#trad metal album reviews

[ghostcultmagazine]

ALBUM REVIEW: Wytch Hazel - III: Pentecost - Bad Omens 

ALBUM REVIEW: Wytch Hazel – III: Pentecost – Bad Omens 

With Wytch Hazel having established their style right from their 2011 formation, each of their releases has mostly been a matter of fine-tuning and making tweaks to their Hard Rock vision. The band’s third full-length album is no exception as it delivers its signature blend of Celtic melodies and spiritual lyrics with brazen positivity. Past efforts have been enjoyable in their own right but III…

[thisaintascenereviews]

Omar Apollo - Ivory Alternative R&B artist Omar Apollo is an artist I really want to like, but I just don’t. It’s not even that I dislike him, it’s that I find his music extremely boring, minus a few really good songs. I’ve listened to some of his back catalogue, and it’s pretty solid, but I can’t get a good read on him. His sound is pretty nice, and he’s got a good voice, but his influences are all over the place, so it’s hard to get a feel for what he’s going for. Sometimes he’s indie, sometimes he’s more of a singer-songwriter, and sometimes he’s more of an R&B crooner. I’ve wanted to get into his music for awhile, but I just didn’t have any time to listen to his stuff in more detail than the couple of times I’ve listened to his prior projects. I had no idea he was even releasing a new album, but I saw that his debut studio album, Ivory, came out this past Friday, and I thought I’d give it a listen. I wanted to get into some different stuff, versus the trad-metal I’d been spinning (although I ended up going back to that, because as a minor spoiler for some upcoming reviews, I got some albums from older metal bands that released new records and I want to talk about them), and this seemed interesting. I’ve given it a few listens, and even after those handful of listens, I don’t know how to feel about this record. It’s not that Ivory is a bad album, but I still don’t really care for Omar Apollo. I don’t know if that his sound is too boring for my tastes, especially the indie, piano-driven, ballady kind of stuff, his sound is all over the place, The album’s relatively short, only 41 minutes, but it’s got way too many songs, including some interludes that do absolutely nothing. I only really like a couple of songs, including “Killing Me,” and “Tamagotchi,” both of which are more energetic cuts that feel like Apollo is having some fun. The album’s just too slow-moving for my tastes, but it’s not a horrible album, or even remotely bad. It just didn’t do anything for me, which is unfortunate, because his voice is really good. He does have a nice voice, but I don’t think his music, or at least this album, is for me. If you are a fan of R&B, indie music, or things like that, I think you’ll like this, or find a few songs that really connect with you. Just because it wasn’t for me doesn’t mean I won’t recommend it to anyone at all. I’m happy I gave it a listen, because I got something out of it -- a couple of solid tracks, and I was curious enough to check it out. Maybe I thought the album would be good enough for me to finally get into his music, but it’s okay.

[ever-metal-rick-19-blog]

Tsarina’s review of “Over The Hills”, the debut album from Forlorn Hope, to be released on 26th July!

[dustedmagazine]

Rachel Smith’s 2018 top ten

I didn’t write any reviews for Dusted this year, but I have spent a lot of time on Twitter. So — because apparently my brain only works in thought-nuggets of 240 characters or so — here are, in alphabetical order, very brief reviews of some of my 2018 favorites. This isn’t so much a “best of” as it is a few snapshots of the records that served a purpose in my life this year: a release valve for the free-floating rage and despair that still permeate our political climate, a welcome distraction, a glimpse of a better future, a moment of quiet contemplation or the reassuring return of a familiar face. I hope they do something for you, too.

Author & Punisher — Beastland (Relapse)

Beastland by Author & Punisher

2018 was the right year to drop this unwieldy slab of jet-black industrial doom metal. From inside a virtual mech suit of gnashing machinery, one-man band Tristan Shone delivers a fatalistic vision that would seem almost camp if it wasn’t so well-suited to the mood today.

Daphne & Celeste — Daphne & Celeste Save the World (self-released)

In difficult times, self-care matters, and so whenever necessary I encourage you to escape into the sugar-coated world of Daphne & Celeste. Produced by Max Tundra, the king of meticulously maximalist electro-pop, Save the World is a riot of color and cozy clutter.

Dustin Wong — Fluid World Building 101 With Shaman Bambu (Hausu Mountain)

Fluid World Building 101 With Shaman Bambu by Dustin Wong

Maybe dystopian sci-fi isn’t your bag. If so, try summoning a brighter, weirder future with Tokyo-based multi-instrumentalist Dustin Wong. Busy, cheerful, and gently askew, Wong’s virtual worlds sparkle with the chirps and burbles of mutant life.

Ezra Furman — Transangelic Exodus (Bella Union)

If Bruce Springsteen’s cover of Suicide’s “Dream Baby Dream” somehow gave birth to an album, I imagine it would sound a lot like Transangelic Exodus. Part trad-rock bombast, part weirdo folk-punk, Furman's meditations on faith, medicine and change leave a lasting mark.

Hot Snakes — Jericho Sirens (Sub Pop)

Jericho Sirens by Hot Snakes

Hot Snakes made some of the best rock records of the Bush, Jr. administration and although the political timing is surely a coincidence, it’s good to have them back. John Reis’ swagger and Rick Froberg’s righteous indignation are still balm to the soul.

Joan of Arc — 1984 (Joyful Noise)

1984 by Joan of Arc

For the first time, Joan of Arc frontman Tim Kinsella cedes lead vocal and lyrical duties to bandmate Melina Ausikaitis, and the experiment, I’m pleased to say, is a complete success. Ausikaitis brings refreshing new energy to the group’s playful, introspective post-rock, making 1984 is one of their best.

Julia Holter — Aviary (Domino)

Aviary by Julia Holter

Fueled by “the cacophony of the mind in a melting world,” Aviary is Holter’s attempt to carve out meditative space in a chaotic present. With complex, synth-driven arrangements, she transforms the smoggy haze of LA sprawl into an eerie, expansive dreamscape.

Nap Eyes — I’m Bad Now (Paradise of Bachelors)

Nap Eyes wed the lilting sounds of 1960s U.K. folk-rock a la the Incredible String Band and Fairport Convention with the grounded slacker-punk Zen of 1990s indie and, in so doing, have created my perfect comfort food record. Thanks, Nap Eyes!

Nicholas Krgovich — “OUCH” (Tin Angel)

"OUCH" (North American Customers) by NICHOLAS KRGOVICH

When Krgovich sings “Everything’s fine, I guess, but I wish I were dead” and a plaintive slide guitar kicks in like a punch line, I don’t know whether to laugh or cry, but I think the correct answer is “both.” “OUCH” is a great break-up album, but it’s also a great album about being a person in the world.

Spirit of the Beehive — Hypnic Jerks (Tiny Engines)

Hypnic Jerks by the spirit of the beehive

Hypnic Jerks reminds me of a harder-rocking version of the Olivia Tremor Control’s Dusk at Cubist Castle—a hypnogogic patchwork of odd, elliptical little psych-pop songs that never quite work the way you expect them to but always end up somewhere good.

18 Great Records from 2018:

1.       Author & Punisher — Beastland (Relapse)

2.       The Breeders — All Nerve (4AD)

3.       Courtney Barnett — Tell Me How You Really Feel (Milk! Records)

4.       Daphne & Celeste — Daphne & Celeste Save the World (self-released)

5.       Dustin Wong — Fluid World Building 101 With Shaman Bambu (Hausu Mountain)

6.       Ezra Furman — Transangelic Exodus (Bella Union)

7.       Flasher — Constant Image (Domino)

8.       Hot Snakes — Jericho Sirens (Sub Pop)

9.       Joan of Arc — 1984 (Joyful Noise)

10.   Julia Holter — Aviary (Domino)

11.   Matthew Dear — Bunny (Ghostly International)

12.   Media Jeweler — 1-800 SUCCEED (Fire Talk)

13.   Nap Eyes — I’m Bad Now (Paradise of Bachelors)

14.   Neneh Cherry — Broken Politics (Smalltown Supersound)

15.   Nicholas Krgovich — “OUCH” (Tin Angel)

16.   Noname — Room 25 (self-released)

17.   Parquet Courts — Wide Awake! (Rough Trade)

18.   Spirit of the Beehive — Hypnic Jerks (Tiny Engines)

[megarockradio]

ALTARS OF OBLIVION - The Seven Spirits

ALTARS OF OBLIVION – The Seven Spirits

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Review – Altar of Oblivion‘s The Seven Spirits!

ALTARS OF OBLIVION – The Seven Spirits

We've had our eyes on these Denmark-based doom/trad metallers for a while now, and here on album number three, Altar Of Oblivion really just go for it in all the best ways: “No One Left” is unabashedly '80s trad-and-true metal, the band seemingly more comfortable in… [ad_2] Link to original source

[terrieallison510]

Album Review: BELOW Upon A Pale Horse

Awesome Black Metal Stuff!

Below are bringing trad doom back and making it better than ever!

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[ghostcultmagazine]

ALBUM REVIEW: Possessed Steel - Aedris - Temple Of Mystery Records

ALBUM REVIEW: Possessed Steel – Aedris – Temple Of Mystery Records

  While Toronto’s Possessed Steel approached Epic Metal with a rough attitude on the EPs they released in 2014 and 2017, their first proper full-length is much classier in comparison. The style is as grandiose as ever, but a greater emphasis on intricate guitar harmonies and polished production gives Aedris (Temple Of Mystery Records) more in common with a band like Wytch Hazel than Atlantean…

[ghostcultmagazine]

ALBUM REVIEW: Pallbearer - Forgotten Days - Nuclear Blast

ALBUM REVIEW: Pallbearer – Forgotten Days – Nuclear Blast

When listening to Forgotten Days (Nuclear Blast), Pallbearer’s fourth full-length, it’s hard to remember a time when they were ever this riff-driven. The title track sets an immediate precedent with its beginning feedback transitioning into pummeling yet catchy verses, a surprisingly hooky chorus, and a softer bridge that manages to keep the momentum going. ‘The Quicksand Of Existing’ and…

[ghostcultmagazine]

ALBUM REVIEW: Spirit Adrift - Enlightened In Eternity - 20 Buck  Spin

ALBUM REVIEW: Spirit Adrift – Enlightened In Eternity – 20 Buck Spin

Spirit Adrift could’ve followed the more accessible bent of 2019’s Divided In Darknesswith more of the same but chose to mix things up to an even greater degree with their fourth full-length album. The tug o’ war between Doom and Traditional Metal that has defined their style has turned in the latter’s favor with more songs taking on upbeat tempos. The lyrics have also undergone a noticeable…

[ghostcultmagazine]

ALBUM TITLE: Seven Sisters - Shadow of a Fallen Star, Pt. 1

ALBUM TITLE: Seven Sisters – Shadow of a Fallen Star, Pt. 1

In contrast to the mythical themes that defined their first two albums, Seven Sisters’ third full-length presents itself with a more otherworldly sci-fi aesthetic. However, the music on Shadow Of A Fallen Star, Pt. 1 (Cherry Red Records) ultimately sustains the classy approach to Heavy Metal seen on its predecessors. Comparisons could be made to groups like Iron Maiden, Aria, and Tony Martin-era…

[ghostcultmagazine]

ALBUM REVIEW: Scarecrow - Scarecrow II - Wise Blood Records    

ALBUM REVIEW: Scarecrow – Scarecrow II – Wise Blood Records    

As with their 2019 full-length debut, Scarecrow’s second full-length album sees the Russian quartet deepen their commitment to a distinctly off-the-cuff, kitchen sink Occult Metal. Scarecrow II (Wise Blood Records) sits on the arcane line between Hard Rock and Heavy Metal best demonstrated by groups like Seventies-era Scorpions and Judas Priest. There are menacing riffs and banshee vocals galore…

[ghostcultmagazine]

EP REVIEW: Fierce Deity - Power Wisdom Courage - Self-Released

EP REVIEW: Fierce Deity – Power Wisdom Courage – Self-Released

Having established itself with a series of singles since their 2019 formation, Tasmania’s Fierce Deity takes an epic step forward with Power Wisdom Courage (Self-Released). Having three songs total to a thirty-two-minute runtime puts this release on that weird line between an album and an EP and seeing these tracks sprawl to ten-plus minute lengths results in a release with an epic scope and a…

[ghostcultmagazine]

ALBUM REVIEW: Hour of 13 - Black Magick Rites - Shadow Kingdom Records

ALBUM REVIEW: Hour of 13 – Black Magick Rites – Shadow Kingdom Records

A lot has changed since Hour of 13’s last album, 333, came out in 2012. The project is now a one-man affair with bandleader/multi-instrumentalist Chad Davis playing all the parts himself, including vocals with Phil Swanson long out of the picture. That nine-year gap also saw a minor genre tug ‘o’ war take place as singles and EPs were torn between the Traditional Doom of albums past and…

[ghostcultmagazine]

ALBUM REVIEW: Lunar Shadow - Wish to Leave - Cruz Del Sur Music

ALBUM REVIEW: Lunar Shadow – Wish to Leave – Cruz Del Sur Music

Despite promising to move away from Heavy Metal in favor of a Post Punk sound in marketing materials, Lunar Shadow’s third album still features many of the band’s established quirks. The guitar tone’s lessened distortion promises a less in-your-face attitude, but the actual playing is still based around intricate sweeps and trills. The drumming also continues to mix in some aggressive fills and…

[ghostcultmagazine]

ALBUM REVIEW: Helion Prime - Question Everything - Saibot Reigns

ALBUM REVIEW: Helion Prime – Question Everything – Saibot Reigns

Helion Prime’s third album features yet another lead singer shuffle as live vocalist Mary Zimmer (ex-Luna Mortis/White Empress) makes her studio debut, but their sci-fi Power Metal vision remains undeterred. Following the underwhelmed reception to 2018’s Terror Of The Cybernetic Monster, the band seems to aim for a vibe similar to their 2016 self-titled debut. The song structures are similarly…

[ghostcultmagazine]

ALBUM REVIEW: Kingnomad - Sagan Om Rymden - Ripple Music

ALBUM REVIEW: Kingnomad – Sagan Om Rymden – Ripple Music

Kingnomad’s Prog Rock tendencies have been at the forefront from their inception, but these elements are expressed in their purest form on Sagan Om Rymden (Ripple Music). The group has about completely phased out the Stoner Doom tinges that helped shape their first two albums, allowing their third to expand their dynamics without a single hint of fuzz to be found.  While this does make a less…