We’ve talked a lot the past few weeks about bands making changes to their sound and approach and how the results can go many different ways as a result. When it works, it can reinvent a band or artist, giving them an entirely new focus, a way to pull out elements of their creativity they perhaps didn’t consider before.

Portland, Ore., power Coastlands is one of those that decided not to stay cemented in a corner and found fruitful expression beyond that as their new self-titled album proves. I follow the band on TikTok, and their posts the last year seemed to indicate more atmospheric ideas were afoot, but even that didn’t fully prepare me for these nine tracks and 36 minutes on the dot. The band—guitarist/synth player/vocalist Jason Sissoyev, bassist/vocalist Andy Ramirez, drummer Trent McIntyre—remains rooted in heaviness and power, but they add imaginative compositions and spacey pathways that makes the harder parts hit even more forcefully. It took a couple listens to fully get used to the new alterations, but now that I’m immersed, I’m fully engaged in where Coastlands have gone and hopefully are going next.

“See” dawns in blurry noise, hushed vocals trickling, synth adding a spacey feel. The melodies get further detached, acoustics strumming, the sounds squirming away. “Hollowing” melts, and then the power levels, the call of, “All good things will go away,” feeling a little close to home. The pace gets more explosive, even with gentler strains working through them, and then the drums pounds, the keys encircle, and savage howls ripple through the earth. “Mors” starts with chatter before the playing arrives slowly, crashing into a melodic fog, the keys smearing light and haunting. Sounds flow and warp, the chatter continuing into the background, washing into “Vessels” that immediately begins to punish. The playing chugs as vicious screams scorch, energy gusting as the guitars fire, and the riveting drumming bruises. The bass flexes as sounds simmer, the singing numbing as the cosmic  pressure builds, roars tearing into the distance.

“Porous” has the synth spreading like sunlight, the singing soothing, the drums kicking in before shrieks splinter in the sky. The playing swims in the distance, wails belting, “I never know,” over and over into oblivion. “Feeding” starts with the playing gusting, softer singing merging as the drums crash, clouds filling the sky. The pace gets punchier before biting down, the singing feeling numbing before disappearing into the stars. “Tied” explodes with driving force, the singing slinking, jarring and buzzing as things get more pillowy. The drums begin to spray as the screams maul, singing coming in behind it, the tension tightening as passion crests. “Neverhere” stars with sounds blurring, the singing echoing as the noise gnaws, spitting waves of static. A choral sheen slips in, the beats rattle, and the energy flows fully before fading. Closer “Drugblood” (has to be a “What We Do in the Shadows” reference) blisters and infuses air, chugging as guitars churn, burning as drums spatter. Melodies gush as shrieks rain down, the fireworks rippling through the atmosphere, hitting blazing highs that rocket blood through your veins. The exuberant, “Yeah, buddy!” heard in the background lets you know they knew they nailed it.

Coastlands emerge a completely different animal on this self-titled album, a fitting title considering this is sort of a rebirth. They haven’t left their heaviness behind and instead found different textures and wrinkles to make the bursts even more impactful. It’s also a record you can put on and let it carry you away somewhere, perhaps to worlds or dimensions previously unrevealed to you.

For more on the band, go here: https://coastlands.bandcamp.com/

To buy the album, go here: https://translationloss.com/collections/coastlands

For more on the label, go here: https://translationloss.com/

Music is supposed to make you feel something, which is one of the most obvious things I’ve ever said here. Yet, a lot of time artists and labels forget that, thinking this art is a mere commodity for consumption. But what about your heart and your mind and nervous system? They need something too, and when you can find the right potion, indulge.

It is completely impossible to hear a piece of music from LA-based black metal power Agriculture and not be moved in some way. Maybe it’s even aversion, but at least you’re reacting. They call their style ecstatic black metal, and their swarming, neck-jerking album “The Spiritual Sound” delivers that and so much more. The band—vocalist/guitarist Dan Meyer, vocalist/bassist Leah B. Levinson, guitarist Richard Chowenhill, drummer Kern Haug—sounds as channeled and confident as ever, and this 10-track, 44-minute excursion challenges you mind and body, dashing through boundaries, mixing your brain chemicals, and sometimes even leaning toward delicacy. There may be other bands that create similar sounds, but no one puts it together like Agriculture, nor do they inject it into bloodstream in the same manner. This is a testament to human emotion and sounds that resonate deep within, and it feels amazing to experience. 

“My Garden” is an explosive opener, and it is all over the fucking map in the best possible way. Bass chugs before the pace incinerates, mauling as shrieks kill, and the band even leans into hardcore terrain that powders bone. The chorus is unexpectedly clean, but then a stir crazy burst re-opens, attacking until everything spirals out. “Flea” charges up, speaking murmuring over the first verse, shrieks peeling away flesh with glass. Singing lulls as the pace slows down, and then screams sit alone, in a vacuum, warping. Later on, guitars tingle, the carnage builds, and everything spills into “Micah (5:15am)” and its numbing melody. Fiery screams belt as the pace scorches, the riffs rambling and shifting, adding ample pressure, the bass riding harder as serenity arrives. “The Weight” blisters with screams and a vicious pace, wiry weirdness confounding before all hell breaks loose. Screams maim as guitars gut, the tension snapping, reveling in a seismic blast. “Serenity” is anything but, and it regularly gushes with adrenaline. Shrieks maul as an emotional craze crashes like a tsunami, damaged, bloody hearts fully open, an incredibly expressive display bleeding into the second half that has a decidedly different tone.

The title track situates in spacey noise that feels like it is pulling you beyond this plane, static crackling into “Dan’s Love Song,” a track that reminds a little in spirit of “The Well” from their last full-length. Sounds bubble as clouds gather, lush singing lathering with psychedelic emotion. The playing is effusive but gentle, your mind soaring into a dream haze before the sound melts into the sky. “Bodhidharma” centers on the founder of Zen Buddhism and his successor Huike, guitars mangling from the gate before things go instantly silent, desperate screaming ringing out in desolation. The nitro bursts out of quiet are jarring, even on subsequent listens, and the transformation from agony to peace lands firmly. Singing lulls before turning dreamy, and then electrified soloing causes your blood to boil, incredible energy surging as shrieks rip, blending into  “Hallelujah.” Acoustics scrape as clean singing goes high, the call of, “My head is on fire,” reminding of Huike. The folkish vibes rumble lowly, barely audible sounds whisper, and guitars fire up, loop in, and blast out. Closer “The Reply” opens with drums rousing, sooty playing blistering, and clean singing glowing, going into rustic vibes. The leads then break the levee and flood, howls carving, everything rushing to the surface, and the guitars melting the entrance closed.

“The Spiritual Sound” is an experience and more than just a collection of songs, an infectious tale of two halves that fit together seamlessly both musically and spiritually. Agriculture operate on a different frequency than most heavy bands, activating your nervous system and sending energy rocketing through your body. This record is such a gigantic step ahead for Agriculture, a massive advancement toward violently expanding their boundaries, tightening their grasp on a future that feels blissfully limitless.  

For more on the band, go here: https://agriculturemusic.bandcamp.com/

To buy the album, go here: https://nowflensing.com/collections/agriculture

For more on the label, go here: https://nowflensing.com/

A band with a strong reputation and a pretty storied career usually doesn’t switch gears in the middle and go in a much different direction. Well, I guess the Bee Gees did, and look how they turned out. Their first reference in this site’s history. But you don’t see it very much is my point, so when it happens, it’s intriguing.

About a decade ago, Hooded Menace veered away from dank, guttural doom metal to embrace the electricity of the forces we had in the 1980s. It certainly was a choice, and so far, it’s worked out pretty fucking great. Their new record “Lachrymose Monuments of Obscuration” stays in the direction they’ve been on, but never abandoning their doom roots nor pulling back on the murkiness. This seven-track, 47-minute traveler goes in and out of the shadows, exciting along the way with metallic glory. The band—vocalist Harri Kuokkanen, guitarist/bassist/keyboardist/founder Lasse Pyykkö, drummer Pekka Koskelo—radiates, the energy firing through your veins, feeling half as long as it is. Plus, there’s a pretty awesome cover song that really took me by surprise.

“Twilight Passages” is a mystifying opening instrumental with warm guitars and synth swooshes, moving into “Pale Masquerade” that punches and roars right off the bat. Leads smoke and glimmer as the growls pay homage to the darkness, and the pace continually grows more aggressive. Leads smoke and glimmer before soaring while the growls curdle, and the final moments give off a vintage 80s feel. “Portrait Without a Face” starts clean before the bass starts chugging, growls coat, and warm guitars let blood coat flesh. Doomy churning increases the fog coverage while the leads accelerate, the strings moan, and misery spreads onto the throne of menace.

“Daughters of Lingering Pain” is slower when it dawns and even more sorrowful, howls scraping as the guitars glaze, the bass driving deeper into the drama. The tempo is strong and alluring, the guitars gutting and blazing, and then nasty wails clench throats as gothy undertones bring a serious chill to everything. “Lugubrious Dance” fades in, the sadness rising to the surface, doomy and muddy playing leaving bruising. Nasty wails slice and add to the blood loss, and then the pace slows, dragging you through darkness and into abandoned caverns. The guitars pick up the pace as throaty vocals strangle, doomy snarling stomps, and the mental wounds set in even deeper, the final moments scorching open wounds. “Save a Prayer” is a cover of the Duran Duran track from their 1982 album “Rio,” and it sneaks up on you if you’re not paying attention to the track listing. They make this song their own, the familiar chorus feeling even more foreboding in this band’s hands. Closer “Into Haunted Oblivion” runs 9:46, fading in from the dark, guitars unloading, speed coming and going, the growls crawling through cracks. Guitars explode as the soloing blazes, the drums are hammered, and everything takes off from there. Leads echo and melt, the growls gurgle, and the ending comes coldly but quickly, ripping air from your overstimulated lungs.

“Lachrymose Monuments of Obscuration” is more of the good stuff from Hooded Menace, a band that keeps finding new ways to keep things interesting and moving into different, yet just as morbid territories. These seven tracks flow seamlessly, even the seemingly out-of-left-field cover track that might be a weird choice for any other band. This record is as strong as anything they put out the last half decade and provides a nice change of pace from the grislier early days, making for a really strong resume from front to back. Also, perfect fodder for Autumn! 

For more on the band, go here: https://hoodedmenace.bandcamp.com/music

To buy the album (North America), go here: https://shopusa.season-of-mist.com/

Or here (International): https://shop.season-of-mist.com/

For more on the label, go here: https://www.season-of-mist.com/

I had an argument with a friend once when I was listening to a record on a road trip (I was driving, by the way) because he didn’t see the value to this piece of music since it didn’t have easy few-minute-long songs with traditional structure. He’s smarted up since then. But it makes you realize some people see records and songs as very specific things.

“Ochre & Ash” is the first new music from Fauna in 13 years, and like this album’s three predecessors, if you’re looking for quick hooks and playlist fodder, you have stumbled into the wrong place. Fauna’s musical output always felt more like ritual than record, and its sole members Vines and Echtra go to great lengths to help your spirit and lineage connect with music that goes well beyond the ordinary. This record imagines the death process from physical end through the passageway into rebirth, and along the way, the band haunts and devastates, bringing you into the experience in a manner that illuminates your entire being. It feels like being in the center of the ceremony, your essence rising to the sky.

“A Conjuring” begins with wild cackling, horns signaling ritual, feral wails and chants collecting and growing in scope. Drumming drives as buzzing fills the air, a final chime noting the end and the transition into “Nature & Madness.” Guitars churn right away, the drumming echoing as cries encircle, blistering as patterns repeat. Howls thicken along with the hypnosis, guitars rampaging into a mesmerizing flow, and then the pace bursts open. The ground rumbles as the band stomps, melodies rain down with ferocity, bleeding into “Femoral Sun.” Here, sounds swirl and tingle, chants fill the air, and the swarming gets thicker, stinging before fading away.

“Labyrinths” starts with clean guitars dripping, the aura feeling hypnotic, and then things turn doomy, melodies turning tornadic. Guitars buzz as the playing drips, burning into snarling howls, and then a newfound savagery explodes. The pace pummels before working into a brief calm, the final moments slowly battering as winds whip into “Mockery” that opens with wild animals howling. Barks echo as strange, feral noises penetrate, a gentle melody washing over and setting the pace for 23:05-long closer “Eternal Return” that instantly bursts at the seams. Raw wails strike as melodies make the room spin, speeding and hulking as the drums engulf. Rage builds and bristles before temperatures cool, a pocket of ambiance spreading and resetting minds. Volcanic eruptions spit rock as the pace pounds away, guitars smearing as howls spread ash, stretching muscle as chants arise. Dark fury settles as the power rips at reality, howls sting, and a barnstorming attacks blisters into the dark.

“Ochre and Ash,” like all Fauna records, is an experience, not a mere collection of songs you can pick and choose to absorb. This is a journey into the unknown as well as a reunion with our savage selves, the traits we inherited and still exhibit that have been established long ago. This is perfect music for your own retreat, even if only in your mind, to retrace your steps and prepare for nature’s inevitable final phase.

For more on the band, go here: https://fauna.bandcamp.com/

To buy the album, go here: https://spkr.store/collections/fauna

For more on the label, go here: https://en.prophecy.de/

Death metal has grown grander in scope ever since its disgusting birth more than three decades ago. There are bands that have taken the sound to outer space and beyond and have completely transformed what is possible with this style of music. All the while, it has kept the guttural stuff just as misery inducing, so everyone still gets what they want.

English death metal band Wode have been pretty consistent the last decade, releasing four records in that span, the latest being “Uncrossing the Keys,” their second for 20 Buck Spin. This is their most ambitious record so far, at least musically, and over nine tracks and 43 minutes, the band—vocalist/guitarist/keyboardist M. Czerwoniuk, guitarist/backing vocalist D. Shaw, bassist E. Troup, drummer/guitarist/keyboardist T. Horrocks—kind of heads in a similar direction as Tribulation about a decade ago (though not nearly as far into toying with mainstream acceptance). The playing adds more goth elements, the guitars explore more, and the vocals remain just as acidic. It’s a different aura for them, one that might not hit home for everyone.

The title track opens, firing up as cavernous howls jar, a dark, stormy vibe becoming apparent. The playing turns creaky and fiery, guitars swell, and a vicious exclamation point is stamped at the end. “Under Lanternlight” has catchy riffs, sootier melodies, and growls smearing. There is a gothy undertone, which again brings up that Tribulation comparison, guitars swimming amid the chaos. Wails sicken as cold punishment is dealt, the leads taking control with the vocals lashing out. “Saturn Shadow” has liquifying leads that create a steam bath, echoes calls, and a blistering force leaves marks. The pace lights up as guitars go on an adventure, punching and stirring until melting with fire. “Transmutation” enters amid burning leads, and a smoking, steamy feel, trucking hard and flattening. The leads then cool as melodies soar, howls scowling as the force peels tires into the asphalt.

“Prisoner of the Moon” is the most like Wode’s older material, the leads melting bone, howls belting, and powerful dual leads taking control. The growls thunder as the playing darts in and out of shadows, giving off exhaust as the track storms to a finish. “Fiery End” has jerky riffs, bells chiming, and growls lurching, all elements churning into filth. The leads angle and race while the growls bubble to the surface, ending in a pit of misery. “Lash of the Tyrant” has a fantastical start that lathers, fluid and glorious guitars spilling, and vocals delivering the brutality. Riffs cut as the playing encircles, the drums maul, and everything ends viciously. “Phantom” is an instrumental piece that bleeds in with guitars swarming, the fog getting thicker and more immersive, blazing out into closer “Dashed on the Rocks” that starts in eerie clouds. The pace picks up quickly and boils, the howls rampaging over elegant leads. Savage howls continue to punch holes while the intensity spikes, speeding up and crashing out into morbidity.

Wode certainly are headed in a different direction on “Uncrossing the Keys,” and while the band remains steeped in death metal, the expanded direction is clear pretty much from the start. It’s unquestionably a good record musically, but it’s the hardest it’s ever taken me to get into a Wode album, and I’m still not there yet. Maybe it eventually sinks in, or perhaps this is enough of a transition that it keeps the album slightly at arm’s length. 

For more on the band, go here: https://wode.bandcamp.com/

To buy the album, go here: https://www.20buckspin.com/collections/wode

For more on the label, go here: https://www.20buckspin.com/

I grew up a thrash kid in the 1980s, and that’s always been my first love with extreme music. I was normally on the bus dismantling my hearing with Testament, Nuclear Assault, Overkill, and later on Voivod and Coroner. Yeah, I also heavily indulged in the Big Four, but most of my interest was digging beneath the surface.

Polish maulers Species spark some of that nostalgia in me on their second record “Changelings,” a catchy, mangling dose of progressive thrash metal that hits all the right spots. Over seven tracks and 40 perfectly portioned minutes, the band—vocalist/bassist Piotr Drobina, guitarist Michał Kępka, drummer Przemysław Hampelski—dazzles with their ability, no doubt, but they always remember to tell a story along the way, engaging you mind and body into what they’re doing. It’s spacey and ridiculously flexible but also heavy as hell, providing blistering connection from one era to another one.

“Inspirit Creation” immediately clues you in on what’s ahead, that being mind-bending thrash and shrieky vocals that, if you were into this type of shit in the late 80s and early 90s, your heart is aflutter. Howls scorch as the basslines coil and strike, the guitars later taking on a jazzy tone and reminding a little of Rush before things double back and take down buildings. “The Essence” has the drums kicking in before the guitars sprawl, the melodies encircling as the vocals turn to a feral howl. The bass bubbles as the pace jars, fiery thrash squeezing your temples. “Waves of Time” is smooth, with creaky vocals carving, and then clean singing giving off a psychedelic aura. The pace detonates as the screams buckle, leading to a very techy buildup, speeding and mauling, melodic soloing filling you to the brim. “Voyager” is a cosmic-fueled instrumental piece, whirring keys taking you deep into your imagination, melting through time as the playing floods. The pace then ripples, guitars charging before heading off into the stars.

“Born of Stitch and Flesh” has the guitars activating and screams belting, trudging and combusting as the earth is trampled beneath them. Screams scrape as some cool basslines make the room spin, everything liquifying before guitars unload and mangle, leaving warped scrap metal behind. “Terror Unknown” starts clean before turning proggy, guitars traversing amid acidic screams that char flesh. The leads tangle as the melodies turn more elegant, a metallic fusion mashing elements together, creating an entirely new beast. Closer “Biological Masterpiece” runs a healthy 10:17, beginning with a choppy start/stop that feels like someone hitting the gas and then slamming on the brakes. Once things get under way properly, the atmosphere feels loopy, airy, even as leads are snarling and clean lines are snaking through liquid. The tempo gets more aggressive and bendy, the bass prods, and growls snarl. The energy pushes back as howls gnaw, the speed punishes, and the guitars pinch at exhausted muscle already spasming.

Species is like a shot from the past energized and informed by the last three decades, and pressed into alien devastation. “Changelings” has a true thrash ethos that refuses to stay in that lane and instead travels to every corner of the universe for inspiration. This is thrilling and mind-altering stuff that scratches a very particular itch that hasn’t risen its head in quite some time.  

For more on the band, go here: https://species1.bandcamp.com/music

To buy the album, go here: https://www.20buckspin.com/collections/species/

For more on the label, go here: https://www.20buckspin.com/

In these stressful times, it’s nice to think about something other than global suffering, political unrest, and unending hatred. Sure, it’s impossible to avoid it all the time, but an escape can be nice, right? Especially if you can land in the palm of heavy fucking metal.

Seattle-based power Sölicitör are heavy metal from front to back, from the leather and spikes to the songs packed with retribution and strength to their sound that could easily have lived comfortably four decades ago. On their thunderous second record “Enemy in Mirrors,” the band—vocalist Amy Lee Carlson, guitarist/keyboard player/piano player Matthew Vogan, guitarist Patrick Fry, bassist Damon Cleary-Erickson, drummer Johanson Waymire—still gets into the grit of what makes classic metal so fiery, but they also have refined their approach and added some new texture. None of that betrays their spirit. Instead, it makes for a smoother landing and proves the ability these folks possess over these thunderous 10 tracks.

“The Descent” is an icy, foggy instrumental intro, piano keys falling like freezing rain, synth blazing as we work into “Paralysis,” that starts with guitars surging and Carlson commanding. “I’m losing my mind, I’m out of time,” she wails, washing through a fury, guitars blazing. The leads then go off, leaving you up to your neck in smoke, rippling with energy. “Iron Wolves of War” chugs, the singing commanding, mashing with relentless speed. The leads hammer as they carry a metallic banner, the vocals smother with ferocious thunder, and a blinding pace takes us to the end, where wolves cry out. “Spellbound Mist” is clean and eerie as it enters, and then things ramp up, stomping as Carlson’s powerful voice pushes through, guitars twisting in a fury. Things get faster as the guitars spit fire, the singing rules over everything, and the final moments drip like saline. “We Who Remain” burns in as the guitars charge, the singing belts, and a forceful tempo breaks through walls. Leads then engulf as the powerful chorus enraptures, blistering and leaving your skin brush burned.

“Fallen Angel” opens with the bass leading the charge, then everything tears open, speedy playing making your adrenaline pump. The tempo churns while the soloing leaps into high gear, Carlson’s singing looming large even over a simple chorus that breaks through your chest. “Crimson Battle Beast” stampedes, gang shouts rippling down your spine, Carlson belting, “Time is the enemy, we won’t survive.” Guitars lather as every element rises to the top, ending everything in fury. The title track is hazy at first as the bass tramples, guitars rouse, and the singing sends jolts through your veins. The tempo gets nastier and more devastating as Carlson wails, “The fires of hell are burning bright for me.” “Black Magick and the Devil’s Hand (Part I)” starts in a synth haze before the pace strengthens, and twin leads glaze, giving off a classic metal feel. “Now is the time, vengeance is mine!” Carlson vows as the power combusts, and a key cloud hovers over menacingly. Closer “Black Magick and the Devil’s Hand (Part II)” has charging riffs, a fast pace, and the singing powering everything, Carlson absolutely in the driver’s seat. Twin leads storm as soloing breaks out of that and devastates the senses, power blasts through your system, and birds cawing send you off to ice wounds.

“Enemy in Mirrors” is a sonic step in a slightly different direction for Sölicitör, but one that keeps their spike-covered boots steadily entrenched in classic metal. Admittedly, it took me a few listens to really let this sink in, and once it did, the nuances stood out more, as did their ferocity. This record is perfect for the coming cooler nights when you your hoodies and leather jackets feel just right, and the power of metal is what compels you.

For more on the band, go here: https://solicitor-speedmetal.bandcamp.com/

To buy the album, go here: https://www.cruzdelsurmusic.com/store/

For more on the label, go here: https://cruzdelsurmusic.bandcamp.com/

And here: https://www.gatesofhellrecords.com/

So many bands call their live shows rituals, and it’s always sounded kind of silly to me. Now and again, the name fits, but usually it’s just a manner of marketing a show that is mostly like seeing any other band live. That’s a descriptor we should preserve for very few acts.

Speaking of which, Portland post-goth/doom band Esses very well could claim that their records, the latest of which is “Pain at the Altar of Jest,” can be called ritualistic. I haven’t seen their live show, but if it’s anything like their recorded output, they can give credence to that word. The band—vocalist/guitarist Kelly Correll, guitarist/lap and pedal steel player John Chap, bassist Scout, drummer Kevin Brown—pours darkness and charisma into these eight tracks and serves as a mesmerizing reminder that there is solace in the shadows. While not metal per se, they can fit snugly along artists such as True Widow, Chelsea Wolfe, Esben and the Witch and others who straddle the line of extremity and are heavy enough to lure interested parties over the line.

“Three Sisters” pounds spiritually, hushed singing haunting, gushing open, guitars churning in the dark. The singing continues to glide and reflect, melting away into dusk. “Mirage Artist” starts with a didgeridoo echoing, which is just as startling on record as it is in real life. Riffs carve as the singing lulls, mesmerizing as a hypnotic pace chills you to the bone. Guitars spiral as noise spreads into a ritualistic pattern, the singing flexes, and the fires finally fade out. “Low” enters amid foggy guitars as the murk dances across desolate highways, the singing luring you deeper into the dream. The chorus exudes darkness, mournful tones sinking in as Correll calls, “You brought me low,” the final notes dripping into nothingness. “A Greene” has guitars numbing as the pace moves slowly, the singing soothing wounds as the drums encircle and crash. The tempo bashes away, slowly burning as the heat rises, bringing on an emotionally devastating finish.

“The Twelfth Thread” has the drums sparking and the bass engaging, the vocals feeling more sinister as the vibe turns tribal. Guitars char edges as the strings stir, the melodies spindling into the void. “The Burrow” floods with jangling riffs and then slide guitar moaning into the night, atmospheric colors spilling purplish hues, the clouds surrounding the senses. The playing storms lightly and then presses, the fog descending as Correll’s voice leads you into strange times. “Cavern of Souls” enters with the bass driving, guitars scuffing, and the singing soaring, the emotion crackling with electricity. Guitars spiral as a gazey fire consumes, Correll noting, “And a cavern of souls dies with me.” Closer “Crackedlands” opens with acoustics and dusty slide guitar, the singing feeling ghostly yet direct, a numbing haze spreading over the top. Warmth flows as Western echoes illuminate mysteries, syrupy guitar slowly blending with the horizon.

“Pain at the Altar of Jest” certainly is a record that is situated in heaviness from a sonic standpoint, but its impact physically and psychologically is just as powerful as the most metallic of records. Esses’ spirit easily gets into your bloodstream and affects the way your imagination operates, and that pushes you into digesting this music differently every time. This is an album that’ll bend your mind and reality, and you’ll be better for it.

For more on the band, go here: https://essesmusic.bandcamp.com/

To buy the album (U.S.), go here: https://seeingredrecords.8merch.us/

Or here (Europe): https://seeingredrecords.8merch.com/

For more on the label, go here: https://www.seeingredrecords.com/

There were certain things I cannot watch on television while I’m eating because I have a pretty weak stomach when it comes to gross things. Like, I love slasher films, but no way can I enjoy a meal while experiencing one. Forget anything that involves surgery or seeing guts or human waste. Can’t handle it. Never could handle it.

I imagine if the tracks on “Ethereal Emanations from Chthonic Caries,” the new record from grind/death crushers Abraded, instead were presented visually, I would get nauseated quickly. Which is a compliment for this band, and I’m sure they’d take it that way. Carried over from grind legends Hemdale, of which guitarist Patric Pariano was a part, these nine tracks completely disgust and devastate, often sounding like a horror from another world. Rounded out by vocalist Mark Gallon, guitarist Evan Crouse, bassist Brad Moore, and drummer Jon Gonzalez, this record carves to the bone and lets blood pool beneath, leaving the coppery smell burning the inside of your nose.

“Ethereal Emanations” starts clubbing and pulverizing, a complete strangulation of horrors that spills over the entire package. Drums batter as the growls twist flesh, smoking carnage leading to a vicious finish. “Menticide” keeps the assault going, the vocals mangling as animalistic intent rampages, rapid-fire hell served by a machine gun. Heated howls linger as the humidity thickens, the pace coming more unglued as time lapses. “Uroboric Incest” has guitars carving before the pace gets thrashy, splattering as inhuman barks gnaw at your spine. The pace detonates as guttural growls dig for your guts, sickening before disappearing in noxious fumes. “Collectivized Enmeshment” lets guitars smear soot and unhinged growls maul, chugging as the intensity peaks. There is very little room for breathing here as the intensity ramps up dangerously, ending everything with a chokehold. 

“Compensatory Contrarianism” has riffs tingling before the beastliness opens its sinewy jaws, crazed howls making your psychotic state that much worse. Guitars heat and bend as metallic spurts burn, ending in deranged mania. “Theonemesis” brings immediate carnage, wild, malicious wails making matters more volatile, guitars menacing and hacking. Speed clobbers as ugliness leaves spatter on walls no one can hope to clean. “Mass Formation Psychosis” tortures as heated cries dig under nails, drums rampage and destroy, and the guitars lick their chops. I’m still on the drumming here as over the back end it is like a massacre, beating your head into a pulp. “Chthonic Caries” is punchy as growls choke, the tempderature wrecks bodies, and brutal riffs flex decaying muscle. The heat penetrates deeper, turning your organs into cooked meat, crushing unsuspecting souls. Closer “Theodicy” awakens and flattens, the bass coils, and comically crazed screaming makes you feel like you’re losing your mind. Dizzying, maniacal playing jacks up the madness even higher, gross hacking and spitting turning your stomach one final time.

Abraded, for sure, are not for the faint of heart, and “Ethereal Emanations from Chthonic Caries” is bound to make any mental scars only dig deeper. This is gross, furious death and grind meant to ruin your appetite, and it does that over and over again. Don’t say you weren’t warned going in, but if this is your thing, expect to be there a while bathing in stomach acid.

For more on the band, go here: https://abraded-official.bandcamp.com/

To buy the album (U.S.), go here: https://redefiningdarkness.8merch.us/

Or here (Europe): https://redefiningdarkness.8merch.com/

For more on the label, go here: https://www.redefiningdarkness.com/

As much as I love standing in the back corner of a dark club watching a black metal band flatten time, I still do like to catch more theatrical acts, even if that means going to a big shed to do so. Maiden, for example, spreading their fantastical glory always is something to see, and seeing a spectacle with great visuals can be just as devastating.

They’re not playing arenas quite yet, but Castle Rat belong in the category of bands that deserve to do their thing on a bigger stage, and perhaps their great second record “The Bestiary” will help get them there. If that’s even their ambition. No matter where they play, the band—vocalist/guitarist Riley Pinkerton (The Rat Queen), guitarist Franco Vittore (The Count), bassist Charley Ruddell (The Plague Doctor), drummer Josh Strmic (The Druid)—is sure to stun you with their chainmail, sword play, spat blood, and drama that does not just inhabits their songs. These 13 tracks that spill over 47 minutes explode with vintage metal electricity and charisma that is undeniable, with the story about mythical creatures that exist far from here, and The Wizard trying to preserve the souls that remain.

“Phoenix I” opens with a slurry synth blanket, whispers spreading as the guitars rise, twin leads chewing into dreams, slowly merging into “Wolf I” that explodes with powerful leads and vocals to match. The guitar work blazes as the drums thunder, the verses compelling, the chorus rushing, the energy pulsating. Burnt riffs encircle as the intensity spikes and fades. “Wizard” is dark before the riffs begin to swagger, the singing driving into heat and chugging power, the sleek organs making heads spin. The temperature turns cold as speaking chills, twin leads utterly rule, and the soloing floods the streets. “Siren” arrives amid rousing drums, more killer riffs, and the singing sweltering, guitars chugging before Pinkerton gruffs, “Ooh!” a la Tom Warrior. The pace takes off and thrashes harder, the attack bakes, and the singing rings in your ear. “Unicorns” starts ominously, the singing luring into a psychedelic fever dream, the aura bringing the heat and spindling. The playing is wonderfully mesmerizing in spots, the guitars ramp up more aggressively, and the final moments glisten on the grass. “Path of Moss” is a quick interlude, twin guitars swimming through tributaries, a classic metal feel chilling, the synth sitting in murmur. “Crystal Cave” feels folkish at the start, softer singing landing as the sentiment feels mind-bending. Power kicks in as the drama flourishes, a daring tempo makes blood jolt, and then strings rouse, giving off a classic New Age 1970’s atmosphere.

“Serpent starts with the drums galloping, fiery riffs causing impact, and Pinkerton’s voice making the fantasy vibe come to life. Keys melt as the guitars tangle, the chorus acting as a strong center point, bluesy soloing taking over and aggravating the flames. “Wolf II” starts with acoustics, the melody lines a subtler reflection of the first part of this song from earlier in the record. Blood streaking through wolves’ teeth makes the song feel more deadly and feral, the strings glazing. Clouds collect in a canopy, guitars chime, and the singing ripples as if moving between dimensions. “Dragon” has smoking guitars and a spirit that stomps through the room, the singing flexing its muscles as the humidity spills. The playing is energetic and catchy, dashing through the air, slowly tightening its grip on your neck. “Summoning Spell” basks in noise and more delicate singing, a castle fantasy playing out in front of you as Pinkerton’s voice interplays with the strings. The melodies drizzle and flutter, the bass thickening before everything turns to ashes. “Sun Song” pulls you in with Pinkerton’s voice, the playing buzzing and going grungy, the force gutting and chugging. The guitars electrify as the attitude catapults, the drums pummeling through wiry riffs, guitars scorching, the final smoldering moments slashing. Closer “Phoenix II” is a final, quiet coda, acoustics and mellotron numbing, hazy golden rays warming your flesh.

“The Bestiary” takes metal back to an era when fantasy and storytelling were at the forefront of the genre, back before there were subgenre distinctions. Castle Rat commit all the way, on stage and on record, and it’s impossible not to get completely swept up in the stories they’re telling. This is metal that remembers to be fun, approaches with a sword of fire, and takes you down with them, your heart pounding the entire time.  

For more on the band, go here: https://castlerat.bandcamp.com/

To buy the album (U.S.), go here: https://kingvolume.8merch.us/

And here: https://castlerat.bandcamp.com/album/the-bestiary

Or here (Europe): https://bluesfuneralrecordings.bandcamp.com/album/the-bestiary

And here: https://kingvolume.8merch.com/

For more on the label, go here: https://www.kingvolume.com/

And here: https://www.bluesfuneral.com/