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2478 reviews/ratings
IMMORTAL - The Seventh Date of Blashyrkh Black Metal
DARKTHRONE - A Blaze in the Northern Sky Black Metal
CARACH ANGREN - Death Came Through a Phantom Ship Symphonic Black Metal
ANCIENT WISDOM - For Snow Covered the Northland Atmospheric Black Metal
FEN - Epoch Atmospheric Black Metal
DARKENED NOCTURN SLAUGHTERCULT - Hora Nocturna Black Metal
KVIST - For kunsten maa vi evig vike Melodic Black Metal
BORKNAGAR - The Olden Domain Black Metal
CRUACHAN - Folk-Lore Folk Metal
АРКОНА - Гой, Роде, гой! Folk Metal
АРКОНА - От сердца к небу Folk Metal
BEYOND TWILIGHT - Section X Progressive Metal
BEYOND TWILIGHT - For the Love of Art and the Making Progressive Metal
ICED EARTH - Night of the Stormrider US Power Metal
ICED EARTH - Burnt Offerings US Power Metal
ICED EARTH - Horror Show US Power Metal
BLIND GUARDIAN - Tales From the Twilight World Power Metal
REBELLION - Born a Rebel Power Metal
REBELLION - Miklagard - The History of the Vikings Volume II Power Metal
REBELLION - Arise: From Ginnungagap to Ragnarök - The History of the Vikings Volume III Power Metal

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Power Metal 360 4.14
2 Heavy Metal 309 3.86
3 Progressive Metal 259 4.16
4 Folk Metal 153 3.88
5 Black Metal 121 4.06
6 Hard Rock 117 3.58
7 US Power Metal 108 4.35
8 Atmospheric Black Metal 97 4.32
9 Symphonic Metal 96 3.92
10 Thrash Metal 85 3.99
11 Death Metal 79 3.53
12 Technical Death Metal 64 4.27
13 Melodic Death Metal 62 3.86
14 Non-Metal 58 3.72
15 Melodic Black Metal 44 4.30
16 Speed Metal 44 3.93
17 Groove Metal 41 3.37
18 Symphonic Black Metal 37 4.20
19 Gothic Metal 34 3.93
20 Alternative Metal 34 3.04
21 Stoner Rock 33 3.83
22 NWoBHM 30 4.40
23 Metal Related 25 3.82
24 Doom Metal 21 4.26
25 Heavy Psych 19 4.34
26 Heavy Alternative Rock 18 3.53
27 Traditional Doom Metal 18 4.44
28 Death-Doom Metal 13 4.38
29 Stoner Metal 10 4.10
30 Viking Metal 9 3.72
31 Pagan Black Metal 9 3.83
32 Industrial Metal 8 4.19
33 Sludge Metal 8 4.00
34 Avant-garde Metal 7 3.57
35 Brutal Death Metal 6 4.17
36 Depressive Black Metal 6 3.08
37 Funeral Doom Metal 5 4.20
38 Melodic Metalcore 5 3.50
39 Deathcore 4 4.00
40 Technical Thrash Metal 4 3.88
41 Glam Metal 3 2.33
42 Crust Punk 3 3.17
43 Death 'n' Roll 3 1.00
44 Proto-Metal 3 3.50
45 Nu Metal 2 1.25
46 Atmospheric Sludge Metal 1 4.00
47 Funk Metal 1 1.00
48 Drone Metal 1 1.00
49 Trance Metal 1 0.50

Latest Albums Reviews

MOTHERSHIP High Strangeness

Album · 2017 · Stoner Rock
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When the opening title track of Mothership's 2017 third full-length album High Strangeness kicks off, you may just think you put on the wrong album. After all, the US trio is known to be a stoner metal act. But coming out of the speakers on this first track is neither stoner nor metal, but pure, beautiful space rock. Just over three minutes later though and the band start to show their true colours, as Ride the Sun introduces distorted riffs and vocals into the equation. This song is more of a stoner rock number, but the band gradually increases their metallic tendencies as the track does on, including a really heavy doomy bit towards the end before it's closed with a lead bass line. Then with Midnight Express, Mothership really start to deliver what was promised, with heavier, crunchier metallic riffs and more raw vocals alongside melodic singing.

High Strangeness is a varied record that isn't too long either, lasting for only 33:32 minutes, but this plays into its favour well. There's a twist around every corner and all kind of elements are to be found from the heavy and hard rocking to the psychedelic. After Midnight Express we move onto Crown of Lies, which has a really galloping metallic riff but otherwise is like a bridge between the two preceding songs and then it's onto Helter Skelter, which brings a noticeably fuzzier guitar tone to the table. Next, Eternal Trip returns things to a lighter but less spacey psychedelic rock sound, while finally Wise Man and Speed Dealer round the album off with as close to business as usual as the record ever delivers.

Due to the diversions into space and psychedelic rock, High Strangeness comes over as more of a rock record overall despite the band's reputation as a stoner metal act. There's still plenty of more metallic riffs here, in fact I'd say that the core sound is fairly summed up as stoner rock/metal but it's difficult to think of it as a metal album in total. I haven't heard Mothership's previous albums to know if High Strangeness is much of a departure for them, but one thing is for sure, this record is a real winner with its regularly changing yet never forced style shifts, so they've definitely done something right. Great stuff.

SPECTRAL VOICE Eroded Corridors of Unbeing

Album · 2017 · Death-Doom Metal
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The fusion of doom metal and death metal can result in a number of vastly different sounding albums all being branded under the same 'death-doom metal' banner. From more melodic and gothic stuff like the recent (and early) Paradise Lost outings to slowed to a snail's pace crossovers with the funeral doom metal style and even something like Exuvia by The Ruins of Beverast that throws in all kinds of unusual influences like tribal ambient. Then you get an album like Eroded Corridors of Unbeing, the 2017 debut full-length by US act Spectral Voice, which instead of feeling like a doom metal album with death metal influences like a lot of death-doom metal can be described as, is more like a true fusion of the two: in some ways it's a death-doom metal album, in others it's a doom-death metal album.

I say this because there's plenty of instances during the album where Spectral Voice's music is much more death metal based than it is in doom metal, especially during tracks like Lurking Gloom where they pick up the tempo and go beyond what is normally considered acceptable for doom metal, even the more heavy metal influenced so called 'traditional' style. Maybe that shouldn't be a surprise when most of the band's line-up also belongs to the death metal act Blood Incantation, so they're hardly greenhorns (Spectral Voice themselves have also previously released no less than five demos and two splits) in the genre.

Yes, more often the music on Eroded Corridors of Unbeing is slow to mid-paced, but it certainly equally has the sound of a death metal album in terms of riffing style. And it sounds like a particularly filthy death metal album at that. There's no modern squeaky clean polished production work been done here and the band show everything they can do offer perfectly without it. Through it all though the album builds an atmosphere of oppressive menace, which is in no way mitigated by the inclusion of melodic guitar lines and notes and ambient sound effects during the brief moments the album allows you to come up for air. I can't understand the vocals, but in this case I don't need to: they function perfectly as an extra instrument, adding an extra layer to the evil cacophony of guitars, bass and drums.

Eroded Corridors of Unbeing is a mid-length album, containing five songs. I find that some death-doom metal albums can end up seeming like they've been drawn out for too long, but there's no danger of that impression forming here. These five songs are packed to the brim with quality riffs, and though it sure doesn't sound pretty the unpolished production gives the album a certain kind of charm that has me instantly hooked in Spectral Voice's style. I really think this one is a special album. It's quickly become my new personal favourite doom and death metal album of the year. Play it loud and often.

RENDERED HELPLESS Entities of Transdimensional Emergence

Album · 2017 · Brutal Death Metal
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MMA Reviewer's Challenge August 2017 – Randomly selected previously unreviewed 2017 release.

Brutal death metal is a genre designed to push the death metal sound to its most extreme. I've always been under the impression that doing that this is the easy part. The hard part would be doing it in such a way that an album stands out in some way. One man act of Alexander Paul (Organectomy), Rendered Helpless, from New Zealand, is back with his second album under the name, Entities of Transdimensional Emergence, which shows a lot of promise for this young artist in the genre.

The album contains nine tracks and only lasts a total of 28:20 minutes. We're talking short tracks that waste no time, just do their business, and then they're over, so in that sense the structure of the album is fairly typical of the genre. Speaking of which, Entities of Transdimensional Emergence is technically more of a slam death metal album and this is the main feature of the music. The style is bit monotonous on the surface, but I found that I had little trouble listening to the whole album in one go, though it's definitely in its favour to have such a short length. Regardless being able to listen to the whole thing in one go is the first hurdle crossed when it comes to genres like brutal/slam death metal, so in my book that puts Rendered Helpless that much closer to the head of the pack. Also working in this album's favour is that there are a few other influences that can be picked up on in music if you listen past the slams, notably a bit of death-doom metal in the slower parts.

This album isn't my typical thing by any means, so it isn't the easiest of albums for me to write about. The most positive thing I can say in its favour is that it's an album from a genre that, while I don't completely dislike it, largely find uninteresting and I actually do quite like this one, though it's not something I'd revisit very often.

CAVITY Supercollider

Album · 1999 · Sludge Metal
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Metal Music Archives Reviewer's Challenge: Album selected by aglasshouse.

With some albums you only need to take a glance at its artwork or the artist's logo to make a reasonable guess about what sort of music it is. With albums like Supercollider, the third album by American metal band Cavity, I'd have guessed wrong if I hadn't already been told. You can no more judge an album by its cover than you can a book. I'd have guessed at something in the post-grunge line looking at either the original cover or the 2002 reissue over, but I'd have been dead wrong. But then who could have guessed that this rather unassuming and (in my view) interesting style of cover would be hiding some heavy, semi-doomy, sludge metal?

The 2002 version of this album also brought some changes to its tracklist, adding in two extra ones, Xtoone and ...Who Doesn't Even Know Yet? For some reason the original final song of the album, Almost Blue, was removed in this edition of the album. It's this version of the album that I have listened to. The album has however had another reissue, this time on vinyl, in April 2017 which restores the original 1999 tracklist.

Cavity aren't a band who mess about with their song-writing. Their main focus is heavy, fuzzy riffs. Vocals play a prominent role as well, but their do seem secondary to the guitars. They aren't a showy band though; there isn't any lead guitar to speak of in their music and their writing style tends towards a short track duration. Tracks two (Set in Cinders) through six (Threshold), don't even hit three minutes. Just heavy riffs, with the occasional added bit of full-on doom slowness. I'd also say it has a few stoner metal moments, a genre that some of the band's other albums seem to be more heavily associated with. Here it's just flavour though, like with the doom metal. Supercollider is otherwise a straightforward sludge metal record, out to do one simple job: make those riffs as heavy as possible.

I think they do a pretty decent job at that, but with that said, if you're listening to albums looking for a lot of variation then you won't find too much of it here. As I said before, Cavity aren't a flashy band, so the closest thing you'll get a change of pace with is probably Inside my Spine where the vocals are harsher and more traditional growling rather than the hardcore shouts and raw singing used elsewhere. Xtoone's style also stands out as a bit different but as I said before, this song doesn't exist on the original 1999 version of the album and my honest opinion is that its rather throwaway, so it beats me why the 2002 version added it.

Cavity don't play a style of music I listen to very often but as far as my taste in sludge metal goes they certainly display a raw kind of charm that as a metal fan I find difficult not to smile about. 4 stars.

BATHSHEBA Servus

Album · 2017 · Doom Metal
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MMA Reviewer's Challenge: Album selected by Nightfly.

Belgian doom metal act Bathsheba have been around since 2013 and have previously released a demo and an EP. Their first full-length album is 2017's Servus. The band are a female fronted act whose vocalist Michelle Nocon also sings for Death Penalty and previously Serpentcult. Like many in the whole doom with female vocals scene Servus is an album that deals with occult and witchcraft themes. There are quite a few bands like this doing the rounds so how does this one stand out?

Initially, meaning most of the way through the first track Conjuration of Fire, I didn't think the band did at all, though they did establish a heavy, mesmerising charm with their doom riffs quickly enough. Nocon's voice mixed with the fairly fuzzy sounding guitars put me in mind of groups like Jex Thoth or Mount Salem, though unlike them Bathsheba doesn't use any psychedelic elements. Then Michelle Nocon abruptly switched to a growl, which shifted this train of thought entirely. Don't call this death-doom just because it has these extreme elements to it though as there is nothing remotely close to death metal on Servus. It's more like black metal influences if anything, but it isn't quite those either. I like it though.

With the second track Ain Soph the band show off an experimental side by adding in some crazy sounding saxophone work. The album doesn't manage to surprise me quite like that again but does keep showing off more sides to the band such as the long and atmospheric third track Manifest, which features some great lead guitar work from Dwight Goossens during a lengthy instrumental passage that lasts until the end of the song. They save the best for last though with the excellent I at the End of Everything, which I think has some of Michelle Nocon's best singing. It's still got those crushing doom riffs but also a more epic sound to it.

Though my first impression was shaky at best, Bathsheba were quick to win me over with their brand of doom metal. Servus is the kind of album that reminds me that this genre has a lot of good stuff coming out of it that too my shame I tend to largely ignore. I really need to stop doing that.

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