A DIFFERENT PERSPECTIVE

SHORT REVIEWS FOR SMART PEOPLE

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MUSE - The Wow! Signal Fact: “The Wow! Signal” represents the best version of Muse since “Black Holes and Revelations” or “The Resistance”, for those who loved it, myself included. This is not classic Muse, of course, but modern Muse at their very best. An album as unapologetically accessible as it is inspired and eclectic, blending selected elements from the band’s distant past with the modern approach that has defined their most recent output. Muse have always embraced experimentation, and many of the stylistic ingredients found here had already appeared throughout their previous albums: the alternation between electronic passages, heavy riffing, pop melodies, sing-along choruses, and cinematic atmospheres has been part of the band’s musical identity for the past fifteen years. The difference is that the new material boasts stronger songwriting, a devastating production, far more fluid and natural transitions, and the vibrant energy that recalls moments from the band’s finest works. “The Wow! Signal” is one of those albums where everything seems to fall perfectly into place. It boasts outstanding arrangements and a level of attention to detail that had arguably been missing from the band’s recent output. From its intriguing title and underlying concept to its captivating song eclecticism, it immediately captures the listener’s attention, alternating infectious, crowd-pleasing songs with more adventurous compositions sometimes built upon oblique rhythms, while blending genres and styles with remarkable ease. Above all, it proves that Muse have rediscovered the inspiration that made them such a distinctive band. Each song is a little world of its own, the same dish prepared with different ingredients, a vibrant piece of the Muse experience. From the exotic symphonies of “The Dark Forest” to the disco pulse of “Nightshift Superstar”, from the tightly written ballad “Shimmering Scars” to the classic Muse vibes of “Cryogen”, whose bass riff resonates through your entire body. From the phone-lights-in-the-air sing-along of “Be With You” to the irresistibly logical 6/4 groove of “Hexagon”, from the face-melting riff of “The Sickness of You & I” to the djent-inspired riff that explodes into the arena chorus of “Unravelling”. The album closes with “Hush”, a radio-friendly song with the body of a pop hit and the mind of Matt Bellamy, and “Space Debris”, whose melancholic pace bids farewell to an album that feels like a genuine rebirth, launching Muse into the next decade with renewed confidence and high expectations. Key Track: Hexagons

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NECROPOLE - Nadir At The Crown Necropole redraw the map with their third full-length, “Nadir At The Crown”, crafting an album built upon different undertones and stylistic approaches while remaining unmistakably true to their identity. The overall direction is firmly rooted in old-school Black Metal, from the ever-impressive arsenal of riffs to the natural, well-balanced production, which allows the sorrowful screams to breathe while giving proper prominence to the propulsive bass performance. But what impresses the most throughout “Nadir At The Crown” is the eclectic nature of its new compositions. While Black Metal undoubtedly remains the album’s guiding thread, Necropole strive to maximize the personality of every song by weaving intricate riffs, soaring lead guitars, detonating bass lines, and a creative rhythmic architecture into a constantly evolving whole, successfully making each section and every transition feel distinctive. From abysmal slowdowns to sweeping melodic overtures, from furious blackened carnage to manic depressive vibes, from thrash-oriented assaults to quasi-progressive oblique time signatures, from hints of Black ‘n’ Roll ignorance to malevolent first-wave nuances, “Nadir At The Crown” reveals a side of Necropole that is articulate and dynamic, technical yet energetic. Density and intensity. Key Track: To The Fore

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NARGAROTH - Apocalyptic Feel The Nargaroth story seemed to have come to an end in 2017 with “Era Of Threnody”, an album that, despite the negative reception, represented the best-sounding Nargaroth effort to date. Ambitious from a songwriting perspective, balanced between glorious and melancholic atmospheres, and instrumentally accomplished thanks to the contribution of session musicians. Almost ten years later, Kanwulf returns with “Apocalyptic Steel”, an album originally conceived and partly recorded in 2014 that, compared to its predecessor (or perhaps its successor?) takes a far more regressive and dirtier Black Metal direction. A work of “spikes and leather”—Judas Priest seem to cast a long shadow over many of the riffs—that appears to be divided into two distinct halves. The first is aggressive and punishing, driven by effective yet fairly similar razor-sharp riffing and fast-paced rhythms; the second begins with “Dresden”, a melancholic composition built around clean vocals that places a much stronger emphasis on the album’s atmospheric dimension through longer and more expansive songs. A mostly repetitive and basic album, just as Nargaroth’s tradition would suggest, alternating relentless assaults (“Twisted Steel”), anthemic spirit (“Metalheart”), Immortalesque vibes (“I Drink Alone”), atmospheric moments (“Man Of Mayhem”), and dramatically triumphant passages (“Requiem Germania”). An album that will neither change the minds of the band’s detractors nor make longtime fans rejoice. Then again, if “Apocalyptic Steel” was shelved in favor of “Era Of Threnody”, there must have been a reason, right? Key Track: I Drink Alone

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FORSMAN - Brenndar Rústir & Fuðrandi Fjörur That’s a big yes! I mean, the return of Icelandic blackness after a period of apparent silence. Vafurlogi opened the dance with an album that embraces melody without abandoning the discordant undercurrents that have made this scene one of the most compelling in recent years. Now it is Forsman’s turn. After an excellent Ep released almost five years ago, they return with a debut full-length that sounds mature and remarkably accomplished from every perspective. Also with “Brenndar Rústir & Fuðrandi Fjörur”, Forsman do not seek to impress through hostile, impenetrable, or claustrophobic songwriting, but rather to captivate the listener with meticulously crafted musicality. A dissonant, complex, and at times atmospheric cauldron where swirling riffs and icy tremolo first collide, then seamlessly intertwine with technical and relentless drumming, devastating in its most extreme blastbeats and sophisticate when driven by creative fills and ever-changing rhythmic patterns. The vocal performance further enriches the Forsman formula, adding an authoritative presence through the diverse styles used to punctuate the different musical sections: from commanding growls to blood-curdling screams, with the occasional manic shriek in between. An album that lets you taste the chaos and glacial brutality of the Icelandic scene, yet ultimately keeps its primal instincts under control, evoking visceral emotions while showcasing musicianship of the highest order. Key Track: Lof Mér Líf þitt Að Taka

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ILL TIDINGS - Seeds Of True Rebirth Okay, I’m a little infatuated with today’s Austrian Black Metal scene… and I probably haven’t felt this way since the mid-’90s, when bands like Abigor and Summoning first earned my admiration. Quantity and quality seem to be the direction this horde of young and determined bands is pursuing with an interpretation that is often modern, yet still faithful to the primordial spirit of traditional Black Metal. Ill Tidings may not be the finest band in the current scene, nor is their third album its strongest release, but “Seeds Of True Rebirth” delivers plenty of outstanding riffs, intelligent transitions, and a dynamic approach to songwriting that, despite operating within well-defined parameters, remains varied and engaging. Primarily, I want to focus on the guitar work because it sounds outstanding from every perspective: the production, the tone, and the stylistic variety with which the different techniques are blended and interwoven. From dissonant arpeggios during tension-building passages to razor-sharp riffing in the most punishing moments, from soaring tremolo melodies in the album’s most evocative yet malevolent sections to manic rhythmic patterns in the few thrash-oriented fragments scattered throughout the record. A mention also goes to the versatile vocal performance, capable of spitting blood when required, yet equally convincing when shifting toward theatrical or despair-filled expressions, as well as to the drumming, which never pursues technicality for its own sake but delivers a performance rich in tempo changes and intricate fill combinations. “Seeds Of True Rebirth” isn’t a revolutionary record, but it does what it does, and it does it well. Particularly effective in balancing melodic elements, dissonant detours, and malevolent vibes, it is an album that never truly astonishes nor ever becomes dull, always knowing which path to take with competence and passion. Key Track: Lux Ferre

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INHERITS THE VOID - The Silent Abscission Inherits The Void continue their journey through Swedish-sounding Melodic Black/Death Metal with their fourth album, “The Silent Abscission”. The new material does not seek to break new ground, but rather to expand, with competence, the greatness of a sound that remains as glorious as ever. Placing a slightly stronger emphasis on the Black Metal component, these new songs deliver remarkable guitar work, rich in interwoven layers and majestic in the contrast between rhythmic and lead riffing, almost like an electric orchestra condensed into six strings. One example? “The Last Cry Of Cosmos”. Melodic and soaring, yet also razor-sharp and aggressive, Inherits The Void have composed a massive array of tremolo riffs and arpeggiated passages that perfectly duet with drumming seemingly intent on punishing the listener through relentless blastbeats or, when easing off the intensity, hammering away with powerful mid-to-up-tempo double bass patterns. While not entirely absent, the synths have clearly been scaled back compared to the band’s previous formula, only rarely taking on a significant role and instead reinforcing selected passages with cosmic textures, as heard in “In The Shadow Of The Falling Star” and “A World Unmade”. But the twist arrives with the next song, “Wrath Of The Endless Sea", where the band unexpectedly unleashes a saxophone right in the middle of an infernal cauldron of relentless riffs, grinding drums, and blood-spewing screams. An isolated experiment that deserves to be explored further, because although the saxophone is not an absolute novelty in extreme music, it is far more often used during atmospheric breaks or moody passages, such as the intro and outro of “Inherits The Void”, than amid sonic assaults of this intensity. Yet it is precisely this sense of dynamism, these onslaughts pushed to the limit, and their fusion with multifaceted, ever-shifting guitar work that represent the true strength of “The Silent Abscission”, both evocative and visceral. Key Track: Wrath Of The Endless Sea

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WALG - VI If, until their previous album, Walg had been a Swiss clock when it came to releasing an impressive arsenal of melodic, complex yet razor-sharp riffing, interwoven with melancholic and triumphant orchestrations and driven by highly dynamic yet surgically precise drumming, then in their sixth chapter you can simply (and partly) remove the “triumphant orchestrations”. Although orchestral and acoustic elements are still present throughout the new songs, Walg have clearly shifted their focus toward crafting a straightforward Melodic Black Metal album that leaves a lasting mark. The vocal delivery once again alternates between traditionally feral and tragically erratic screams, occasionally interspersed with clean vocals, but the defining element of “VI” is its impressive guitar work and the seamless transitions between the different sections that animate each song, keeping them emotionally vivid throughout their constant motion. A necessary choice to compensate for the absence of the grandiose symphonic structures that once played a more relevant role. “VI” is built around songs driven by a central theme punctuated by a devastating succession of melodic and harmonic riffs, yet constantly surrounded and enriched by atmospheric passages, acoustic folk-inspired soundscapes, and ferocious onslaughts, revealing meticulous work in both composition and arrangement. Each track almost flows into the next, creating a cohesive whole that never feels self-indulgent, thanks in part to the wise decision to keep the songs both dynamic and concise. Key Track: De Eenlonkster

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SAIDAN - Fangdriller: Scars Beneath Memory’s Wrist Six years after “The Visual Kill”, Saidan confidently continue along their distinctive artistic path. From the striking visual identity of their artwork to the music itself, the band has created a unique sonic world where Melodic Black Metal is blended with a variety of recurring stylistic approaches, showcasing consolidated songwriting skills and unwavering coherence in both song structures and melodic progressions. The core elements of “Scars Beneath Memory’s Wrist” can be distilled into fast-paced Swedish-inspired tremolo riffing, happy-sounding J-Pop-infused melodies, and classic Heavy Metal gallops. The formula is executed with such effortless flow and surgical precision that it almost feels unreal, unleashing an avalanche of meticulously crafted riffs that hit with equal emotional weight and visceral force. The personal disclaimer I made for “Onryō II” and “The Visual Kill” still applies to the new album, which also happens to be the band’s lushest release to date, and is offered without any offensive intent: given my Black Metal background, Saidan represent the perfect embodiment of Black Metal for those who do not like Black Metal. Nonetheless, I cannot deny the band’s talent for crafting great blackened songs that unite speed, aggression, creativity, and uplifting melodies. Key Track: Ethereal Blood

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KHEMMIS - Khemmis Every self-titled album carries a certain degree of uncertainty, especially when a band decides to adopt that formula in the middle of its career. What is the purpose? A new beginning? A statement of intent after a period of silence? I do not know what led the band to make this choice, but beyond the ever-growing AI paranoia and the complaints of older fans about every minor change in a band’s sound, the truth is that Khemmis seem incapable of doing anything wrong, and their fifth offering is one hell of a record. It is true that some of the purest Epic Doom elements have been blended more than ever with classic Heavy Metal influences and Hard Rock anthemic sensibilities, but it is equally true that the foundations of Khemmis still command the band’s identity. The clean vocals, rarely interspersed with growls, remain pure gold, as do the melodic and harmonic vocal lines, which continue to sound epic, melancholic, and catchy all at once. The same can be said of the guitar work: dynamic and heavily riff-driven, faithful to the truest and most meaningful sense of the word, while also graced with some delicious solos. Since I do not believe the “problem” resides in the 34 Death/Doom seconds of “Gilded Chambers” or the 110 featured in “Carrion King”, I can only assume that it is the reinvigorated melodic trajectory that part of the audience is struggling to embrace. Which is perfectly legitimate, even if melody has always been a fundamental component of Khemmis’ music. Therefore, despite a less enthusiastic reception than some of their previous works, Khemmis continue, in my eyes, to embody the very definition of “catchiness done right” in heavy music. Key Track: Invocation Of The Dreamer

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FYRNASK - Íosir Visceral and ritualistic, “Íosir” continues the personal path Fyrnask has refined and expanded since its inception. Although not entirely revolutionary in its development, this fascinating sonic chemistry and deeply spiritual approach have allowed Fyrnask to become one of the most distinctive voices within the transcendental side of the genre. The prevalent Black Metal component, reaching impressive peaks of ferocity, is once again blended with mysteriously arpeggiated passages, percussive moments steeped in ritualistic mysticism, and slow-burning build-ups that gradually raise the tension before sudden explosions of blackened fury ignite the powder keg. But more than this ambitious musical exploration and the unexpectedly violent direction some of the new compositions have taken, “Íosir” impressed me with the variety of its guitar work and the perfect balance between lacerating dissonance, effective complexity, and gloriously razor-sharp riffing. A balanced work, crafted with competence and devotion, sounding both carnal and metaphysical, pounding and meditative. A spiritual path toward revelation. Key Track: Blóðmálmur

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ARMAGGEDON - Black Cult Of Eternal Hate I love these two French sonic terrorists. Although not always consistent throughout their lengthy discography, Armaggedon have spent almost twenty-five years standing as a fist in the ass of social conventions, untouchable subjects and categories, religion and its flock of lost sheep. Approaching my 50s, I am fucking proud not to be politically correct, without acronyms, to possess an independent critical mind, and that a band like Armaggedon can freely express its art and convictions. An art that consistently follows the classic coordinates of Black Metal: violence and intolerance delivered through hatred-filled riffs, not as devastating as those found on “Trumpets of Christian Holocaust”, yet undeniably razor-sharp, and vitriolic shrieks capable of making throats bleed. Once again, the production is rather clean and, while “professional”, I would have preferred a sound that was a little filthier and more primitive. This is Armaggedon: how to remain true to yourself, lesson number eight. Key Track: To Dwell In Sheol For Eternity

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GRABUNHOLD - Frostheim Grabunhold’s sophomore album picks up where “Heldentod” left off, further expanding its vision of Teutonic-flavored second-wave Black Metal through glorious pagan feelings and triumphant melodicism. Within “Frostheim” coexist the primordial fury of Nordic Black Metal and a strongly evocative medieval spirit, two essential elements in crafting a sensory experience capable of carrying the listener across frozen mountain, blood-soaked battlefields strewn with shattered swords, and the ancient emotions that only a castle can evoke. Epic and powerful in their solemn essence, Grabunhold have found the right chemistry between relentless, pounding drumming, constantly driving the music at high speed and a lush guitar performance, melodic and melancholic in its tapestry of riffs. Once again, the production strikes a well-balanced approach: clear, organic, and just dirty enough to allow every sonic interplay to breathe, narrating tales of distant lands shrouded in a veil of Nordic mysticism, particularly welcome during this insanely hot June. Ket Track: Rerirs Blauer Schatten

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REVOLTING - Supernatural Anthems Revolting has long stood out as one of Rogga Johansson’s most interesting projects outside of his main band, Paganizer. Over the years, the band has delivered few decent contributions to the Swedish Death Metal scene, oscillating between more melodic elements and occasional injections of Crust-fueled aggression, all often invigorated by an aesthetic deeply rooted in 1980s horror and gore cinema. “Supernatural Anthems”, the tenth installment in Revolting’s discography, stays true to its roots, delivering classic Swedish Death Metal driven by inspired buzzsaw riffs, counterbalanced by quality melodic leads and supported by dynamic drumming that ranges from straightforward 2-beats to head-crushing skank pattern, without neglecting a handful of punishing blasting assaults. As is often the case with Rogga’s projects, the primary inspirations range from Edge of Sanity’s ability to blend brutality with memorable melodies to the classic HM-2 sound that found its most legendary exponents in Entombed and Dismember… And I’m almost terrified to admit that it actually works this time! Even so, I will continue to regard Rogga as one of the least talented veterans of the Swedish Death Metal scene. Key Track: Dungeon Overture

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DEVIN TOWNSEND - The Moth It was bound to happen sooner or later. A rock opera, primarily orchestral in nature, capable of bringing together, under a different light and in a form still absent from his repertoire, that compositional style Mr. Townsend has accustomed us to over the past two decades: as brilliant as it is redundant. It must be said from the outset that, by its very nature, given the theatrical, choral and cinematic essence of the project, “The Moth” often sounds fragmented (at times excessively so), and above all overproduced (hardly a novelty). Yet, at the same time, everything sounds unmistakably Devin Townsend. The Progressive Metal incursions, often spilling into avant-garde eccentricity, that the Canadian artist has long managed to weave into the many facets of his music, together with the operatic sections and his larger-than-life symphonic arrangements, leave an immediately recognizable imprint. That peculiar balance between the epic and the cartoonish has always defined the playful spirit, the flashes of genius, and the pompously mammoth sound that characterizes much of Hevy Devy’s output. A melting pot that once again confirms the unique and occasionally bewildering vision of an artist who consistently thinks outside the box, yet is sometimes trapped within one of his own making. The difference with “The Moth” lies not only in its evident orchestral predominance, but also in the lack of horizontal development within the individual songs, especially considering that the average track length falls below three minutes. In truth, even many of the longer pieces, such as “Orion” (with effects very similar to "Genesis"), still feel uneven and fragmented in their construction. Perhaps repeated listens will reveal recurring motifs and connections capable of mitigating this almost relentlessly vertical approach to songwriting, uncovering layers and details that a work so lengthy both in its gestation and in its running time may well conceal. “The Moth” may represent the purest expression of the Townsendian paradox. Key Track: Home At Night

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GODTHRYMM - Projections Epic, tragic, yet catchy. This seems to be the backbone of Godthrymm’s third album. A work that obviously resides within Doom Metal territory, leaning toward the epic side when the clean vocals take center stage, and moving into more gothic-oriented realms when female chants and lead guitars assume a greater role in shaping the album’s atmospheres and melodies. But beyond these stylistic nuances lies the main issue: “Projections” struggles to deliver truly memorable songs. The impression is that of compositions capable of expressing a dramatic and sorrowful mood, yet only rarely able to leave a lasting musical imprint. The vocal lines, while certainly pleasant, are fairly predictable, the riff progressions often feel stereotypical, and unfortunately the lead guitars rarely venture beyond rather superficial melodic patterns. Guitar solos are almost entirely absent. Even the track featuring Stainthorpe comes across as a directionless amalgam. You have one of the most iconic voices in the entire Doom Metal landscape at your disposal, what exactly are the female vocals adding to this particular song? I understand that they are currently a popular choice, and the rest of the album certainly reflects that trend, but here their inclusion feels genuinely nonsensical. But the award for the album’s weakest element unquestionably goes to the production. Considering the caliber of the band, it feels almost amateurish, a sound that flattens rather than enhances, failing to emphasize the very moments that deserve greater impact and definition. A perfect example is “Hope Is Eternal”. Probably the strongest track on the album, it is rich in contrasting dynamics, emotionally charged lead guitar work, and even a few unexpected rhythmic shifts. Much of its potential is undermined by a production that never allows those qualities to fully shine. In light of all this, and with a certain degree of regret, I have to conclude that “Projections” is ultimately an album of wrong choices. Key Track: Hope Is Eternal

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STORMKEEP - The Nocturnes Of Iswylm The fact that there seems to be more appreciation for the breasts on the cover artwork than for the music itself says quite a lot about Stormkeep’s sophomore effort. But setting aside this picturesque detail, if “The Nocturnes Of Iswylm” has generated less discussion from a musical standpoint, it is mainly because the new material does two things. First, it significantly reduces the orchestral component that made Stormkeep so appreciated, effectively leaving many of the Black Metal sections feeling somewhat bare and less evocative. Atmospheric backdrops alone are not always enough to recreate the sense of grandeur that characterized the band’s previous work. The second, though only time will confirm whether my impression is accurate, is that the album occasionally appears to follow the same evolutionary path Emperor took thirty years ago, moving from a cold and merciless form of Symphonic Black Metal toward a more “technical” style filled with elaborate arrangements, progressive solutions, clean vocals, guitar solos, and more intricate transitions. There is, however, a third element that defines this album. It emerges when Stormkeep slooow the pace, greatly increasing the melodic and almost romantic side of their sound while reducing the epic, darker, and more enthralling qualities that once stood at the forefront of their music. There are sections that recall the band’s previous work, and others that sketch intriguing possibilities for the future growth of the American outfit. But for the most part, “The Nocturnes Of Iswylm” can only highlight a significant loss of tension, a partial yet debatable change of direction that can be neatly summarized by the title of one of the album’s own songs: “Saccharine Subjugation”. After the opening two tracks, it takes until the closing duo to encounter something truly capable of shaking the listener, particularly the malevolent “Carnal Tapestries Of Nailtorn Flesh”. A late spark that, rather than enhancing appreciation for the album, ultimately makes its predecessors feel all the more missed. Key Track: Carnal Tapestries Of Nailtorn Flesh

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DESECRESY - The Scent Of Death When slow and imperative Death Metal gives the kiss of death to Doom-injected aural caverns, Desecresy are among the first names that come to mind, even though that particular sound often reaches its highest peaks across the ocean. Yet the Finnish school has always known how to blend brutality, atmosphere, and darkness, and over the last fifteen years Desecresy have carved out their own place within the genre through coherence, constancy, and consistency. The formula is always the same, yet it seems to click every time as if it were the first. Cavernous vocals, abysmal walls of downtuned guitar riffs, and basic yet pummeling mid-tempo drumming create the miasmic backbone for the element that truly defines and gives an imprint to Desecresy’s creations, the real engine behind their bleakest and most obscure emotions: the agonizing melodies and atmospheres generated by the lead guitar. It’s as if the darkness of Finnish OSDM, the borderline Death/Doom sound that finds one of its greatest evokers in Incantation, and a zombified version of the Peaceville Three had discovered an ancient talisman through which to merge and unleash all their negativity and malevolence into a single creature. I am not primarily referring to the music itself, we are talking about pioneers operating at the highest possible level, but rather to the lore and imagery that an album like “The Scent Of Death” manages to evoke. Key Track: Vanishing Existence