Primordial are one of those common knowledge blackened folk metal acts that prove that you don't need cheesy keyboards or flutes and fiddles to make interesting folk metal; just a little acoustic guitar to go along with their epic sounding metal music. However, no one ever brings up their debut 'Imrama' in any discussions of the band. Granted, this is one one of their weaker albums, but there are a good amount of quality elements to keep me coming back to it.

This album actually leans more toward black metal than folk but the influences that hint at their later inversion of that order are definitely here. There's the opener "Fuil Arsa" which has folkish acoustic guitar played alongside the metal music and non-English lyrics. Beyond that song, the rest of this album is mostly black metal; but Primordial does have their trademark Primordial tone going already, i.e. lots of triplet riffs and lyrics dealing with paganism, society, and dark romanticism. Those three themes are enough to cycle back and forth from through the album's ten song cycle, and there's some very memorable licks like the aggressive sounding "Here I Am King" and "The Fires", the more somber "The Darkest Flame" and "Let the Sun Set on Life Forever", and the flat-out epic opener and closer pieces "Fuil Arsa" and "Awaiting the Dawn".

There are a few reasons why 'Imrama' is one of Primordial's weaker albums though. A lot of these pieces are good but not great, and the only two I'd put in a Primordial dream live set list are the opening and closing pieces. The musicianship feels sloppy in places' the example that comes first to my mind is in "Here I Am King" in the first blastbeating section where the riffs and drumming don't seem to match up right. Singer A.A. Nemtheanga combines all his styles like he usually does: harsh, spoken, and clean. However, 'Imrama' features some of his weakest clean vocals ever. The dude barely has any range here, which makes him sound pretty boring when compared to his work in Primordial's other albums. Fortunately, he'd improve in time for the sophomore album 'A Journey's End' three years later.

'Imrama' was their debut album and Primordial are one of those bands whose debut album is only a dry run of the excellent material to come. These pieces are weaker than Primordial's later work, but the majority of them are still good for what they are with the side effect of making their later albums seem even better in comparison. So, go ahead and give 'Imrama' a go if just to see what Primordial was like before 'Spirit the Earth Aflame' or 'To The Nameless Dead'.

So, it's been a few months since my review of Gorguts' 'Obscura' was published. Surely by now I must understand the album for the musical genius and divinity that it is and change my mind about the negative score I gave it, yes? No. I have not gone back to that album since the review for the simple reason that I refuse to listen to terrible music more than I need to. However, it's time to leave the past to the past. I have moved on to their followup album, 'From Wisdom to Hate', which is a great improvement over 'Obscura'. Unfortunately, that still does not make it very good.

First, I'm pleased to say that the production has improved and it's a lot more apparent that the guys in Gorguts are interested in actually playing their music to an actual key than making noise with the guitar strings. This coincides with the album's whole style which now sounds like a sort of post death metal album influenced by parts of "Nostalgia", one of the better pieces from 'Obscura'. With this particular concept, Gorguts have showed some promise. This post-metal concept is a lot more likeable than the "dissonant" noise that was existent in 'Obscura'.

What's the problem then? Why is this score rather low? The problem is how Gorguts actually executes this concept. As the album goes on, it just really seems to drag with all the slower paced riffs that I begin to feel like the playing is just really uninspired that it just drains my attention to the point of boredom. It gets worse when I look at a more modern example: Ulcerate. When I listen to 'Everything Is Fire' or 'The Destroyers of All', I get this sense of nihility mixed with a little misanthropy to make a really negative sounding atmosphere. I'm just not getting that here on 'From Wisdom to Hate'. The thematic elements are drastically different between the two. While Ulcerate have a rather negative view on the human condition, 'From Wisdom to Hate''s lyrics contain some bullshit about human transcendence. I get the feeling from the piece "Unearthing the Past" and "Elusive Treasures that Luc Lemay wanted to be an archaeologist before becoming a musician because both of those songs basically talk about how cool archaeology is.

The point I'm trying to make is that this post death metal style of music doesn't work as well in the setting that Gorguts presents here on 'From Wisdom to Hate'. Death metal tends to be much better when it has more negative energy. Not to say I don't appreciate Gorguts' change in style to something better than 'Obscura', but better does not equal good. At the publishing time of this review the band hasn't put out anything since this album; but even with the amount of time they would have had to change things up further, I'm not too enthusiastic as to what the product will be.

If I ever wanted to listen to dissonant, nightmarish black metal, I'd turn to Blut aus Nord first. From 'The Mystical Beast of Rebellion' onward, it's what they've been pretty much known for. However, among all those albums, 'MoRT' has stood out as the most dark and disturbing to listen to. That hasn't made it actually better than the others though.

The first noticeable uniqueness in this album is how much slower it is compared to Blut aus Nord's previous material. Even 'The Work Which Transforms God' whose most well known pieces are the slower ones (particularly "Procession of Dead Clowns") doesn't match up with 'MoRT'. I suppose a good amount of that has to do with 'MoRT''s darker atmosphere. While 'The Work...' had faster songs that were really dissonant sounding, the slower ones had a more melancholic tinge. Every track on 'MoRT' is basically one bad trip or mental rape after another. This is music you listen to when your soul gets abducted and gets transported across some dark, ethereal void. The dissonant guitar work helps bring this about, but surprisingly so do the vocals. Vindisval uses a mixture of unintelligible screeches, growls, whispers, chants, and more to further conjure this frightening experience. The production is noticeably dryer as well, so the foggier sound will make you get even more lost in this black haze.

'MoRT' does have problems though, and the most notable problems were also present on 'The Mystical Beast of Rebellion'; but at the same time, these flaws were worked on to make them a little more bearable. The first problem is having the approximately 30 seconds of non-music between the songs. The good news though is that Blut aus Nord made these sections a lot more interesting. While all the sections between the songs on '...Mystical Beast...' were all quiet wind sounds, 'MoRT' instead uses creepy dissonant sounds that go right along with the music. My favorite of these is the transition between "Chapter VII" and "Chapter VIII", which has some really low and distorted growls as if Lucifer is speaking to the listener; quite fitting considering it's going into the final track of the album and the listener meets the master of this dark void. The other notable problem is the naming of the songs simply as "Chapter I", "Chapter II", etc.; and like '...Mystical Beast...', 'MoRT' isn't Blut aus Nord's most memorable output, but it's still very intriguing to listen to from beginning to end and there's more individual songs that I find myself going back to.

Though it falls on the weaker side of Blut aus Nord's spectrum of albums, 'MoRT' isn't bad in any sense. If you're looking for something really dark and disturbing to listen to, then this is a great album to check out, because if there's one thing this album does better than Blut aus Nord's other works, it's that it creates a darker atmosphere than any of the others and it works out pretty well.

After Lunar Aurora brought about 'Elixir of Sorrow', they really began to detach themselves from the symphonic black metal scene and began their second era of the second era of the band's history featuring a more depressive type of atmospheric black metal. 'Zyklus' first showed off the band's completed metamorphosis since 'Elixir of Sorrow' still retained some symphonic parts but still showed signs of the style change. 'Mond' refined what 'Zyklus' brought about; and finally, there came 'Andacht', the best of this era but for better or worse also the end of this era.

I must say, this is Lunar Aurora's most depressive album yet. The sorrowful tone first brought about in 'Elixir of Sorrow' is brought to its peak in 'Andacht'. Among the different types of setting the atmosphere evokes is "Glück", with the church-like atmosphere brought about by the choir; and "Geisterschif", which goes right along with its translated title "Ghostship" in that it makes me feel like I'm sailing away from the shores of some place on a wooden ship during a foggy day and a storm closing in. The atmosphere is brought about by the guitar work, something Lunar Aurora have become quite skilled at doing. In particular, the lead guitar in 'Andacht' is very prominent and very impressive. While there is noticeable use of the keyboards on this album, the lead guitar often overrides them. The keys are at their strongest on the final two tracks "Der Pakt" and "Das Ende", though one of the "atmospheric" elements on the latter song sounds like someone inflating a balloon.

The drums are programmed by Sindar, Aran's younger brother. With the rest of the production rather clear sounding, the drums also sound pretty good; but their presence is a little overbearing at times such as the final refrain of "Glück" where i feel that they might have been overproduced. The vocals are handled by Aran, Sindar, and Whyrhd; but good luck trying to tell who says what since three different voices are heard in the songs. The only one i could recognize was Whyrhd from his work in the 'Hoagascht' album; he has the lowest voice. But otherwise, kudos to him and whoever did the majority of the higher screeching on the songs as well as whoever did clean vocals on "Glück".

Though there are a few small flaws, 'Andacht' is enjoyable enough for me to put it in the top tier category of my review filing system. However, it would be the end of this era for Lunar Aurora; and after they reformed, Sindar would not join them. Let 'Andacht' stand as one of the band's greatest efforts to date as well as the most ideal way to make this era go out with a bang.

Although people have told me it's healthier to not have an elitist sense of metal superiority, it's hard not to give the middle finger to many of the designated "mallcore" acts out there. Make Me Famous is the latest iteration of fresh new mallcore material to satiate the mallcore fans who believe that it isn't trendy enough to like Asking Alexandria or A Day to Remember anymore, or rather Attack Attack! since Make Me Famous wants to work off the trancecore angle Attack Attack! were using.

As most of you know now, the term "mallcore" is used mainly as a derogatory term. Unfortunately, Make Me Famous makes absolutely no effort shed the cliches that defined the derogatory term. They've got a stupid band name; stupid song titles like "Blind Date 101", "This Song Is Blacker Than Black Metal" (your fellow countrymen Nokturnal Mortum and Drudkh would like a word with you), "Once You Killed A Cow, You Gotta Make A Burger", "ifyuocnaraedtihsmkaemeasnadwich"; and that stereotypical look the band members have: straightened hair, revealing shirts, and skinny jeans.

Actually, if I didn't notice the different band name, I'd say 'It's Now or Never' is actually Attack Attack!'s newest album, failing to realize that Attack Attack! released an album in 2012 as well. So much got carried over that the only real distinction that Make Me Famous has is that the lyrics in 'It's Now or Never' are WORSE than Attack Attack!'s lyrics ever were. They still read like angst-ridden love letters, but Attack Attack! looks incredibly mellow in comparison to Make Me Famous' approach: every song's lyrics here is basically the same message as "You made me feel bad! Now I kill you, bitch!" If there's something I hate as much as angst-ridden lyrics, it's pseudo tough guy lyrics; and combining the two does not make either of them more bearable. As for the delivery, there's nothing that makes Make Me Famous special here. The vocalist mixes guttural harsh vocals with clean vocals that sound like he tried to audition for High School Musical. Musically, there's no outstanding qualities here. Lots of repeated chugging on one note, faster (mostly mid-paced) sections that aren't any more impressing, and overuse of that damn keyboard!

And the worst thing about having these electronic influences it that they almost fucking work! I've been impressed by a good amount of the material that Japanese melodic trance death metal act Blood Stain Child has put out as well as the Russian industrial metal/electronic/ambient project Senmuth's EBM material. But even in the metalcore setting, there's also Born of Osiris, who have put a decent amount of attention in the guitar work to make the keyboard use seem acceptable; having them not sound like a rave party also helps. The keyboards should be used as a booster for the music's atmosphere, not an accessory to wave around like your "swag".

At the end of the day, we have a very big mess of an album here. 'It's Now or Never' is not worth a damn to check out, and the only reason why I'm not putting it in the bottom tier of my ranking system is that it almost worked. But there's just way too many things wrong with it to justify giving it any proper praise.