Death’s Door – April 2018

Welcome to Death’s Door. Wipe your feet on the mat and sorry for the general disarray, the world made a mess on its way through here. That’s right. THE WORLD. Dark Lord, that place is nuts. I genuinely don’t understand it. Kanye loves Trump (re: himself), people are getting shot…

Ripped to Shreds – Mai-zang

In 2018, it’s surprising the number of projects that have come out of all types. There is so much access to so many things that it’s sometimes difficult to find the real gems. But don’t worry, they’re out there! Just take a look at the Bay Area’s Ripped to Shreds,…

Iron Reagan/Gatecreeper – Split

Death and thrash metal are really the most related subgenres metalheads like. The two grew up together like siblings, being related to each other but with enough slight differences between them that they are each individual in their own ways. Now that the two genres are a bit older, they’ve…

Death’s Door // February 2018

Hello, Hellions. Welcome to Death’s Door, February Edition. Wipe your feet on the mat, pull up a bone chair and feast on the flesh of the unbelievers while I complain about the worst month of every year. Yes, that would be February. The Corporate Holiday has passed, the fresh stench…

Atomwinter – Catacombs

2017 saw a full-on resurgence of old school death metal from the crypts and swamps of the metal ether and into the collective conscious of extreme music fandom. Bands like Father Befouled, Ascended Dead, Incantation, Spectral Voice, Gorephilia, Necrovorous, and others brought the OSDM pain throughout our latest trip ‘round…

Morbid Angel – Kingdoms Disdained

After finally listening to Kingdoms Disdained, its clear that guitarist Trey Azagthoth’s deterioration as a songwriter has been a key, unaddressed factor that’s affected Morbid Angel’s recent output. While he may have written some of death metal’s greatest riffs during the band’s heyday, Kingdoms Disdained is the best case study thus far in terms of demonstrating Azagthoth’s slipping capability as the driving force of Morbid Angel’s sound. It was easy to overlook Heretic given how generally forgettable it was, and the predominant critiques of Illud Divinum Insanus revolved more around the band’s decision making than anything else. But now that Morbid Angel have entered into the perfect setup for a successful comeback, it’s difficult to overlook how complacent Azagthoth’s songwriting is across the entirety of Kingdoms Disdained. There’s no denying the album is an incomparable improvement over their industrial metal excursions, but it’s also difficult to avoid comparing the album’s aggressively average delivery with the milestone records that have preceded it in the band’s discography