#the institutional violence enacted upon people. it’s disgusting

[echidnana]

currently very angry at the state of psychiatry

[happymetalgirl]

Black Lives Matter (adapted from previous post)

I was finishing up my April albums post but I honestly couldn’t write about the albums I needed to without getting this out there first, and (as usual) it ended up being really long, so I separated it and made it its own post here.

I’m writing this part now at the beginning of June after an already tumultuous April and May, and now I’m just making myself sit down and do this because, well, honestly, it’s been pretty hard to justify spending my time writing about anything else with all all of what is going on right now. (I can’t wait to see what July throws at us.) But again, in all seriousness, I’m not looking for any pity or sympathy for my relatively mild circumstances at all because in all honesty, my assorted privileges have allowed my life to be pretty okay and proceed mostly uninterrupted in the midst of everything going on.

I’ll start by disseminating any ambiguity on what I’ll be talking about in these paragraphs. As I write this in the midst of a respiratory virus pandemic, another epidemic (possibly pandemic) of racist police brutality that has always existed in a culture of unhinged toxic masculinity in the United States has exploded to unbelievable and disgusting levels against Black people and peaceful protesters, ironically in wake of protests against fucking police violence, all of which is only emboldened and encouraged by local and federal leadership that is showcasing its oppressive, totalitarian ambitions in its unprecedented attempted revocations of its citizens constitutional and human rights.

I’ll make the necessary side note that this increasingly oligarchical government subservient to the will of military and prison industry has already shown its complete disregard for human rights for decades upon decades now through its violation of human rights through offensive wars and sanctions against other countries and its dehumanization of the refugees and immigrants who its actions create.

If you haven’t already checked out of this from all the political correctness breaching your conservative bubble (good job not being that person), but you’re upset because tHiS iS sUpPoSeD tO bE a MuSiC bLoG, uh, you’re on the wrong website buddy, and the potential tipping point of a long-awaited revolution in the midst of an economic depression, a viral pandemic, and a dual crisis of grotesque police violence and evolutionary transformation of proto-fascism into fascist dictatorship is no time to go about business as usual.

BUT OKAY, ENOUGH INTRODUCTION AND ENOUGH ABOUT ME! The point of this is to spotlight what to do in the wake of all of this. First of all, I don’t have all the answers and my perspective is as limited as any person’s, so if you’re an expert on any of these matters or if you have insight from having experiences that I as a white cis male have not had, if anything I’m bringing up here could be better in any way, feel absolutely free (but not obligated) to let me know.

Okay, so lots of problems at hand. The big, all-encompassing one facing all of humanity of course is the ecological disruption caused by industrially driven human-catalyzed climate change, and the rot of everything crystallizing at this current moment feeds into exacerbating that catastrophe, the next wide-reaching issue being capitalism, whose prioritization of profit and short-term gains is incredibly ill-equipped to handle a slow emergency like climate change or a more acute emergency like a global pandemic. Here in the U.S. we have a federal government so infested with corporate corruption to maximize capital profits for the country’s most wealthy that they couldn’t even choose the obvious solution of pausing the economy and providing for its people for the duration of the pandemic in the interest of public health over the appallingly quick choice of protecting the financial interests of the corporate “donors” that help them hold their positions of power, at the risk of maybe closing the gap a tiny bit between the truly despicably wealthy and the growing number of hopelessly impoverished. So while the wealthy get protection of their assets from the slow-down of business (you know, ‘cause the pandemic), the people in most need of help because of that slow-down and plunged into spiking unemployment get shit from the people meant to represent them. And that’s just the corporate rot that rears its head as a result of a pandemic!

Even in “normal” times, capitalism in this country has built its foundation on slave labor and justifying the use of slavery through racism (even after it became illegal to outright own people as slaves). That cornerstone of free/cheap labor that this country’s economy is built on whose role was served by slavery was filled by outsourcing to countries with an easily exploitable lower class (whose conditions are often exacerbated by U.S. meddling on behalf of business interests) and prison labor made possible by mass incarceration that has targeted similarly vulnerable people and communities of color through strategic, racially profiled over-policing of minority communities trapped in poverty through historic systemic racism.

The study of that global climate change I mentioned earlier is referred to as a crisis study because there isn’t an unlimited time to do something about it, and the ever-changing conditions and pivotal events of the world effect what needs to be done to combat it (and what it is too late to do). This current crisis of police brutality is one of those types of critical moments, for climate change and social justice. Police brutality didn’t become an issue when George Floyd was murdered on May 25th 2020; it’s been an ugly facet of this multifactedly ugly country for a long time now, but its being brought to light has instigated an uprising the likes of which has not been seen in a long while, and with it, an especially insidious aggression toward it by the increasingly fascist government and its authoritarian figurehead (to the point of threatening institution of martial law and suspending first amendment rights and habeas corpus) that at this point serves only to maintain complacency for the benefit of the ruling class and to the detriment of the disproportionately non-white lower working class (treated as a slave class). Consequently this is a pivotal time that obligates widespread action and ceasing of silence from privileged people like me who have been able to get away with writing about music largely apolitically for years. This is a time when we either plunge unfathomably further into the depths of fascism at the hands of the ruling class and the silence of the less-effected or we consolidate in this moment of broad energizing to both enact substantive change on the critical issue of police brutality and set a precedent and build momentum to achieve justice for LGBTQIA+ folk, other racial minorities and marginalized groups, and make the critical changes need to avoid civilizational dissolution in the face of the imperative to mitigate our impact on global warming.

Speaking of that change and the actions that this moment implores of us all to contribute our energy to: the most immediately critical issue at our feet, to both save human lives from being taken unjustly at the hands of police brutality and to galvanize this revolution to be able to demand further justice and critical social transformation, is ending police brutality. Being an institution born out of rounding up escaped slaves and given the state-supported monopoly on violence that attracts largely those seeking to satiate sadism with the license to that monopolized violence, police culture is inherently toxic and not worth even preserving for the sake of transforming structurally. While abolishing the police is obviously too ambitious of an immediate goal, there are a lot of proposed steps to defunding and largely dismantling the police as a whole. The project Campaign Zero outlines and pushes for ten tangible reforms that would (some of which have recently been proposed in Colorado) decrease police violence, especially in the majority-Black communities that suffer from it the most. The “8 Can’t Wait” proposal that has been making rounds lately is part of Campaign Zero, and donations to these projects are of course, quite helpful and a good start for this blossoming movement. Furthermore, donations to local bail funds is especially important at this time with police making wanton arrests of peaceful protests (and also just random Black people not making any disruption) to support the people going out and protesting. Because this money of course gets siphoned into the courts, and then partially to law enforcement, it’s important to also direct funds to organizations where that money will not later be used against us, but again, keeping people able to protest is of utmost importance, since that it what is driving positive change in this moment.

Also helpful is direct support of the people on the frontlines of these protests. It is a time for privileged people to take action in solidarity and support, but not one for privileged groups to take over or “lead” the movement. Right now, this is about who is hurting the most and who is being oppressed the most, and right now that is Black people, by police, hence BLACK LIVES MATTER. Now is not a time for even underprivileged white people to use these protests’ likelihood of escalating to indulge in venting frustrations against the system by inciting police violence that puts Black people disproportionately in more danger in such situations. Now is the time to use that privilege of being less prone to racism police violence to whatever extent possible to protect the people of color protesting. And again, this isn’t about being white saviors or martyrs, this is about supporting people in the way they wish, so don’t listen to my advice over the insight and requests of what Black people and the Black community have. And by all means, fucking listen to them! Read from them! Engage in good-faith conversation with them (though don’t expect any individual Black person to give you a seminar on racism when there are ample resources that don’t demand someone devoting their precious time to you)! Learn where the limits of your perspective fail you! And for fuck’s sake, don’t just cherry pick the word of one token Black friend that happens to have some class privilege to conveniently discount the testimonies of other Black people!

Lastly, on a personal note to the metalheads that read this blog, I think this is a particularly important time for the metal community, not to center itself, but to bring itself alongside social justice in a more complete way than it has in the past. Former Opeth and current Soen drummer Martín López said last year in an interview published in Blabbermouth that the metal community is very behind the curve on sociopolitical issues, and the response to his saying that from the metal community that floods Blabbermouth comment sections basically just made the case for the exact point he was making. And it’s a shame because I think such a huge part of metal is about standing up to injustice as part of or in support of the oppressed, or at least such a huge part of the metal I gravitate toward is. Without sounding too spiritual or cheesy because I’m not a really spiritual person, I feel like when I see the injustice going on, I feel that spirit of metal in all of it on the side of the oppressed. I feel like all the grindcore and deathcore and thrash and death metal I’ve been binging lately is in the spirit of the protesters standing up to and, when they have to, fighting back against the unjustified aggression of the police, and looking back at old, certified classic albums like …And Justice for All, Toxicity, and Chaos A.D. and more recent albums like Machine Head’s The Blackening, and Thy Art Is Murder’s Human Target, and Venom Prison’s Samsara, it’s always been about standing up to this kind of bullshit. So I think if there ever was a time since Sabbath birthed it for metal to prove that it’s as important as it makes itself out to be and as important as it is to everyone who listens to it in such a way that they read an obscure blog about it, now is that time to show that it’s not just about being an angry white guy. Now is the time to make Martín López happy by proving him wrong.

Well, in typical Happymetalboy fashion, I can’t seem to make anything brief.

[happymetalgirl]

April 2020

WELL! I have been gone awhile, very busy, and look what happens when I slow down writing about metal: the world starts to fucking fall apart. But no, in all seriousness. I’m writing this part now at the beginning of June after an already tumultuous April and May, and now I’m just making myself sit down and do this because, well, honestly, it’s been pretty hard to justify spending my time writing about music with all the fuck shit going on right now. (I can’t wait to see what July throws at us.) But again, in all seriousness, I’m not looking for any pity or sympathy for my relatively mild circumstances at all because in all honesty, my white privilege has allowed my life to be pretty okay and proceed mostly uninterrupted in the midst of everything going on.

I’m probably going to repost this part in its own post, but I feel like I have to get this out of the way before I write any more about music. I’ll start by disseminating any ambiguity on what I’ll be talking about in these paragraphs that I am intentionally bolding.

As I write this in the midst of a fucking respiratory virus pandemic, another epidemic (possibly pandemic) of racist police brutality that has always existed in a culture of unhinged toxic masculinity in my increasingly embarrassing country has exploded to unbelievable and disgusting levels against Black people and peaceful protesters in the United States, ironically in wake of protests against fucking police violence, all of which is only emboldened and encouraged by local and federal leadership that is showcasing its oppressive, totalitarian ambitions in its unprecedented attempted revocations of its citizens constitutional and human rights.

I’ll make the necessary side note that this increasingly oligarchical government subservient to the will of military and prison industry has already shown its complete disregard for human rights for decades upon decades now through its violation of human rights through offensive wars and sanctions against other countries and its dehumanization of the refugees and immigrants who its actions create.

If you haven’t already checked out of this from all the political correctness breaching your conservative bubble (good job not being that person), but you’re upset because tHiS iS sUpPoSeD tO bE a MuSiC bLoG, uh, you’re on the wrong website buddy, and the potential tipping point of a long-awaited revolution in the midst of an economic depression, a viral pandemic, and a dual crisis of grotesque police violence and evolutionary transformation of proto-fascism into fascist dictatorship is no time to go about business as usual.

BUT HOLY SHIT, ENOUGH INTRODUCTION AND ENOUGH ABOUT ME! The point of this is to spotlight what to do in the wake of all of this. First of all, I don’t have all the answers and my perspective is as limited as any person’s, so if you’re an expert on any of these matters or if you have insight from having experiences that I as a white cis male have not had, if anything I’m bringing up here could be better in any way, feel absolutely free (but not obligated) to let me know.

Okay, so lots of problems at hand. The big, all-encompassing one facing all of humanity of course is the ecological disruption caused by industrially driven human-catalyzed climate change, and the rot of everything crystallizing at this current moment feeds into exacerbating that catastrophe, the next wide-reaching issue being capitalism, whose prioritization of profit and short-term gains is incredibly ill-equipped to handle a slow emergency like climate change or a more acute emergency like a global pandemic. Here in the U.S. we have a federal government so infested with corporate corruption to maximize capital profits for the country’s most wealthy that they couldn’t even choose the obvious solution of pausing the economy and providing for its people for the duration of the pandemic in the interest of public health over the appallingly quick choice of protecting the financial interests of the corporate “donors” that help them hold their positions of power, at the risk of maybe closing the gap a tiny bit between the truly despicably wealthy and the growing number of hopelessly impoverished. So while the wealthy get protection of their assets from the slow-down of business (you know, ‘cause the pandemic), the people in most need of help because of that slow-down and plunged into spiking unemployment get shit from the people meant to represent them. And that’s just the corporate rot that rears its head as a result of a pandemic!

Even in “normal” times, capitalism in this country has built its foundation on slave labor and justifying the use of slavery through racism (even after it became illegal to outright own people as slaves). That cornerstone of free/cheap labor that this country’s economy is built on whose role was served by slavery was filled by outsourcing to countries with an easily exploitable lower class (whose conditions are often exacerbated by U.S. meddling on behalf of business interests) and prison labor made possible by mass incarceration that has targeted similarly vulnerable people and communities of color through strategic, racially profiled over-policing of minority communities trapped in poverty through historic systemic racism.

The study of that global climate change I mentioned earlier is referred to as a crisis study because there isn’t an unlimited time to do something about it, and the ever-changing conditions and pivotal events of the world effect what needs to be done to combat it (and what it is too late to do). This current crisis of police brutality is one of those types of critical moments, for climate change and social justice. Police brutality didn’t become an issue when George Floyd was murdered on May 25th 2020; it’s been an ugly facet of this multifactedly ugly country for a long time now, but its being brought to light has instigated an uprising the likes of which has not been seen in a long while, and with it, an especially insidious aggression toward it by the increasingly fascist government and its authoritarian figurehead (to the point of threatening institution of martial law and suspending first amendment rights and habeas corpus) that at this point serves only to maintain complacency for the benefit of the ruling class and to the detriment of the disproportionately non-white lower working class (treated as a slave class). Consequently this is a pivotal time that obligates widespread action and ceasing of silence from privileged people like me who have been able to get away with writing about music largely apolitically for years. This is a time when we either plunge unfathomably further into the depths of fascism at the hands of the ruling class and the silence of the less-effected or we consolidate in this moment of broad energizing to both enact substantive change on the critical issue of police brutality and set a precedent and build momentum to achieve justice for LGBTQIA+ folk, other racial minorities and marginalized groups, and make the critical changes need to avoid civilizational dissolution in the face of the imperative to mitigate our impact on global warming.

Speaking of that change and the actions that this moment implores of us all to contribute our energy to: the most immediately critical issue at our feet, to both save human lives from being taken unjustly at the hands of police brutality and to galvanize this revolution to be able to demand further justice and critical social transformation, is ending police brutality. Being an institution born out of rounding up escaped slaves and given the state-supported monopoly on violence that attracts largely those seeking to satiate sadism with the license to that monopolized violence, police culture is inherently toxic and not worth even preserving for the sake of transforming structurally. While abolishing the police is obviously too ambitious of an immediate goal, there are a lot of proposed steps to defunding and largely dismantling the police as a whole. The project Campaign Zero outlines and pushes for ten tangible reforms that would (some of which have recently been proposed in Colorado) decrease police violence, especially in the majority-Black communities that suffer from it the most. The “8 Can’t Wait” proposal that has been making rounds lately is part of Campaign Zero, and donations to these projects are of course, quite helpful and a good start for this blossoming movement. Furthermore, donations to local bail funds is especially important at this time with police making wanton arrests of peaceful protests (and also just random Black people not making any disruption) to support the people going out and protesting. Because this money of course gets siphoned into the courts, and then partially to law enforcement, it’s important to also direct funds to organizations where that money will not later be used against us, but again, keeping people able to protest is of utmost importance, since that it what is driving positive change in this moment.

Also helpful is direct support of the people on the frontlines of these protests. It is a time for privileged people to take action in solidarity and support, but not one for privileged groups to take over or “lead” the movement. Right now, this is about who is hurting the most and who is being oppressed the most, and right now that is Black people, by police, hence BLACK LIVES MATTER. Now is not a time for even underprivileged white people to use these protests’ likelihood of escalating to indulge in venting frustrations against the system by inciting police violence that puts Black people disproportionately in more danger in such situations. Now is the time to use that privilege of being less prone to racism police violence to whatever extent possible to protect the people of color protesting. And again, this isn’t about being white saviors or martyrs, this is about supporting people in the way they wish, so don’t listen to my advice over the insight and requests of what Black people and the Black community have. And by all means, fucking listen to them! Read from them! Engage in good-faith conversation with them (though don’t expect any individual Black person to give you a seminar on racism, there are ample resources that don’t demand someone devoting their precious time to you)! Learn where the limits of your perspective fail you! And for fuck’s sake, don’t just cherry pick the word of one token Black friend that happens to have some class privilege to conveniently discount the testimonies of other Black people!

Lastly, on a personal note to the metalheads that read this blog, I think this is a particularly important time for the metal community, not to center itself, but to bring itself alongside social justice in a more complete way than it has in the past. Former Opeth and current Soen drummer Martín López said last year in an interview published in Blabbermouth that the metal community is very behind the curve on sociopolitical issues, and the response to his saying that from the metal community that floods Blabbermouth comment sections basically just made the case for the exact point he was making. And it’s a shame because I think such a huge part of metal is about standing up to injustice as part of or in support of the oppressed, or at least such a huge part of the metal I gravitate toward is. Without sounding too spiritual or cheesy because I’m not a really spiritual person, I feel like when I see the injustice going on, I feel that spirit of metal in all of it on the side of the oppressed. I feel like all the grindcore and deathcore and thrash and death metal I’ve been binging lately is in the spirit of the protesters standing up to and, when they have to, fighting back against the unjustified aggression of the police, and looking back at old, certified classic albums like ...And Justice for All, Toxicity, and Chaos A.D. and more recent albums like Machine Head’s The Blackening, and Thy Art Is Murder’s Human Target, and Venom Prison’s Samsara, it’s always been about standing up to this kind of bullshit. So I think if there ever was a time since Sabbath birthed it for metal to prove that it’s as important as it makes itself out to be and as important as it is to everyone who listens to it in such a way that they read an obscure blog about it, now is that time to show that it’s not just about being an angry white guy. Now is the time to make Martín López happy by proving him wrong.

Well, in typical Happymetalboy fashion, I can’t seem to make anything brief. So, with that said, let’s talk about the metal music that came out in the good ol’ days of April 2020. Wow. 

Well, April was a pretty big month. Lots of albums coming out, the whole music industry still the throes of the pandemic, it’s a damn shame we got what might be the best album I’ve ever reviewed on this blog in the midst of all this soul-crushing stagnance and financial despair in the music world. I mean, I’m certainly very glad to be getting such a great album among other great albums at a time when music is definitely helping me to keep going as well. It just sucks knowing these artists aren’t going to be able to tour in celebration of their great artistic achievements, and the first one on this list definitely deserves to celebrate.

Oranssi Pazuzu - Mestarin Kynsi

I already reviewed the Finnish band’s fifth full-length in great detail, which I highly suggest checking out because I wrote a lot about that album and I wrote it quite enthusiastically. It feels weird in a way to make the rest of the albums on this list follow my recount of an album that I already detailed in great length to be one of the best albums I have heard in years, quite possibly the best album I’ve reviewed in this blog’s existence, but I have to make sure that it doesn’t get lost at the end of this undoubtedly long-ass post. Anyway, Oranssi Pazuzu have fucking outdone themselves on this one and in many ways, black metal in general. The band have been building their synthy, psychedelic sound for over a decade now, but Mestarin Kynsi is the crystallization of everything the band has been working toward, which I think last year’s Waste of Space Orchestra collaboration played a big part in catalyzing. The album is so immersive and in so many ways feels like it has a soul of its own, made possible by the band’s absolute chemistry and dedication to ego-lessly channeling this album’s transcendent ethos as a team rather than elevating themselves individually, and what they conjure on here is such a leap up from their already heady psychedelic black metal and out of this fucking world. Mestarin Kynsi is the kind of terrifying, yet transfixing light that pulls you in even as you know of its malevolence, because it is just too goddamn beautiful and compelling to resist. The score should be such a big deal, but I know that any time this kind of score is thrown out there it prompts all sorts of distracting question regarding the flaws of the album, but I stand by my original score. I love this album, and I don’t see anything about it that makes me think it’s any less.

10/10

Okay, now on to the unfortunate rest of April’s releases that had to follow this up.

Testament - Titans of Creation

Testament rode a pretty vibrant comeback wave with Chuck Billy’s beating cancer on 2008’s The Formation of Damnation and 2012’s Dark Roots of the Earth, but that hot steak came to an end on the rather droll effort they put out in 2016, Brotherhood of the Snake. Back when concerts were a thing, I caught them when they opened up for the rest of the stacked lineup of Slayer’s farewell tour; they put on a great show, and I was reminded of what made them, still, such a prominent force in thrash, hopeful for a rejuvenation on whatever record came next. And as much as I wish I liked this new album of theirs more, I just can’t get into it all that much for so many of the same reasons I couldn’t get into its predecessor. I’d say it has much brighter moments, but it suffers from much of the same recycling of thrash compositional tropes (with not enough elaboration) that Brotherhood of the Snake did. It’s the kind of album that at first listen will seem flavorful and engaging, but it loses it pretty quickly like a snack that isn’t that filling or easy to keep eating due to it’s overwhelming taste, despite its empty calories.

5/10

Abysmal Dawn - Phylogenesis

After six years during which I had thought they might have disbanded or been dropped from Relapse Records, Abysmal Dawn return from the shadows on Season of Mist with the tight, concise brand of modestly technical modern death metal that made them such a sell in the first place on their fifth record, Phylogenesis. Not deviating at all from what they know they do well, Abysmal Dawn stick to a direct death metal attack with no bells and whistles, relying on their speed and agility to guide them, and their strengths serve them well as they manage to highlight what makes death metal so appealing at its core.

8/10

WVRM - Colony Collapse

While not listening to Oranssi Pazuzu or straight-up depressive shit, I have had a massive hankering for filthy grindcore that has been graciously satiated in part by WVRM’s Colony Collapse. Airing heavily on the hardcore side of the genre, incorporating some slower slamming grooves and deep, dirty gutteral vocals into their otherwise true-to-the-genre grindcore, WVRM do indeed put forth a more intense slab of grindcore than your usual twenty-something minute LP, which is made possible largely by the dynamic that they inject with their willingness to incorporate so much tasty, hardcore riffage and nasty sludge.

7/10

Red - Declaration

After what I’ve now come to see as their worst album, 2017′s Gone, Red immediately bounce back onto the positive trajectory that Of Beauty and Rage set them on and back to the symphonic 2000′s alternative metal that they built their early reputation on, with their shortest, possibly most direct album to date, comprised of just ten tight tracks that focus their cathartic brand of alternative metal into surprisingly dense packages that undoubtedly include some of the best of the band’s whole career, like “All for You”, “The Evening Hate”, and the especially cathartic “The War We Made”. I can only hope every band that has stumbled so hard lately can pick themselves back up as quickly and convincingly as Red has on their aptly named seventh LP here.

8/10

August Burns Red - Guardians

I have to say, despite being a pretty standard slab of melodic 2010’s metalcore, this album has kind of grown on me a bit in the past few weeks of listening to it. The album shows that the band are doing well to keep an eye on what’s going on in metalcore, stylistically spanning old and new pretty well. And while we sometimes get cheesy Hot Topic melodicism on songs like “Lighthouse”, other tracks encapsulate old and new in the space of a single song with respectable tact. The track “Defender” for example features two metalcore breakdowns, the first of which is generic as fuck from the 2000’s, but the second is distinctly more creative and forward-thinking, showing that the band are aware of the genre’s evolution and their trajectory alongside it. I also have to point out the highlight “Dismembered Memory” is in the track list with its emotive, Gothenburg-style guitar melody mixed with some distinct Architects-inspired vocal melodies. The closing track, “Three Fountains”, also ends the album on a strong note with its powerful melodic vocals in particular. Again, most of this project is pretty unsurprising metalcore, but the band at least shows some sense of awareness of how to progress their sound, and the strength of the highlights here makes the album worth at least checking out to find them.

6/10

Benighted - Obscene Repressed

While it is a well-performed, well-produced offering, Obscene Repressed is little more than a competent modern horror/brutal death metal album whose campiness in its shots for grotesqueness and creepiness can actually end up working against it. It’s a fun enough death metal album for while it’s on with some impressive flashes of percussion in particular, but it’s memorable mostly for its goofy moments and much less for its songwriting.

6/10

Aborted - La Grande Mascarade

Well, three more songs of relentless modern brutal death metal from Aborted is surely hard to get worked up about, and that goes in the positive and negative direction. On the EP’s three tracks, the band basically just goes through the motions in a way that makes me question what the point of putting these tracks out on this EP as opposed to keeping them for the next album (and potentially grooming them further) was. I mean, I can’t complain too much, the band are solid on these cuts in all the ways we come to expect them to be, but what makes these songs unfit for the next album or really demands they be released on this EP?

6/10

Nine Inch Nails - Ghosts V: Together & Ghosts VI: Locusts

I don’t want to knock Nine Inch Nails’ more ambient works, as I do think Trent Reznor has proven he has the chops to thrive in dark ambiance, but I just couldn’t get too excited about this watered down three hours worth of dark ambiance that he put out this year. It certainly works on the baseline level that all dark ambient music operates on an generally seeks to achieve, but it really doesn’t go above and beyond anywhere and it just kind of settles for the passing grade. At the most charitable, both are the kinds of ambient albums that exist solely to provide an eerie, droning sonic background with a few notable shifts coming from song to song, but that’s not enough to get me excited for either of them.

5/10 & 6/10

The Black Dahlia Murder - Verminous

I have to say, I’ve kind of softened in my earlier perception The Black Dahlia Murder being overrated, and Verminous is an album that really helps their case. Its name is pretty apt for the band’s blackened style of melodeath in general, but the dynamic between their delicious melodic side and their muscularly heavy side on Verminous is quite possibly at its most comprehensively displayed. I know that the band’s fans don’t really see them as having any misses in their catalog, though there seems to be some consistent favoritism toward Nocturnal, but I would wager that Verminous has captured their composition at its most advanced and their sound its most savory.

8/10

MASTER BOOT RECORD - Floppy Disk Overdrive

I’ve not been keeping up too closely with the prolific MASTER BOOT RECORD project, but I do regret missing and not covering the dynamic Internet Protocol EP that was released last year. Floppy Disk Overdrive, aptly named, is a bit more of the usual overload of synthetically instrumental, chiptune-seasoned death metal that keeps me from getting too excited about new MASTER BOOT RECORD releases. Once again, the focus is on solid production of the instruments and minor tricks with the sonic aesthetic, but composition again seems to fall by the wayside, and there isn’t enough intriguing stylistic diversity to make up for it.

5/10

Caustic Wound - Death Posture

More delicious, nasty grindcore to ravage my ears with in between listens to Oranssi Pazuzu and Okkervil River. The debut album by the Seattle-based supergroup of sorts is as pummeling as I would expect given the pedigree of the members involved. Death Posture is nasty, gutteral, and relentless in all the ways anyone could want their grindcore to be. The monstrously bellowing growls in particular make me feel like I’m listening to Primitive Man playing grindcore (which is a good thing). While I have been in quite the grindcore binge lately, Death Posture is more than just your standard, straight-line-through grindcore record, taking an old-school death metal knack for dynamic accents, tasty isolated bass lines, bursts of speed, bursts of thickened walls of sound, and wailing solos. It sounds sort of like if Morbid Angel was directing Primitive Man’s deathgrind adventure, also a good thing. I definitely love this one, probably my favorite grindcore album so far this year.

8/10

Khemmis - Doomed Heavy Metal

While we (if not just I) eagerly await the Colorado act’s forthcoming Nuclear Blast debut (and follow-up to 2018′s perfect Desolation), the band offers a little compilation EP to hold us over until then. Of the six tracks, only the first is new material (and it’s a cover song), two are songs from previous non-album releases, and the other three are live tracks. The band’s cover of Dio’s “Rainbow in the Dark” transposes the iconic keyboard part onto guitar in classic Khemmis fashion, and the vocal and guitar harmonies give the already inspiring song a new sense of melancholic triumph that I have come to love so much from Khemmis. It’s definitely worth checking out for the fresh take it offers to the Dio classic. As for the rest of the EP, the one-off single “Empty Throne” feels rather B-side-level by the band’s lofty standards, as does their odd, but enjoyable melodic doom rendition of the folk tune “A Conversation with Death”. The sampling of live cuts gets one great song from each of the band’s previous LPs, and the band sounds pretty true to their studio form for the most part, the vocals on “Bloodletting” being noticeably rough though.

Compilation in the Dark/10

Me and That Man - New Man, New Songs, Same Shit, Vol. 1

The second album from Nergal’s folky satanic rock side project comes with a pretty star-studded line-up, and honestly it’s a pretty fun time and I don’t have many complaints about the concise, catchy tunes that Nergal and company are churning out. “Run with the Devil” is a brilliantly composed opener, “Burning Churches” is a catchy-as-fuck pub-type tune, and guests Ihsahn, Corey Taylor, and especially Matt Heafy showcase the versatility of their vocal styles on their respective features. It’s more a fun heresy-laden time explicitly not overthought than the usual heady blackened death metal that Behemoth pedals.

7/10

Medico Peste - ב :The Black Bile

Taking very apparent cues from black metal’s (and experimental metal’s) more esoteric figures like Deathspell Omega and even Tool, Medico Peste comes through with an at least very aesthetically intriguing listen, even if some of the compositions run kind of long without enough in the way of substantive musical ideas to last quite as long as they’re intended to. While the influences the band wears on their sleeve are at least quite respectably sonically pervasive, it can get occasionally uncanny. The main riff of “All Too Human” sounds like it could have come straight from the Ænema recording sessions, and “Numinous Catastrophe” even sounds like it pulls from Oranssi Pazuzu. But despite the influences on its sleeves, ב :The Black Bile is unique and diverse enough as a whole to sustain an exciting listen and one that I have enjoyed returning to.

7/10

Omega Infinity - Solar Spectre

I had not heard of Omega Infinity until this album, and out of the gate it really sounded like some cliché ambient black metal, but as the album unfolds, it really does reveal itself to be so much more than that. Hard to capture in a single word, the cosmos-themed album definitely captures the wide, chilling vastness of space through instrumental and compositional techniques that provide a fittingly alien, but not explicitly sci-fi, twist on the usual elements of ambient black metal, and it works wonderfully. 

8/10

Black Curse - Endless Wound

I heard a good bit of hype over this project, but I’m honestly having a hard time hearing what’s supposed to be such a big deal. We’ve got some solid performances and the occasional compositional flash of brilliance, but for the most part, Endless Wound is very standard blackened death metal with meek ambitions. Like don’t get me wrong, it’s not awful, and I don’t hate it. It just doesn’t depart nearly enough from the beaten, and crowded, path or really stand above the crowd on that path enough to get me excited. I kind of wish the band would delve more into the slower, sludgier, more savory sections of they dip their toes in, like that of “Enraptured by Decay” and the more eccentric takes on black metal dark ritualism on “Seared Eyes”. But until they really commit more to things they can do to get their head above the death metal crowd, it’s going to be hard to get excited about another Black Curse project in the near future.

5/10

Vermicide Violence - The Praxis of Prophylaxis

It was only a matter of time until the pandemic delivered unto us an at least partially coronavirus-themed medical deathcore album, which I am of course not complaining about the obnoxious, ridiculous prospect of. There is a lot of silly, gimmicky deathcore (and metal in general) out there that is pretty superficial, but also plenty that makes a lot of great use of whatever gimmick it’s applying. In this case, the natural grotesquery (if that’s a word) of medical practice does give Vermicide Violence just that little bit of extra tangibility and realness to the nasty deathcore they’re pedaling. From breakdown lines of “vaccinate your fucking kids” and “you only hear once so just buy fucking plugs” (a twist on Suicide Silence’s “You Only Live Once”) to songs about asthmatic asphyxiation, coronavirus infection, West Nile virus, and breast cancer, it’s at the very least somewhat lyrically fresh and fun for any medical metalheads to have a good time nerding out with.

6/10

Vatican Falling - WAR

So I found out about Vatican Falling through the deathcoredads meme page, don’t judge me, but I’m glad I did, because this album, WAR, is some deliciously disgusting deathcore with lots of different flavors. They’re not exactly pushing any boundaries for the genre, but WAR certainly does branch out into melodic territory more boldly and successfully than your average deathcore album, and with good results. It has its low points where some of the experimentation doesn’t work, like the annoyingly repetitive clean vocal sample on the title track, but for the most part, the band’s use of more tangible, cleaner melodies goes over well and supplements the music nicely with a sense of raised stakes. If anything, I wish they did more in that vein because the band’s deathcore grooves at the core aren’t as above average on their own. That being said, songs like “King of Vermin” and “Kill All Humans” show that the band can really raise their game at the base deathcore front and outcompete their contemporaries if they need to.

6/10

Ulcerate - Stare into Death and Be Still

Stare into Death and Be Still is the sixth album from sonically ambitious New Zealanders, Ulcerate. Continuing to push their brand of atmospheric, blackened technical death metal to further reaches of the unknown, guitarist Michael Hoggard’s fluid, multi-faceted melodic work continues to play a pivotal role in steering the atmospheric tone of the album, while Jamie Saint Merat’s impressive following of the music’s odd time signature shifts boosts the album’s energy with tasteful technicality while simultaneously not being too obnoxiously flashy and showcasing some flavorful technical drumming chops. The guitar work takes on so many different shapes and styles, but probably most often reminds me of the winding angularity of Portal with the primal humanness and ritual catharsis of later/current Behemoth, with some more ambient detours taken here and there that hearken to Isis and even more doom-oriented projects like Bell Witch. The swirling together of influences here is so seamless and immersive, and honestly some of Ulcerate’s best. This is not to discount Paul Kelland’s contributions of emotively harmonious bass lines and consistently bestial, yet also somehow soulful, death metal bellowing to the album’s sound; I think his contributions in particular are what help this album feel meaningful and human and not just like some soulless piece of experimental art with a little too much of its head up its ass. For an hour, this album feels like listening to the best aspects of several different styles of cutting-edge death metal, black metal, and doom metal rolled into one masterful super-album that still manages to strike a dreadful chord all its own. Yeah, this is a pretty damn great album.

9/10

Katatonia - City Burials

Honestly, the vast majority of this album feels like Katatonia going through the motions and just playing it safe, never really committing to any really bold performance or composition moves, just coasting off The Fall of Hearts. It certainly passes by the usual Katatonia rubric, but it certainly won’t be going down as one of the band’s most revered.

5/10

Trivium - What the Dead Men Say

I somehow missed out on the entire first half of this album being released as singles, but I sure caught all the hype surrounding the band’s ninth album leading up to its release and all the preemptive praise it was receiving, and I’m kind of glad I got to experience it as a whole without the experience of the singles because I feel like I can honestly soberly assess it and say that it’s definitely not the masterpiece it’s being hyped up to be. The band definitely have found their groove in the various melodic, proggy, thrashy alternative metal styles they play, but this album really just feels like the band are just feeling themselves, in the sense that they’re kind of playing it safe, but bold enough with what they know they do well to kind of mask that. The band’s ninth album is pretty noticeably a continuation of their eighth, The Sin and the Sentence, which had some of Trivium’s most potent alternative metalcore bangers to date, but also some of their most confusingly tepid compositions on the other side of their spectrum. What the Dead Men Say kind of just maintains the band’s trajectory on their previous album and narrows that range from high to low. The low points, like “Bleed into Me” and (to a lesser extent) “The Catastrophist”, aren’t as low, but the high points aren’t as high, and I don’t think I’ll be returning to the better parts of this album, like “The Defiant”, “Amongst the Shadows and the Stones”, and “Sickness Unto You” as much as I will the plethora of highlights from The Sin and the Sentence. Overall, it kind of just feels like Trivium coasting a bit, but the band is genuinely at that level of evolution in their sound where they have made a lot of gradual refinements over time to get here but haven’t just repeated themselves, so they can kind of get away with it. Even if it’s not my favorite Trivium album, it’s sure a hell of a lot better than anything Trapt has ever released.

7/10