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2349 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
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 355 4.13
2 Traditional heavy metal 299 3.83
3 Progressive Metal 257 4.15
4 Folk Metal 159 3.86
5 Hard Rock 149 3.66
6 Black Metal 120 4.07
7 US Power Metal 108 4.35
8 Symphonic Metal 95 3.92
9 Atmospheric Black Metal 89 4.31
10 Death Metal 78 3.51
11 Thrash Metal 73 3.90
12 Technical Death Metal 60 4.27
13 Melodic Death Metal 60 3.83
14 Non-Metal 59 3.72
15 Speed Metal 43 3.93
16 Melodic Black Metal 41 4.22
17 Groove Metal 41 3.37
18 Doom Metal 37 4.27
19 Symphonic Black Metal 36 4.22
20 Alternative Metal 34 3.01
21 Gothic Metal 31 3.90
22 Metal Related 24 3.83
23 NWoBHM 22 4.36
24 Industrial Metal 9 3.78
25 Death-Doom Metal 9 4.39
26 Sludge Metal 8 4.00
27 Stoner Metal 6 4.08
28 Avant-garde Metal 6 3.67
29 Depressive Black Metal 6 3.08
30 Brutal Death Metal 5 4.10
31 Metalcore 5 3.50
32 Deathcore 4 4.00
33 Funeral Doom Metal 4 4.50
34 Glam Metal 3 2.33
35 Death 'n' Roll 3 1.00
36 Hardcore and crust 3 3.17
37 Proto-Metal 3 3.50
38 Nu Metal 2 1.25
39 Atmospheric Sludge Metal 1 4.00
40 Funk Metal 1 1.00
41 Drone Metal 1 1.00

Latest Albums Reviews

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.


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.


Album · 2016 · Melodic Black Metal
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Likely owing to the amount of line-up changes they've had since the release of their second album Underwatermoon in 2010, Israeli progressive black metal act Winterhorde have certainly made their fans wait for the release of their third album. Entitled Maestro, it was finally released in 2016. It's been out a while now, and it's been clear to me for some time that the wait was definitely worth it, as I love this album. But the more I listen to it I can't help wonder if this won't end up, in hindsight, feeling like a transitional album for the band.

This is still a black metal album, melodic/symphonic black metal specifically, but it sounds to me like Winterhorde are taking steps toward leaving black metal behind in comparison to Underwatermoon. The changing sound of the band is even more evident if you listen to their first album Nebula and Maestro back to back and skip Underwatermoon. This album may bring back Nebula's vocalist Zed “Z. Winter” Destructive to the fold after being replaced by Horeph for Underwatermoon (Horeph still guests on Maestro's title track though) but they've also decided to bring in a second vocalist, Igor "Khazar" Kungurow, to sing clean vocals, probably because Horeph used both cleans and growls, which makes it a very different release to Nebula. While Zed certainly doesn't hold back from using his growls on any of the songs here and the vocals are more or less evenly shared (with a few guests showing up here and there), the album does feel as if it's Zed supporting Igor, who shows himself the surprise star of the album. In extreme metal artists mixing growls and cleans isn't unheard of but the clean singing usually plays second fiddle to the growling and that's not my impression of this album. That the music is also very polished for black metal only furthers my belief that in time, perhaps even on their next album, they'll have left black metal behind and fully embraced a progressive metal sound.

Of course I might be completely wrong about that, but I can only write about my own experience with the album and to be based on how this sounds it seems likely. But whether I'm right or wrong the one thing I'm definitely sure if is that Winterhorde is a class act who've produced another excellent release. It's excellent from start to finish, but the key tracks for me are Worms of Soul, where the band add the distinctive sound of a theremin to their music, the 11:30 long epic The Heart of Coryphee and the brilliant closing track Dancing in Flames.

Latest Forum Topic Posts

  • Posted 6 days ago in Now -- what are you listening to? V2
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    Heavy Metal:Night Viper - Exterminator (https://open.spotify.com/album/6SEPjYs5Fe00nngPnJJlmc)Satan's Hallow - Satan's Hallow (https://satanshallow.bandcamp.com/album/satans-hallow)Speed Metal:Stälker - Shadow of the Sword (https://open.spotify.com/album/6wxKbGBFi7vumdSh1MfK4N)Stallion - From the Dead (https://open.spotify.com/album/0wEii5KdyXkCCfThiZKsTi)Vulture - The Guillotine (https://open.spotify.com/album/3tWO94ZYNlTg249Fk0b0G9)666sharon6662017-12-08 08:39:24
  • Posted 8 days ago in Reviewer's Challenge Xmas/New Year Sign-Ups
    I'll see if I can pick out some trad and speed metal candidates.


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