere. Asphyxiate plays a highlight, starting off with a meaty Meshuggah chug riff and eventually featuring a solo from the legend Fredrik Thordendal himself. Irradiant is an all round excellent showcase of boundary pushing songwriting, at least for the time. A delightful discovery slipping into my nostalgic sweet spot. Highly recommended for fans of the early "Djent" frontier.

Rating: 7/10

Crag Forge "Forbidden Crags" (2019)

 
Blessed be, either in absence of, or excellence in, the solemn epics of these Forbidden Crags has scratched that itch again. Understanding both purpose and composure, Crag Forge previously felt like a settled matter. Alas, here I venture again, engulfed by these seven enchanting meditations. Deep foggy synths brooding on their unmoving might, the music of mountains still and unconquerable. Earths upheaval of stone, a violent movement of mass on timescales beyond our mortal comprehension.

The music elicits that calm and tranquil nature mountainous terrain evokes. A humbling magic from its dwarfing scale and seemingly eternal presence. Hidden brass melodies lurch in the dense atmospheric bass, like a rumble of clouds clashing into the unshakable landscape. It stands ancient, unending, suggestions of sequestered secrets lining the caverns hidden within. The occasional percussive strikes reinforce this sentiment, the sounds of miners seeking fortune echo through the distance.

Whatever sentiments the music evokes, it plays a wonderous treat for focus and meditative moods. Turn on and dial in. This record has been a wonderful tone setting. Mystic, evocative, natural but most off, safe and comforting, fondly reminding me of adventures on the slopes of rocky beasts. This is certainly one for the focus playlist.

Rating: 6/10

Carpenter Brut "Leather Temple" (2026)

Possibly completing some form of "leather trilogy", Carpenter Brut returns with album three after a lengthy four year absence. Armed with a fantastic, theatric, stage setting opener and closer, the seven tracks between bust out fast paced, snappy electronic numbers barely reaching the four minute mark. Assailing with an expectant nightly neon lit arsenal of finely tuned Synthwave instruments, Brut delights in a meaner tone, taking on some overt influences from the DOOM soundtrack in darker moments.

Tight in tonal execution, it plays an aesthetic treat. A cruising barrage of rapid slick melodies, pounding bass and body moving dancefloor energy. Despite being brilliantly composed, these song structures are crying out for a voice to lead the charge. Each song comes lined with lead instruments, places to focus your attention. However, the ebb and flow of intensities feels so fit for a singer to soar into the lime light.

Track after track entertains, vivid visions of a dystopian fantasy world we venture through. Personal highlights include the intense, demon annihilating title track. Neon Requiem's revel in spinning an 80s cheese motif into a delightful mood. The Misfits flirtation with Drumstep percussion goes down well. The End Complete wraps it all up nicely as the music swells for a dramatic farewell. All in all, one classy record.

Rating: 7/10

Moonlight Sorcery "Horned Lord Of The Thorned Castle" (2023)

 

I only have praise to bestow upon this glorious union of two distinct sounds I adore. Moonlight Sorcery, a fresh faced act from Finland, bring together the melodic guitar virtuoso spirit of Maiden inspired 00's Melodic Death Metal with late 90s Scandinavian Symphonic Black Metal. Led by the nasty throated howling scowls of Ruttomieli, their rather colorful musically dexterous veneer gets "eviled" up alongside a ceaseless percussive battering from the restless Tommi Tuhkala's ruthless grooves.

If these two elements were toned down, Horned Lord Of The Thorned Castle would be quite the melodic adventure. Possibly gaining a large slice of accessibility for those not comfortable with such intensities. Its everpresent lead guitar spritz dazzles every song with a tuneful voice, a metallic melody of unending expression. Its use of certain scales and motifs gives the record an overall theme. Feeling like reoccurring phrases and ostinatos. A huge compliment to the consistent vibe that entertains front to back.

Fortunately for those attuned, Its extremity does not overpower the melodic might. Thus we embark on a perfect storm for ferocious dark magic to cast its spells. With chest held high, the spirit of adventure never wains yet sways in tandem with a glorious, sword raised, charge of war field battle music. The duels of dance never ends as lead guitar raptures soar between engulfing roars of instrumental intensity.

The endless virtuoso, seemingly orchestrated by multi-instrumentalist Loitsumestari Taikakallo, is a masterclass in songwriting and expression. His performances both on lead guitar and keys remind me fondly of Children Of Bodom's best hooks. Despite such a strong link, this bands character is unique. I can barely find a blemish in sight.

Every listen feels like a blessing. Closer track Into The Silvery Shadows Of Night masterfully wraps up the record with its lowered tempo and epic, conclusive melody. Its followed by one more, Suden Tie, which feels like sudden a jolt back into the mix, dispelling that classy end that felt just perfect. An odd choice for the records flow.

The vocals might go a bit hard for some, they certainly strike me as more of a tolerance than indulgence. It just becomes a part of the tapestry as one becomes accustom to Moonlight Sorcery's aesthetic. Horned Lord Of The Thorned Castle is such a cracking debut. One of the most enjoyable Metal records in recent memory. It doesn't break any new ground, simply a brilliant execution of excellence.

Rating: 9/10

Heriot "Devoured By The Mouth Of Hell" (2024)

Deep from the depths of metallic stagnation comes a rapid fire record I would have swiftly passed over if not for catching Heriot's energetic live performance. Devoured By The Mouth Of Hell also received some critical acclaim, convincing me to give it a proper go. I'm left convinced the Metal scene is lacking fresh innovation, as the genre matures into its sixth or so generation of existence, where does it venture next?

Described by Blabbermouth as "post-everything", one can hear a slew of subgenre ideals getting picked apart, then reassembled in this beastly collection of spiteful aggressive slogs. Focused on a mood of rage and tone of dread, its often a lurching background synth or atmospheric guitar distortion that glues together a songs identity. In barrels rumbling barrages of barbaric sound, dense with roaring bass but often devoid of much beyond amassing a terrifying textured vehicle of assault.

Thus its ten tracks aimlessly roam a desolate wasteland of destruction, sporadically lashing out in any available direction. Conceptually, it does sounds brilliant but in experience, most its songs lack a true musicality to latch onto. The dialed back, sullen Ethereal gloom of Opaline packs a genuine punch but its one cut from the many. The so called "post-everything" feels like a intentional choice to skirt prior conventions in search of something new. Only in brief glimpses does this search connect.

Rating: 4/10

Autumn's Grey Solace "The Neverending" (2026)

I'd passed over journaling the last couple of Autumn's Grey Solace releases. Years of stagnation left me with little to remark upon. Always a pleasure yet rarely a surprise, what separates The Neverending from recent mediocrity is its "return to roots" approach. On a handful of tracks the illusive magic of those first impressions gets recaptured. Tones, textures and the musical blueprint from their classic debut Within The Depths Of A Darkened Forest resurface on within these eight numbers.

In gentle temperament, the return of ghostly melodic guitar echo, darkly strolling baselines and subtle groaning strings evoke a soothing Ethereal bliss of old. In particular, Erin seems to turn her voice back to that youthful charm. Lurching in a tender high range, she finds her way back to words. Their natural rhythm and wordy cadences rebirth a character missing from recent records. Its a curiosity how the presence of lyrics steer her performances into this special, otherworldly place.

Lacking any freshness and new ideas, The Neverending still strikes a mood much closer to their origins, an area that feels now underserved on its arrival. A fair record but not all tracks hit the sweet spot. Each track tends to cycle through a single set of ideas. The weaker chemistries swiftly make themselves known, however one will definitely find a few personal gems to cherish, if your a fan of this niche.

Rating: 6/10

Will Smith "Based On A True Story" (2025)

 

From one Smith to another, I couldn't help but vent my frustrations at this surprisingly bright and cheery Pop Rap album. Will assembled a competent team to deliver snazzy beats lined with harmonious voices embracing a Gospel lean on many occasions. A solid foundation for a comeback record I'm no longer surprised I didn't hear about.

Unable to shake his ego-centric relationship with fame, Will opens by stepping straight onto an almost comical landmine, if not for a tragic lack of tone. Fists swinging, armed with cheap rhymes and inserted critical remarks, he address the fumbles of recent years with braggadocio, lacking sincerity, humility and reflection so sorely needed.

As the record progresses, song concepts play shallow with cheesy hooks. Dotted throughout, attempted inspirational moments arise, Will puts on a voice as giving a sermon to save the masses. Its utterly tone deaf. It feels like Will is trying to engineer the reception of his return, as opposed to having genuine expressions as an artist.

As a Rap artist, he used to drive in his own lane. Likable, goofy, fun and uplifting but now, all that's gone and Based On A True Story confirms it. This was an opportunity for a genuine moment of self reflection and personal growth but its clear the man still has many egotistical issues to work through. To throw it a bone, You Can Make It and Work Of Art have really warm vibes. Decent tracks among the horror.

Rating: 3/10