Bring Me The Horizon teams up with DOOM's Mick Gordon for an EP that applies dystopian videogame aesthetics to the current global sociopolitical chaos for a remarkably engaging EP that is a collection of their best material yet.
EXCLUSIVE PREMIERE: The Sound That Ends Creation Goes After “Leeches and Freeloaders” on “I Saw Something That Reminded Me Of You, Then I Flushed”
Texas mathgrind project The Sound That Ends Creation have captivated us year over year with their annual descent into complete fucking madness. Each and every year over the past five years, Allen, Texas' Chris... Read More...
Old-school death metal (or OSDM) has been having a bit of a moment lately, thanks in part to the work of indie labels such as Dark Descent and 20 Buck Spin who have done much of the groundwork in promoting and popularizing the movement while emphasizing bands who lean into the more weirder and more progressive sounds the genre has to offer, with bands such as Horrendous, Tomb Mold, and last year’s critical darling Blood Incantation taking the sounds of acts like Death and Incantation into new places. As the movement proliferates, bands on the fringes are moving ever outward, soaking up black metal, sludge, doom, and prog and leaning away from the meat-and-potatoes approach where possible, particularly when it comes to the labels at the core of the renaissance.
The dudes in Internal Rot have certainly heard World Extermination and, like most of us, thought it kicked ass. This isn't to say that Internal Rot have taken the base grind sound of World Extermination and done nothing else but that, but those looking for meat-and-potatoes deathgrind in that specific style with up-to-date production, it's hard to find a better alternative that Grieving Birth, especially when looking for a brand new fix.
Enigmatic Dutch post-black metal band An Autumn For Crippled Children have been pushing black metal's long-standing flirtation with new wave, shoe gaze, and dreampop to its logical conclusions for over a decade now, garnering a dedicated underground following in niche circles. I've advocated on behalf of the band for their piece of the pie in their recognition as forebears to the genre's exploration of these blurring genre margins, taking things further and getting there faster than the more household names like Deafheaven and Alcest. Broader audiences simply haven't taken notice, likely due to the fact that the band is anonymous and has never intended on playing live, making them a hard sell to would-be labels seeking to advertise and move units.
Six albums deep into their discography, with nary a dud in the bunch, New Zealand’s Ulcerate hardly requires introduction. The extreme metal three-piece carries an unlikely musical lineage from both Neurosis and Gorguts, specializing in technical and brutal post-death that has pushed Ulcerate into the cutting edge of extreme metal that we’ve only just begun to see the influence of in the genre’s continued evolution. The band’s distinctive sound pairs an incredibly technical and intricate rhythm section with swarming, chaotic guitars that lend well to both suffocating walls of sound and passages of contemplative post-metal, often within the context of a single track. It’s a formula that the band have been perfecting since their 2007 debut Of Fracture and Failure and seemingly mastering by their watershed third album. 2011’s Destroyers of All.