Ossuarium – Living Tomb

Death metal, perhaps more than any other genre, builds monuments to its past often, and it builds them tall. And can anyone really find fault in that? With stylistic confines so severe, and such a wealth of talent and personality from day one, it’s not hard to see why every…

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Coffin Birth – The Serpent Insignia

When reviewing the new Bloodbath album, I suggested that simplistic, straight-forward death metal might not be enough to stand out in a year that has seen the genre well and truly dominated by more forward-thinking, progressive acts. Now I’m thinking I merely may have given the record far too much…

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Doomsday // September 2018

Hello, fellow doomers. Welcome once again to Doomsday! You may have noticed some changes around here. Namely, the person who’s writing this intro. Yes, it’s true. Our dearly beloved master of ceremonies Lincoln hath departed to continue his pursuit of big boy work (DAMN YOU, THE LAW), and we wish…

Rise of Avernus – Eigengrau

For their second full-length release, Sydney’s Rise of Avernus have stripped back a lot of the operatic elements that characterized their debut. Instead, with Eigengrau,  they’ve opted for a more extreme symphonic metal sound akin to that of Septic Flesh and… well… Septic Flesh really are the major point of…

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

Hey! Listen to The King is Blind!

What exactly qualifies as “metal” can be a contentious issue. As any dedicated listener knows, the label itself accounts for a wide spread of sub-genres—ranging from softer, more atmospherically-inclined fare such as post-black/gaze and folk metal; to the frantic, bombastic realms of speed and power metal; and onto the spasmodic worlds of math- and grindcore; and even the bleak, all-encompassing, sonic oppression of drone and funeral doom. Many of these sub-genres remain contentious, and what is considered metal, or even just heavy music can shift and change depending upon what circles you frequent. Then again, there are those bands who (for any number of reasons) simply ooze the ideal of heavy metal, no matter which way you look at them, so that their status as a nothing less than a fucking heavy metal band cannot be denied. The King is Blind are one of those bands.