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165 reviews/ratings
SOEN - Imperial Progressive Metal | review permalink
EVERGREY - In Search of Truth Progressive Metal | review permalink
CRADLE OF FILTH - Dusk and Her Embrace Symphonic Black Metal | review permalink
OCEANS OF SLUMBER - Starlight and Ash Progressive Metal | review permalink
AVATARIUM - Death, Where Is Your Sting Doom Metal | review permalink
THEATRE OF TRAGEDY - Velvet Darkness They Fear Gothic Metal | review permalink
SUBTERRANEAN MASQUERADE - Mountain Fever Progressive Metal | review permalink
DOLD VORDE ENS NAVN - Mørkere Black Metal | review permalink
MY DYING BRIDE - The Dreadful Hours Death-Doom Metal | review permalink
STAR ONE - Revel In Time Progressive Metal | review permalink
GREEN CARNATION - Light of Day, Day of Darkness Progressive Metal | review permalink
MOTORPSYCHO - The All is One Non-Metal | review permalink
TRANSATLANTIC - The Absolute Universe - The Breath of Life Metal Related | review permalink
IOTUNN - Access All Worlds Progressive Metal | review permalink
BALANCE OF POWER - Perfect Balance Heavy Metal | review permalink
SILENTIUM - Infinita Plango Vulnera Gothic Metal | review permalink
TRISTANIA - World of Glass Gothic Metal | review permalink
THE SINS OF THY BELOVED - Lake of Sorrow Gothic Metal | review permalink
THEATRE OF TRAGEDY - Last Curtain Call Gothic Metal | review permalink
THEATRE OF TRAGEDY - Assembly Non-Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Progressive Metal 44 3.25
2 Gothic Metal 35 3.16
3 Power Metal 22 2.91
4 Metal Related 9 3.50
5 Non-Metal 8 3.00
6 Symphonic Metal 7 3.21
7 Doom Metal 6 3.33
8 Hard Rock 6 2.83
9 Neoclassical metal 5 3.00
10 Black Metal 4 3.38
11 Heavy Metal 3 3.17
12 Death-Doom Metal 3 3.67
13 Symphonic Black Metal 3 3.50
14 Melodic Black Metal 2 2.50
15 Melodic Death Metal 1 3.00
16 Glam Metal 1 2.00
17 Heavy Psych 1 3.50
18 Death 'n' Roll 1 2.50
19 Alternative Metal 1 3.50
20 Atmospheric Black Metal 1 3.00
21 Technical Thrash Metal 1 4.00
22 Viking Metal 1 4.00

Latest Albums Reviews

THRESHOLD Dividing Lines

Album · 2022 · Progressive Metal
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British prog metal masters Threshold are back with their 12th studio album Dividing Lines, released on November 18th via Nuclear Blast. This is their second LP after singer Glynn Morgan – who had already appeared on Threshold’s sophomore album Psychedelicatessen in 1994 – made a return to the band’s ranks, replacing Damian Wilson. The rest of the line-up is unchanged compared to the band’s previous record Legends of the Shire. Karl Groom and Richard West lead the charge armed with guitar and keyboards, respectively. As usual, the pair penned much of the material included on the new record, although there are also notable contributions by Morgan, who injected fresh blood into the band’s songwriting department (more on this later). The line-up is completed by Johanne James (drums) and Steve Anderson (bass), forming a time-tested rhythm section for nearly 20 years now.

The band presented Dividing Lines as the “darker, moodier brother” of Legends of the Shire and the description is quite accurate: while Legends was a sprawling, double-disc progressive rock tour-de-force, Dividing Lines marks a return to a heavier and more compact sound that has characterized much of the band’s output in the new millenium. Prog rock aficionados need not worry, though: there is plenty of sophisticated progressive goodness running through the album’s 64 minutes, including distinct references to the 1980s neo-prog sound of bands like Marillion and Arena. This is probably the aspect of Dividing Lines that I found most satisfying: the album is a masterwork of balance as heavy prog metal riffage and aggression are combined with lighter prog rock arrangements and soft, emotional melodies, masterfully interpreted by Morgan’s expressive and resonant voice. The singer also contributed to the songwriting with a handful of tracks that hint towards modern metal influences (the faint growls emerging underneath the cleans in the chorus of “Let It Burn”, the massive vocal hooks in “King of Nothing” and “Run”). These influences also emerge more generally in West’s futuristic keyboard sound, in the crisp, vocal-driven production, and in the streamlined song structures that never stray far away from a simple verse-chorus form.

This was a surprise for me, as I tend to associate Threshold with a more traditionally progressive form of metal, in a similar camp as Ayreon / Star One, Queensrÿche or Fates Warning. To their credit, Threshold pull off this modernist spin majestically – and this comes from someone who is not a big fan of the modern metal fad in the first place. Threshold’s secret weapon lies in the exceptional songwriting and arrangements. Simply put, Dividing Lines contains a handful of songs that can be considered career highlights for the band. “Hall of Echoes”, “Let It Burn”, “Run” and the long-form epic “Defence Condition” offer a mighty testament to Threshold’s extraordinary ability to tread a fine line between complexity, heaviness, technical playing, and melodic accessibility. The hooks are absolutely exhilarating, but the songs also possess strong replay value thanks to the intelligent arrangements and interesting dynamics. I am particularly fond of the depth and subtlety in the arrangements, with keyboards and guitars playing off one another to create an ever-changing, multi-layered sonic background that ensures the music never feels monotonous or repetitive. The playing is also sublime, with strong solos by both Groom and West, plenty of powerful grooves by the rhythmic duo Anderson-James, and a superb performance by Glynn Morgan, who sounds like a man at the highest point in his career.

My only gripe with Dividing Lines is that the songwriting quality drops somewhat halfway through the album. The first four songs are excellent, but things start to fall through with the first long-form epic track included on the LP, “The Domino Effect”: the melodies here feel slightly phoned-in and predictable, which makes the song seem longer than it actually is. The subsequent tracks “Complex” and “King of Nothing” also fail to leave a strong impression. Things start to look up again with “Lost Along the Way”, although its very overt soft neo-prog influences are somewhat at odds with the more metallic nature of the rest of the album. Fortunately, Dividing Lines closes mightily strong with two of its best tracks, “Run” and “Defence Condition”, whose magnificence makes me forget the somewhat pedestrian 25 minutes that preceded them.

Despite the slight mid-flight turbulence, Dividing Lines stands out as one of the best albums by the British progsters, as well as one of the most accomplished melodic prog metal releases of the year. The album may not break any new ground, but when the quality of the songwriting is as high as on some of the tracks included here, it would be foolish to complain. Album after album, Threshold continue to perfect their special blend of melodic power metal and progressive rock, and on Dividing Lines they have found a way of expression that is at times utterly breath-taking. The album is the sound of a band riding a creative peak at the height of their compositional powers: if you are a prog metal fan, you’d be a fool not to ride along.

[Originally written for The Metal Observer]


Album · 2022 · Progressive Metal
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How on Earth did I miss out on this amazing band for all these years?! Hailing from Leipzig, Germany, Disillusion play a formidable distillate of all my favourite metal genres, from melodic death metal, to avant-garde / progressive metal, to dark gothic/doom metal. And yet their new record Ayam, released on November 4th via Prophecy Productions, is the first I hear from them - and it simply blew me away! The LP is just the fourth in a career that spans nearly 30 years and includes a long hiatus between 2006 and 2019. That may in part explain why the band has flown under my radar for so long, but still I cannot stop kicking myself for being so late to the party!

This album is incredible. It takes the listener on a sonic journey that knows no boundaries, exploring a kaleidoscope of diverse metal styles and influences with terrific aplomb and intelligence, as each twist and turn of this 60-minute beast feels as natural as water. Opening track “Am Abgrund” is a great example of the extraordinary creative drive that runs through the whole LP. This song throws literally everything at the listener during its exhilarating 11 minutes. A ferocious death metal section with blast beats, lacerating growls and – believe it or not – trumpet and flugelhorn, suddenly resolves in an epic clean chorus, whose vocal harmonies remind me of the way clean voices are arranged by Viking metal bands like Borknagar or Enslaved. The song’s first half is a hurricane, constantly swinging between fury and melody in a way that should be jarring and yet it works splendidly. This rollercoaster of a section eventually culminates in a stunning jazzy guitar solo that gives me strong Cynic vibes. A calmer section ensues, with acoustic guitar arpeggios and soft clean vocals painting the sort of suffused, ghostlike atmospheres one may find in the work of Opeth or Riverside. Another splendid chromatic solo leads back to the death metal pyrotechnics of the opening section, bringing the song full circle.

The rest of the album continues in a similar fashion. Each song brings in new shades of darkness, swinging between annihilating aggression (“Tormento”, “Abide the Storm”), and calmer nocturnal meditations built around dreamy vocals, mournful cellos and acoustic guitars (“Driftwood”, “Nine Days”). This injects a strong unpredictability in the proceedings, as one never knows where the next song may venture. This exhilarating sense that “everything goes” is also achieved by largely eschewing formulaic song structures: each new track takes its own course, loosely arranged around verse and chorus, but free to expand and contract according to the music’s needs. The songwriting is equally fluid, embracing an ever-changing set of influences from song to song. Echoes of gothic metal (Moonspell) emerge in “Nine Days”, but the same song later explores the sort of serene post-rockish soundscapes that one can find in Anathema’s output. Meanwhile, “Longhope” combines catchy dark metal vibes à la Katatonia with a Leprous-esque chorus that is at the same time poppy and brutal. Elsewhere, we find traces of Devin Townsend’s across-the-board take on extreme metal (“Tormento”), but also doomy riffs and tempos (“Abide the Storm”), and even hints of 1970s progressive rock (the Floydian solos in “Abide the Storm”).

It’s a lot to take in, but Disillusion pull it off with ease, making each transition feel natural, almost necessary. Andy Schmidt’s distinctive voice plays a big role in ensuring the album flows without solution of continuity. His subdue, melancholy melodies and cleverly-constructed vocal harmonies are the sonic trademark of the LP: like a beacon in the dark, he guides the listener through the album’s dense and dazzling journey. His vocals are the fixed point around which the music ebbs and flows, always returning to those familiar cadences and melodies. This achieves a beautiful equilibrium between exploration and familiarity, which is one of the major strength of this release.

There is another type of balance that Ayam nails perfectly: that between technical playing and emotional delivery. The progressive metal scene today seems characterized by a chasm between bands that play hyper-technical, but emotionally dry music, and bands that instead embrace the road of “cinematic metal”, rich in emotions but often limited in terms of virtuoso playing. Disillusion sit at the exact intersection between these two traditions, like very few other bands do (Opeth, perhaps, although their music does err on the side of technicality at the expense of emotional punch). Ayam brims with exceptional playing. The guitars (played by Schmidt, Ben Haugg and exiting band member Sebastian Hupfer) pull off excellent riffs and solos, but Martin Schulz’s jaw-dropping performance at the drumkit deserves to be mentioned too: he is a powerhouse, deftly switching between brutal bludgeoning and nimble percussions in the most natural way possible. Throughout the album, however, the focus is firmly retained on effective songwriting and emotional delivery: there is no trace of technical showmanship for the mere sake of it. The result is music that lends itself to two modes of listening – cerebral and visceral –, effectively combining the best of both worlds as far as modern prog metal is concerned.

Among all the praise, there is one aspect of Ayam that bothers me a little: the songs’ sequencing. There are two long-form epic tracks on the album, “Am Abgrund” and “Abide the Storm”, both exceeding 11 minutes in length. Both songs are excellent, but placing them so close to one another (at position #1 and #4, respectively) does not work well. The similarities between the two songs become too salient, reducing their impact (for instance, their structure is similar, with a calmer, moody middle-part bookended by more energetic sections). My other, and bigger, complaint concerns the closing track “The Brook”. This song feels unnecessary to me, because the album’s perfect closing moment has already passed, with the beautiful, languid fade-out of its penultimate song “From the Embers”. In my opinion, those should have been Ayam’s last notes. After such a splendid, uplifting come-down, “The Brook” feels almost like a second, redundant album finale, that lack however the emotional punch of “From the Embers”.

However, in the grander scheme of things. these are mere quibbles. Ayam is a terrific accomplishment that, come December, I am sure will end up on many album-of-the-year lists. There is little doubt in my mind that this is one of the best, richest progressive metal albums released in the past decades, and fans of dark, melancholic metal need to check this out pronto!

[Originally written for The Metal Observer]

THERION Leviathan II

Album · 2022 · Symphonic Metal
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Swedish symphonic metal masters Therion are back with their 18th studio album, which is also the second instalment of their “Leviathan Trilogy” launched last year with the release of the first Leviathan album. Out on October 28th via Nuclear Blast, Leviathan II sticks to the template Christofer Johnsson announced for the trilogy: to give fans a bird-eye overview of Therion’s classic sound in all its different facets, from bombastic and catchy “hits”, to melancholic symphonies, to adventurous excursions in proggy territories. The first Leviathan mainly focused on the hits, while Leviathan II takes on the moodier aspects of the Swedes’ music, using their iconic 1998 album Vovin as a blueprint.

The guitarist did keep to his word and the 11 songs we find on Leviathan II sound indeed as a sort of “best of” of Therion’s most melancholic material from the period between Vovin and Sirius B. The songwriting mostly idles in the mid-tempo range, although there are frequent tempo changes that ensure unpredictable injections of energy, keeping proceedings lively. The mood is solemn and gloomy, an effect underscored by the use of grave and lush choral arrangements that use the full spectrum of voices, from soprano to bass. The vocal melodies are excellent and I love the smooth way that the operatic singing is intertwined with a more straightforward rock/metal style. The alternation between different vocal styles (and singers) throughout the album propels it forward dynamically, escaping the pitfall of unidimensionality that has plagued some previous Therion’s records. The mellower and more introspective nature of Leviathan II also invites a slower unwinding of the music, without rushing for the big chorus hook as it was instead the case for the previous album. As a result, Leviathan II features a better balance between instrumental parts and vocals, compared to the first instalment of the trilogy. There are more spots for guitar and keyboard solos as well as lengthier instrumental passages, with great interplay between chuggy guitar riffs, orchestral scores, and 1970s Hammond and mellotron keyboards.

These qualities make Leviathan II a rather enthralling listen from start to finish. The quality of the material is consistently high and Johnsson wisely injects good variation across the 11 compositions, alternating soft ballads (“Lunar Coloured Fields”, “Hades and Elysium”) with more energetic pieces, in some cases even reviving the use of harsh vocals (“Lucifuge Rofocale”). The middle section of the album may plod a little, with material that feels a tad less inspired (“Hades and Elysium”, “Midnight Star”), but things take a very interesting turn towards the end of the LP. Here Johnsson sneaked in a couple of proggy moments, perhaps as an appetizer for Leviathan Part III, which has been announced to lean into progressive rock territory. This is most apparent on “Cavern Cold as Ice”, which is also my favourite track on the album. It starts with a Jethro Tull-like flute flourish that soon makes space for some beautiful ABBA-infused vocal harmonies and a melody that could feature in a Broadway musical. Things get even weirder as a menacing mid-section slows down the tempo to doom levels of sluggishness before the song explodes in a climactic solo. Quite an adventure indeed! “Pazuzu” is another gem, featuring a tremendous performance by Eclipse’s singer Erik Mårtensson which adds an extra gritty kick to the song, closing the record in style.

For all its positives, Leviathan II (and the trilogy as a whole) puts this reviewer in a difficult conundrum. On this album, like on its predecessor, Therion deliberately take inspiration from their own back catalogue to capture and revive the essence of the “classic Therion sound”, and write new classics with it. In that respect, Leviathan II is a resounding success: the music on this album is really strong, probably the best Therion have recorded in over a decade. However, why should you buy and listen to this record, rather than dust off the shelves your old copy of monumental albums like Vovin or Theli? There’s no easy answer that works for everyone here. Personally, I find that those early albums possess a stronger mystique, and possibly better flow and coherence, too. On the other hand, Leviathan II has better production value (the choirs and orchestrations sound fantastic) as well as more refined songwriting and arrangements that come with the additional two decades of experience that Mr. Johnsson has meanwhile developed. In the end, I can happily live in a world where the Leviathan trilogy coexists with the band’s back catalogue – spinning the latter when I want a more immersive and momentous experience, and the former when I need a quick fix of quintessential Therion sound.

[Originally written for The Metal Observer]


Album · 2002 · Hard Rock
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Denmark-based ensemble Cornerstone wasted no time and, less than two years after their excellent debut Arrival, released their sophomore record Human Stain. The band came together in 1999 as a collaboration between Royal Hunt’s bassist Steen Mogensen and former Rainbow’s singer Dougie White. The rest of the line-up playing on Human Stain is comprised of drummer Allan Sørensen (Narita, Royal Hunt), guitarist Kasper Damgaard, and keyboard player Rune Bring. Long-time Royal Hunt collaborator Kenny Lübcke sings backing vocals, and guitarists Jacob Kjaer (also Royal Hunt!) and Tony Rahm (Prime Time) provide solos in a couple of tracks.

Royal Hunt got mentioned quite a lot in the previous paragraph, but that shouldn’t give you the idea that Human Stain is a sort of Royal Hunt B-sides project. There are of course moments in the music when we are reminded of the symphonic bombast of the Danish maestros, but the album’s overall sound is quite different, and so are the main influences it draws upon. Soundwise, the album is much more guitar-centred than any album Royal Hunt have ever recorded. The bass also sits quite high in the mix and is a prominent driving-force throughout the record. This gives Human Stain a ballsy, no-frill hard rock sound that sets it apart from the lush symphonic productions of Mogensen’s other band.

The most striking difference, however, lies in the influences that Cornerstone take on board on this record, namely Rainbow and Ronnie James Dio. This was also the case on the band’s first LP Arrival, although that album lived in a more unique and special sonic space, mixing classic metal, hard rock and blues. Human Stain shreds off some of those influences and follows more decidedly the classic heavy metal sound of Rainbow. In some instances, the similitude with Ritchie Blackmore’s band is uncanny, also thanks to Dougie White’s voice that is remarkably similar to Ronnie James Dio’s, showcasing that irresistible mix of grit and melody that the American singer mastered so well.

The influence of Rainbow defines the album sonically, but also holds it back when it comes to assessing its overall standing in terms of contribution and originality. There is not much going on in this record that you will not have heard somewhere else before (most likely on a record where Dio was singing). Moreover, despite the generally good quality of the material included here, the comparison with those early Rainbow records remains firmly in favor of the British forerunners: no matter how good songs like “Wounded Land”, “House of Nevermore”, and “Midnight in Tokyo” are, they will never manage to outcompete untouchable classics like “Stargazer”, “Kill the King” or “Rainbow Eyes”.

Ultimately, Human Stain lives and dies by its influences. It’s a thoroughly enjoyable collection of high-quality songs, well arranged and with plenty of catchy melodic hooks that make them memorable. It’s hard to shake off the deja-vu feeling, however. But if you can ignore it, Human Stain is a great record to spin once in a while.

TIAMAT Judas Christ

Album · 2002 · Gothic Metal
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Tiamat’s seventh full-length album has not a great rep among fans, which is somewhat unjustified in my opinion. The album was released three years after Tiamat’s “commercial” exploit, 1999’s Skeleton Skeletron. The line-up is largely unchanged. The band is still led by singer/guitarist Johan Edlund, with bassist Anders Iwers and drummer Lars Sköld forming a solid, no-frill rhythm section. The only addition to the line-up on the new LP is Thomas Petersson, who plays lead guitar delivering a handful of tasty solos throughout the record. Musically, Judas Christ continues Tiamat’s exploration of “easy-listening” gothic tunes. Edlund’s croony voice takes centre stage, with his catchy vocal lines and witty lyrics layered over simple guitar riffs, melancholic arpeggios, sultry Hammonds and atmospheric keyboards. The album mostly sticks to a pleasant mid-to-low tempo, enough to make you nod your head, but at a speed that is entirely safe for your neck muscles. It’s gothic metal, but soft and melodic, of the kind that you would have expected to hear in a rock club around those years.

The ample concessions to melody are partly the reason why Judas Christ disappointed fans of the band at the time, especially those who were already left unimpressed by Skeleton Skeletron. But there is another aspect of the album that somewhat penalizes the listening process. While Skeleton Skeletron had a very clear and coherent identity from start to finish, Judas Christ is much more heterogeneous, and probably even too diverse across its 12 songs for its own sake. The warning signs come early. While inspecting the album’s backcover, you will notice that the songs are divided into four “chapters”: Spinae (tracks 1 to 4), Tropic of Venus (tracks 5 to 7), Tropic of Capricorn (tracks 8 to 10) and Casadores (tracks 11 and 12). This is not just cosmetics: each group of songs sounds quite different from the others, to the point that one can almost think of Judas Christ as a collection of 4 distinct mini-EPs.

Spinae explores soundscapes at the intersection between gothic metal and melodic doom. The music is solemn, somber and dark. Even the most uptempo songs such as “Vote for Love” retain a deep sense of darkness and melancholy that makes them quite irresistible, frankly. The next chapter, Tropic of Venus, takes the doom and gloom of Spinae and filters it through a haze of 1970s psychedelia. “Fireflower” feels like a love affair between The Beatles and Black Sabbath, while the instrumental “Sumer by Night” screams Pink Floyd. “Love Is as Good as Soma” closes the chapter in great fashion, with a splendid combination of programmed loops, moody keys and dreamy melancholic guitar arpeggios. So far, Judas Christ is a phenomenal listen.

The other two chapters are alas much less interesting, in my opinion. The three songs included under Tropic of Capricorn feel a lot like outtakes from Skeleton Skeletron. They have the same “silly” rock vibe, playing on the combination between easy melodies, disturbing lyrics and gloomy atmospheres. However, while Skeleton Skeletron pulled that off with class, the songs here feel forced and tacky – not unlike Edlund’s side-project Lucyfire that was released one year prior. The album closes with Casadores – a chapter that takes Tiamat’s gloom in acoustic rock territories (“Heaven of High” is folksy, while “Too Far Gone” could have been written in collaboration with Tom Petty). It’s not a totally uninteresting experiment, although both songs fall a bit flat and are too long, ultimately coming across as slightly boring.

The rather dull second half is the sword on which Judas Christ ultimately falls. As the record comes to an end, I am left with a bittersweet taste that is hard to shake off entirely. It’s a pity because the album contains some of my absolute favourite songs in Tiamat’s discography (“The Return of the Son of Nothing”, “Vote for Love”, “Love Is as Good as Soma”). Indeed, the first 7 tracks are all of really high quality and I just kinda wish the album stopped there, rather than dribble along for another 5 lackluster songs until its unceremonious end. Despite these mixed feelings, it’s undeniable that Judas Christ once again confirms that, when it comes to gothic metal/rock, Tiamat are miles ahead of the competition in terms of class, artistry and musicality. So, whatever you think of this genre, Tiamat are among the very best that this particular brand of metal had to offer in the early 2000s.

Latest Forum Topic Posts

  • Posted 10 months ago in MMA Best of Year 2021 Voting Thread
    Soen - ImperialDold Vorde Ens Navn - MørkereSubterranean Masquerade - Mountain FeverSwallow the Sun - MoonflowersMoonspell - Hermitage Cradle of Filth - Existence Is Futile Transatlantic - The Absolute Universe (The Breath of Life)Therion - LeviathanIron Maiden - SenjutsuSeven Spires - Gods of DebaucheryLeprous - AphelionAt the Gates - The Nightmare of BeingHanging Garden - Skeleton LakeCynic - Ascension CodesEastern High - Halo Motorpsycho - Kingdom of Oblivion Evergrey - Escape of the Phoenix Iotunn - Access All Worlds Vola - WitnessKhemmis - DeceiverGaahls Wyrd - The Humming MountainHelloween - Helloween lukretion2022-01-17 14:58:48
  • Posted 1 year ago in MMA Best of Year 2020 Voting Thread
    Pain of Salvation - PantherAyreon - TransitusEnslaved - UtgardConception - State of DeceptionGreen Carnation - Leaves of Yesteryear Haken - VirusKatatonia - City BurialsIhsahn - TelemarkCaligula’s Horse - Rise RadiantDismal - Quinta EssentiaOceans of Slumber - Oceans of SlumberDool – SummerlandPsychotic Waltz - The God-Shaped VoidPyramaze - EpitaphOsyron - FoundationsSólstafir - Endless Twilight Of Codependent LoveDark Tranquillity - MomentThe Ocean - Phanerozoic II: Mesozoic / CenozoicHail Spirit Noir - Eden in ReverseGrayceon - Mothers Weavers VulturesJudicator - Let There Be NothingAdmin edit: the following have been removed due in ineligibility. Ihsahn - Pharos (Non-Metal)Acacia - Resurrection (2019) adg2112882021-01-27 06:50:38


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lukretion wrote:
1 year ago
Thank you! :-)
Tupan wrote:
1 year ago
UMUR wrote:
1 year ago
Great review and nice to see a new reviewer here :-)


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