Six years after the excellent, previously mentioned album, the Canadians are back with… Within. I’m here to tell you there’s no loss of potency, energy, or quality from the extended break.

You can quote me on that and listen to “Fishhook.” It’s upbeat and infinitely relatable. The chorus is one of those that sounds cheesy at first, which it is, but they’re no stranger to it. In case you didn’t know or had somehow forgotten, the band’s musical chops are on full display with stellar performances all around. Rody expresses more optimism than I do as far as bridging the partisan divide that plagues the planet, but especially the United States.

I’d rather talk far less about my country, so I’ll move on to track five, “The Orchard.” There’s another excellent hook in the song’s refrain, but it’s also another display of their stellar musicianship. There’s a quick turn into power metal territory during the instrumental section not long after the first chorus, which shows the band can pull off anything if they wish. It’s excellent, but not quite on the same level as the closer; not much is.

That last track in question, “The Mariner,” I am appropriately going to feature at the end of the review. It’s quite an anthem. There’s enough technical brilliance to take the breath away of any accomplished musician. However, there’s a succulent, meaty chorus on which the casual fan can feast. It might impact your stomach, butit  will assuredly hit you in your heart, then get stuck in your brain.

It’s difficult to label Within as anything other than Album of the Year material. It displays ina  stunning fashion a band that is firing on all cylinders. They’re pissed off, but who can blame them? However, there is an underlying optimism permeating the entire album. This isn’t your typical 2026 “end times approaching” masterpiece. Sure, there’s some doom and gloom, although you’d never know it because of how up-tempo Protest The Hero’s signature sound truly is, but there’s hope.

Where the traditional metal Black Sites plays needs to shine is in the guitar playing/solos and catchy refrains. There’s rarely innovation, so you must write quality songs. Fortunately, For Eternity kicks off with “When It Calls,” Martin employs cleans exclusively, and it’s not long before a catchy chorus hits. The dissonant picking on top of the chugging main riff gives the song a brooding feel, which becomes common throughout the rest of the album.

Honestly, it’s very difficult to pick out tracks to highlight because there are many remarkable ones. The last one, “Unanswered for Eternity,” would not be out of place in the “hair metal” heyday. The main riff is far from what I’d call heavy, at least in the traditional sense, but it allows the vocals to carry the track. It’s basically a ballad, although a seven-minute one. The instrumental section that ends near the five-minute mark is as brutal as it gets here, but it does lead the way into a darker guitar solo section. At over 40 minutes, it’s right at the sweet spot before I get bored.

Luckily, there are even better tracks before the end. I would rarely call an album “middle heavy,” but when the best tracks tend to be there, I think it applies. Take, for instance, tracks four and five: “Giving Up the Ghost,” and “Blades (For the Chosen Ones),” respectively. The former has a bass-heavy, driving riff. Of course it has a good hook, but so does the latter. This tune has far more of a bounce to it than “Giving Up the Ghost,” and one could argue that the chorus is better, but almost every one is a fist-pumper.

If you’ve been following along, congratulations, you’re literate, but you’ve also probably figured out this is the album that finally made Black Sites click for me. This is without a doubt the pinnacle of their recorded output. In my eyes, their previous work doesn’t measure up. When I heard those albums, I wasn’t quite over the loss of Trials, so it’s probably not a bad idea to go back and listen to them again. Maybe time has forgotten, or For Eternity just hit me at the right moment, but if they keep releasing heavy hitters, then I’ll continue to pay attention.

You should, too, especially because the new album is self-released. That’s always a strong indication of being in it for the right reasons, including their own artistic expression.

The first track, “Ashes of a New Dawn”, while good, sounds like a B-Side from 2022’s Divine Council. It’s safe to say they have stumbled into their sound, which is not necessarily a bad thing, if they know what to do with it. If you’re unfamiliar, their brand of tech death is based on actual song structures, instead of just cool parts. Before three minutes pass, the slower section breaks up the speedy aggression, but only too briefly.

Many of the gripes I hear regarding Psycroptic are that many people don’t like Jason Peppiatt’s vocals. If you agree, it won’t change with The Pulse of Annihilation. I want to clarify that I don’t think there’s a need for change. He’s unique, and it’s difficult to mistake him for someone else. My issues fall in line with, yes, everything sounds similar. If you’ve heard the last few Psycroptic albums, you’ve heard the new one.

Are there times when they stray from the path? Well, maybe a little. Take for instance, the first two minutes of “Our Pillars Fall,” which begins with an acoustic guitar intro that builds into the main riff. There’s also a splash of keyboards, but if you close your ears (however the fuck one may do that) for just a moment, you’ll miss it. Howevvverrrrrrrr, that main riff from Joe Haley sounds like nothing, if not familiar.

Guys, I’m trying my best here to list standouts and great moments, so maybe “Annihilation Pulse,” the de facto title track, will have them. I do enjoy the fretboard wizardry that makes up the main riff. It stands out because everything sounds so clean that it’s almost sterile. I guess if you want to know how the rest of the album sounds, you’ll know immediately after it.

I hedged my bets on some experimentation to happen on the final track, “Forging the Crown.” It does have a cool intro where one can hear the tension building into the main riff, which is another scorcher. Taken in isolation, perhaps on a playlist, I can see this one standing above the rest. At first, I thought there were keys in the background, which pop up for a quick “hello” on occasion, laying the atmospheric, darker groundwork. However, after time with it, I found it’s just the guitars ringing out a bit too long. Just like that, in a stout 39 minutes, the album is over.

Ughhhhh! I didn’t want to do this but felt I had no choice. While I still love Psycroptic, The Pulse of Annihilation has done nothing for me. The nearly 40 minutes go by without even thinking about it, wondering what happened. Perhaps it’s the combo of the “too clean” production, along with the same style of riffs I’ve heard from them for years, but I just can’t recommend it heartily. If you want a better representation of what the band is capable, check out their early stuff with Chalky, as well as ObServant, The Inherited Repression, and Divine Council. Perhaps their previous work spoiled me.

Unfortunately, I’m not sure The Pulse of Annihilation grabs me. It just kind of exists.

Snowbound Horror is for fans of bands who spend their off time throwing bolts. For the most part, and I mean perhaps all but 1% of the album, it’s full speed ahead, sack to the sand, death fucking metal. However, if you take the first track, “Vengeance in Fur”, as an example, it’s difficult not to think of Dying Fetus in the stomp. The guitars have heft, and the production is cleaner than I anticipated, but it doesn’t take away from the blistering beatdown that enters your earholes mostly uninvited.

A few tracks further lies another example, “As Fangs Go Deep,” which is the fantasy of every alternative person, or so I’ve heard. The riffs are of that signature churning variety. This one’s not going to win any awards for originality, but at just over three minutes, much like the rest of the album, it doesn’t stay around long enough for you to consider such an abominable opinion.

To end the album is the “Land of the Ice and Snow,” which is unfortunately not a cover of “Immigrant Song” by Led Zeppelin. The riff immediately howls from the speakers and buries your face in the frozen tundra. While it’s heavy and played with a sense of urgency, it perfectly encapsulates the entire album. All the tracks indeed sound mostly the same, despite slight deviations that are barely noticeable.

Before you discard Ravaged by the Yeti as nothing more than a clone, Snowbound Horror is a fun time, drive with your windows down, a rollicking, shit-kicking romp through snow-capped mountains. It’s short, snappy, and doesn’t reinvent the genre. It doesn’t have to, though.

There is a substantial amount more happening here than your typical, run-of-the-mill Bolt Thrower ripoff, which is what those who have likely barely listened to the album believe. The blast beats and components of slam help it stand above many of their peers. It’s a fine example of modern old-school death metal, and while I never wanted to get ravaged by a yeti, at this point, fuck it, I’ll give it a go.

Typically, my first experience with an album is the “morning test.” I get up to work out in the morning, and while I am preparing to do that, I turn on some music. This is also a kind of background test. I must admit nothing stood out to me upon the first morning test, as the production doesn’t have much heft. I do want to point out that’s not uncommon when I first listen to an album, so that’s no slight or snub.

Next, we have the headphones/workout test. This is likely self-explanatory, but I only wear headphones when I work out, so they go together like peanut butter and ladies. This is where the album starts to gel with me, and if it doesn’t after a few listens, it’s probably not going to resonate. However, Sons of the Abandoned did. Take for instance, the third track, which stopped me in my tracks due to the brief vocals/voiceover of Moonspell’s resident vampire, Fernando Ribeiro. I must admit my embarrassment at first because I thought it was Nergal of Behemoth. Otherwise, it’s an Arch Enemy-flavored melodic death metal banger with a galloping riff, sort of standard affair, until the quieter part with Fernando, which leads into a blazing fretboard guitar solo.

After that is the car test. I drive a convertible, so I enjoy having the top down and blasting some heavy metal. Does that make me an asshole? I’m confident I am with or without the convertible. “The Path That Never Ends” stood out during this test because of the driving main riff and Diva Satanica’s cavernous vocals. However, slightly past halfway, Laura Guldemond of Burning Witches appears with clean vocals and growls behind them. Of note are the cymbal crashes through those sections, making for another excellent change of pace.

The smell test: That doesn’t apply here, and I’m not even sure why anyone would ask.
Much earlier on the album, if you’re looking to stomp someone into the dirt, and I know you are, the title track “Sons of the Abandoned” will do the trick. The weeping lead during the chorus almost serves as an emotional reprieve, then it goes immediately back into the main ditch-digging riff. The smooth solos and leads throughout deserve a mention because of their consistent excellence as well.

Is Sons of the Abandoned a world beater or album of the year contender? No, but it scratches that melodic death metal itch I think most metalheads suffer occasionally. It took me probably far longer than it should to get these words and, therefore, the review out in the world. Rest assured, it’s indeed a banger worthy of your attention.

It’s very fortunate that At the Gates gives you little time to think before getting into the first track and single, “The Fever Mask.” A galloping melodic death metal riff begins before Tomas’ unmistakable roar. Some on the staff, and I will not provide names, stated it’s “by the numbers.” Does that make it bad, though? No, that’s exactly what I wanted, and if you’re a fan of the band, I don’t see any issue.

A little further into the album, one of the best tracks, with the catchiest hook, of course, is “In Dark Distortion.” In the lyrics, there’s a call back to the first song I mentioned. The drumming of Adrian Erlandsson stands out early behind the slightly dissonant riff. The dissonance is more noticeable in the chorus, but make no mistake, this isn’t anywhere close to a Portal song.

It’s very difficult for me to pick an overall favorite track, but “Ritual of Waste” is also a great one. The poignant drums right on the beat with the riff give it all a sense of urgency. In the chorus, we are treated to some deeper growls by Tomas, and after each chorus, the music is given ample space to breathe, painting an introspective atmosphere amongst the blistering riffs.

On the first listen, I found it quite depressing that there’s an end to the album, almost assuredly marking the finality of At the Gates’ output. It’s another solid melodic death metal riff on an album full of them. With around 2 minutes left, there’s a prolonged instrumental section, proving once again that those gentlemen know how to build atmosphere, juxtaposing it with the poignant riffs, all forming a final decisive, death metal blow.

I won’t even pretend for a moment that reviewing The Ghost of a Future Dead was an easy task. I struggled with it from the first note and wanted to make sure what I say in memoriam to an icon matters. The truth is that many of the songs take similar paths and sound like one another. When listening to the entire album, though, my fears are assuaged. This is what At the Gates was meant to do, and their final (I assume) album reminds everyone in case they had forgotten. I highly enjoy and recommend it. The truth that is shown, countering my earlier statements, is that Tomas’ words and music will live on, so perhaps this god is indeed immortal.

I am serious when I say This is Goodbye doesn’t give you many chances to breathe. The mix is loud to an almost oppressive degree. The music would be domineering even without that, let’s say, production choice. Make sure it’s turned down when you hit “play” because those speakers will crackle. The first track, “Arms of Eternity,” vomits in your face before you’ve even sat down. At the 30-second mark, they Car Bomb the shit out of you. This is how parents probably thought Slipknot sounded in their early years.

The second song, “Scarlet Ink,” teases a quick breather with some quick vocals, then of course shatters every glass object around you moments later. They have a heavy reliance at times on pinch harmonics, which are sometimes the only parts of the guitar you can hear. Everything else is smashing your face against your car windshield, then taking your mother, Dorothy Mantooth out for a nice seafood dinner, and never calling her again.

A little later, the shortest song is “Surveillance.” It’s heavy, angular, and is the auditory equivalent of getting your head slammed into a car door. Luckily, the next track, “Parting Gift,” gives you and the music time to breathe with a pinch harmonic riff for about 30 seconds. There’s a semblance of a groove with around a minute left, but it’s just an excuse to make sure you understand the bass is aggressive, too.

The last track I’ll mention is “Resurrect,” because it features the incomparable Vincent Bennett of The Acacia Strain. This track is probably the closest thing to melodic Chamber that it is going to get. The drums are unhinged, so Vincent’s vocals fit quite well. The riff isn’t out of the norm for his band and is probably the best on the album.

There are many mathcore bands who could be mentioned as influential for This is Goodbye, but the ones who certainly come to my mind are Car Bomb, as previously mentioned, and early The Dillinger Escape Plan. Mix in perhaps some Jesus Piece, and you’re riding your bike in the right neighborhood. This is going to attract a very specific audience, but only for a short time, which is great because the album is over in less than 30 minutes. I’ve worked out to it multiple times, and that’s probably the best accompaniment for something of this nature. If you’re not prepared, this album will sneak up on you and knock your wind out. It’s only recommended for those who don’t mind a collapsed lung.

Their sound is described on Metal Archive as “technical metalcore.” While that’s an apt descriptor, I wouldn’t be telling the full story if I didn’t mention nu metal as part of their metal recipe. Specifically, I am referring to the weird era of Fear Factory without Dino. In fact, Threat Signal’s vocalist, Jon Howard, recorded an album with Raymond Herrera and Christian Olde Wolbers under the band name Arkaea.

Burton C. Bell, however, Jon Howard is not. His vocals are higher and, honestly, a bit nasally. It’s not an insult, as I enjoy them. If you’re looking for an example, check out “Non-Essential.” The down-tuned guitars, along with the furious drums, must make you think of the band I mentioned a couple of times already. Once the song kicks in, it’s made clearer. They do fit in a quick solo after the second verse, but I have mixed feelings on the chorus. I can’t tell if the lyrics are right-wing regarding the COVID pandemic, considering the phrases concerning mass control. At least they’re hitting things at the height of their popularity.

There are also some vague religious references throughout, but with the backdrop of personal struggles, such as on the closing track, “Live for You.” While this is certainly the quintessential ballad, it’s not without heft. It’s an almost mournful closer, and while I enjoy the musicianship and the instrumentals, I cannot identify with the lyrics. It’s only because they are overtly religious in this instance. I am all for musicians and everyone expressing their faith in music, but I often find it, as the kids say, “cringeworthy.”

Maybe the religious lyrics had been there all along, and I didn’t notice. However, judging from the lyrical content, I get the feeling this is, in fact, new. That’s fine as long as bangers like “Death Will Find Us All” remain a part of Threat Signal’s repertoire, which comes out swinging almost immediately with harsh vocals and a poignant snare. There’s quite a guitar lead present through a significant portion of the track, too. As mentioned in the promotional materials, they do indeed have blazing solos. The finger-tapping riff at the end is just icing on the cake.

A couple of tracks later, “Revelations,” the title track, is a banger as well. Harsh vocals accompany the in-your-face snare, but, of course, there’s a clean chorus. The approach of the guitars changes several times, with a scorching riff, then cleaner for a brief portion past halfway. The band brings in some synth work for accompaniment near the end, which adds some bombast.

I know I mentioned the religious lyrics in some parts, but don’t let that deter you. This is still an excellent, catchy metalcore album. There’s no shortage of riffs or hummable, meaty hooks, either. I’m glad Threat Signal is finally releasing another album. I’m not sure I will be purchasing a copy as they’re on a label that has defended some very questionable happenings for other bands in the past, but it didn’t stop me from buying the last Hail Spirit Noir, so it’s not off the table.

This is for the metal-curious folks. I’d imagine this gets rotations on Sirius Octane along with all the other more mainstream-leaning metalcore acts of today. Listen to the title track, which is the first official one, “Colors in Grey.” Screamed verses, sung choruses. It’s the formula that seems to work. The limp dick production doesn’t do the lack of riffs or heft any favor. On this chorus (and the others on the album), there’s an effect on the vocals, which is clearly a pitch correction. The first time I listened, I may have said out loud, “Make it stop.”

They didn’t make it stop, though. No, sir! Oathbound forges forward, nary a hummable riff in sight. Trust me, I searched. Their riff field is fucking barren. This is something that is not masked even by the electronics at the beginning of “The Masks We Wear.” The vocals have that same pitch-corrected effect during the chorus as they do throughout. These songs sound like a studio rush job. I hate to hammer an album so hard, especially since it’s their debut.

However, when I read about a band whose focus is supposed to be emotional, unfiltered, heavy, progressive compositions, and they’re not, I must chime in. Even the heavier moments, relatively speaking, are just flaccid, such as the breakdown with less than a minute left in “Insomniac.”

If you didn’t know, I will make no bones about being a fan of metalcore. God Forbid I criticize it. When done right, it’s one of the most emotionally affective styles. When it’s not done well, such as on the longest track for Colors in Grey called “Hold On,” its lack of depth is infinitely noticeable. It’s been said a lot of today’s music lacks soul because of its digital dependence, and I can’t help but get the feeling this album is completely fabricated studio magic, but they need a new spell.

Before you go, wait! I did find a positive. It’s only 32 minutes.

If this is what modern, mainstream metal is, I do not like it. I listened to this album so many times, hoping to come out with some redeeming qualities to balance the negativity. I just couldn’t do it. It covers areas that have long since been well-tread. I can’t non-recommend this enough. I’m not hating this just to do it. I truthfully don’t understand the point of such an album.

Whether he does or doesn’t is up for debate, but for the sake of argument, it would be almost embarrassing for that said writer if the band started putting out snoozers this late into their career. I thought they were going down that path several years ago, but the exit of a key member and excellent drummer, Chris Adler, seems to have lit a fire under the band because they have been on a tear the last few albums. The stellar run continues with Into Oblivion.

This run has been defined by a band that sounds familiar yet keeps everything fresh by adding twists and turns. For proof, check out one of the released singles, “Sepsis.” Beginning with bass and drums, the verses are not too out of the ordinary with spoken word, but Randy has added some force to the delivery, almost reminding me of A. A. Nemtheanga from Primordial when he yells into your soul. He sounds as if he’s going to jump from the speakers. It doesn’t quite sound like a Lamb of God track until about halfway, and that plodding breakdown near the end is icing on the cake.

Perhaps my favorite track is up next, “The Killing Floor,” which is a start-to-finish banger. Willie and Mark’s riffs are recognizable and potent as ever. There’s a meatier breakdown around 2:20, which would be worth the price of admission alone. That doesn’t even mention the Fear Factory, stutter, and stop sound they incorporate into it.

The hits keep coming, too, because the next track, “El Vacio,” slows the proceedings slightly, beginning with a quiet, clean guitar passage accompanying Randy’s half-spoken, half-sung vocals. When the chorus hits, it gets heavy. It’s a perfect, middle-of-the-album reprieve, and one of the best songs the band has ever written.

I do, however, feel the review has focused on the softer side of the band, but check out “Bully” for some brutality. Randy still sounds vicious, and the spectacular drum performance from Art Cruz shines through, as it honestly does on the rest of the album. What a great fit for the band he is. The lyrics are full of the tough guy swagger Randy has used on previous tracks, such as “Redneck,” which Pantera brought into mainstream metal. None of that is to take away from the fact that he always makes them work. The main riff is chunky, which can also be said for every single one on the album.

Far into their career, I’m glad to report that one of my favorite bands still has its fastball and may have even added a knuckleball to their repertoire. It’s safe to say they’ve knocked it out of the park again… It’s baseball season upcoming. I barely mentioned it throughout the review, but the production and mix on Into Oblivion are top-notch. I have zero complaints. Everything can be clearly discerned, and it has enough crunch to satisfy any metal fan. I can’t recommend this enough. It’s great to see a band that has been around a while not resting on its laurels and proving to its fanbase that they’re still hungry and pissed off. You may be tempted, but don’t pass this by.

Instead of symphonic metal, we have post-black metal with a variety of elements. If you’re into Cult of Luna, specifically Mariner, the album with Julie Christmas, then you’re close, but it’s not that simple. Take, for instance, “I, the Deceit,” which features Sakis Tolis of Rotting Christ. Vocalist Dimitra Kalavrezou starts the track with almost quiet whispers before Sakis’ vocals take over. In that moment, the song also gets heavier with the drum performance of Christian Eggers standing out, only to get quiet when Dimitra’s vocals take back over, and Sakis is relegated to the background. It’s a moody number, which transitions effortlessly from warmth to suffocation.

I skipped far ahead, getting the Rotting Christ comparison out of the way first. As far as openers go, though, one can’t do much better than “Die Auslӧschung.” It begins slowly with haunting vocals in nearly a whisper until slightly after the one-minute mark, when it stops, then the blasting takes over, pulling from the Hellenic Black Metal school. Save for a few moments of chaos, the song is slow moving but sets you up for what’s to come.

As you may know from previously reading other reviews of mine, I enjoy highlighting the different sounds and sub-genres bands employ. Along these lines is “A Lullaby for the Descent.” It’s relatively quiet for the first two minutes before exploding. The duality of the vocal approach with the blackened rasps in the background help paint the picture behind the clean main vocals. A tremolo-picked riff, along with the hard-hitting drums catapult this track into a perfectly balanced joy. Shit. I shouldn’t say that in a review of a black metal adjacent album. Forget I said anything. I was never here.

Damn, you caught me, so I might as well mention “Maladie de l’Esprit,” as it ends the album. It’s a solemn beginning with what I swear is a mandolin.

This album is a pleasant, early 2026 surprise. Its mood changes from violent to stoic, to dreadful, occasionally hopeful, and endlessly introspective. This is the sort of post-black metal that used to heavily populate my conscience. I’m not the same person I was when that was the case as this form has become stale. There are, of course, exceptions, and the new Unverkalt is one of the,m quite worthy of your time.

In an attempt to air grievances before praise, I want to mention the ballad, “Everywhere at Once.” It threatens to derail the entire album. Luckily, there are some excellent melodies in this personal track written about Josh having to leave his kids at home when he goes on tour. When I first heard it in passing, I groaned because I immediately thought about what “Meant to Be” did on the latest Testament album. “Everywhere at Once” is a much better song, but they also immediately redeem themselves.

The track immediately afterwards, “Circle of Swords,” is vicious enough to restore order in the court of heavy metal. It brings back the thrashier side of the band with a frantic riff in the verses, but a heavy, almost sludgy chorus riff. There’s so much to like about this track, such as the drum performance of Ali Richardson. Of course, there’s always a great solo in Sylosis songs, and that ending, quick breakdown just puts the icing on this layered cake of excitement.

If we backtrack all the way to “All Glory, No Valour,” it’s clear early that Sylosis was going to bring the heaviness. It’s one of the fastest songs in tempo, as well as length. It has some thrashy riffing but begins with a black metal rasp. Upon several listens, I was convinced that Chuck Billy of the previously mentioned Testament was on vocals, but I have found zero evidence to support that claim. If I still had my long hair, I’d probably throw it back with around a minute left because of the brief breakdown, which is followed by a frenetic solo.

Of course, none of this works well if the modern production didn’t have some grit. The guitars and vocals are out front. Some may argue the bass is buried, which is mostly true, but there are moments where it shines through, and that drum sound is nearly perfect.

If you didn’t know, I’ve been a Sylosis fan almost since the beginning, enjoying all their albums. I was ecstatic about seeing them live last year for the first time, and it’s emblematic of a self-assured band seemingly on the rise that the new album is scorching. In fact, this very well could be their best one yet. It comes across in every note, every vocal, and every solo. I know it won’t convince those who have heard and not enjoyed the band previously, but perhaps this isn’t for them. It’s for those who have followed the band for a long time, and they deliver. Hard.

In other words, you’re fucking welcome.

I’ll start by digging in on my Taproot reference regarding “We Will Remain.” It’s not a bad song by any stretch and even includes an extended guitar solo section. The clean vocals on it remind me quite a bit of Stephen Richards from Taproot, but there are also some harsh vocals which sound like the vocalist has gone hoarse (not horse, as that’s a completely different animal).

I want to back track a little and go to the first track, as I will never understand why an album begins with a brief intro, then the first song, in this case “Ashes of Reality,” also has an intro spanning nearly a minute. Back-to-back intros. The vocals are mostly screams with that half-talking/half-yelling vocal style popularized in the nu metal era with bands such as Spineshank. There’s a decent galloping riff in the background, but it’s not easy to discern.

On that note, I want to briefly mention the production. It sounds like butt garbage in my headphones, but it is much better coming through speakers. It’s still not great, so I refuse to take that leap.

Oddly enough, the production is not always a distraction. However, it is on “My Insanity.” To begin with, the vocals have an almost Marilyn Manson style. Once the riff starts around a minute in, the symbol crashing overtakes everything. That section repeats nearly a minute later, then a breakdown is teased for an unnecessary amount of time just to never happen, but there’s a guitar solo instead.

Before you get your JNCOs in a twist, it’s not as bad as I am making it seem, such as “Forgotten,” which starts with an isolated bass. The riff that comes in goes along with the bass, then we have some more Taproot-esque vocals. The borderline rap vocals fit very well when they appear. These dudes obviously have a considerable amount of talent and aren’t afraid to take chances, but reality takes over at some point.

The truth of that reality is this album is not for me. I had fun with nu metal back in the late 1990’s and early 2000s, and it truly was a gateway into heavier music. Perhaps Death Assault can be that band for others. I’m going to stop short of recommending it, but if you happen to hide your frosted tips under a red, backwards Yankees hat, give it a go. There’s no issue with doing it all for the “Nookie” sometimes.

When it comes to standard metalcore proceedings, “Radio Bleed” comes to mind. It has a galloping, melodic death metal riff, as well as a call-and-response chorus. At around the two-minute mark, there’s a deathcore breakdown tease, which never really comes to fruition.

Later in the album, “Weaponized God Complex” starts with clean singing with virtually no musical accompaniment. The main riff is bouncy and commonplace for the genre. The chorus is easily the best on the album, but around the three-minute mark, the vocal variety appears in the form of pig squeals. The ending of the song steps firmly into deathcore territory. I know the difference between metalcore and deathcore is often a battle of semantics, so one could conceivably consider it either way.

The very next track, “Speak Up (Louder) starts with some rapped vocals, reminding me slightly of Peelingflesh, who have taken the mantle on including hip hop/rap into their filthy slamming. That becomes rapping in growls, which can be pretentious, but aren’t in this case. The song then turns directly into deathcore for a minute, then back to blurring the lines between both sub-genres. The samples used remind me also of Peelingflesh. The chugging and double bass flourishes work well within this context as well.

The previous track mentioned seems to mark a turn into heavier proceedings, which is around the halfway point. It’s not jarring by any means, but seems as though the band members told each other to stop fucking around. That modus operandi continues, and it’s not as if the first half of the album isn’t good; it’s just that the second half is better.

The final track, “How Do I Stop Thinking About Death,” is a quiet closer with mostly clean vocals. This is the song to which all the women who inexplicably are wearing cowboy hats with Bud Light or Corona on them illuminate the area with their cell phones and/or lighters. It’s only after three minutes that growled vocals make an appearance, which give way quickly to more cleans, accompanied by another one of those bouncy metalcore riffs. The harsher vocals make another appearance just before the song, and therefore the album ends.

The verdict is in if you like metalcore. It’s not my first genre of choice these days, but who doesn’t enjoy a silky hook once in a while mixed with a little ass-dragging heaviness? I think metalcore these days is more geared to the mainstream, and this fits the bill. Not only that, but it’s an exemplary example of doing the genre right. There are no unexpected left turns, but that’s being petty. Not everyone needs to experiment and reinvent the wheel. Metalcore is not going anywhere, and you’d be hard-pressed to unearth a finer platter than what Survivalist serves.

She should have stayed, though, because this new album scratches a lot of specific itches. No disrespect, but if you were only “whelmed” by TBDM’s Servitude in 2024, this might cause you to sit up straight and listen. The first track I’ll mention, “1912,” is far from worship with its clean vocals to begin and the background symphonics, but once they end, the song truly gets going with the mix of high and low vocal approaches we’ve all come to expect. Those symphonics continue through most of the song, and there’s even a bass drop around the 3:00 mark. A couple of tasty solos later, and we’re moving along.

Carrion Vael continues to employ the symphonics well, which means restraint, such as on “Black Chariot,” the final song. Their usage gives each chorus a grandiloquent feel but certainly doesn’t take away from the bludgeoning. I won’t lie and tell you their approach has a lot of tricks other bands of the same sub-genre don’t also use, but there’s far more confidence and bombast.

Along these same lines is “40 Echoes Upon the Parlor.” It begins with a breakneck-speed main riff, which transitions into grandiose clean vocals in the chorus. These vocals almost veer into what I’ve called “goblin cleans.” You’ll know what I mean immediately. It’s the best hook on the album with the symphonics in the background and double bass accompaniment.

At this point of the review and perhaps impressions from the cover art, you might be asking yourself, “Well, where’s all the barbarian cock, forehead-slapping heaviness?” It’s in “19(fucking)78.” Oh, but there’s singing here as well, with an epic chorus to open the album. There’s even a spoken word section, so we’re still not lacking in variety. This is a mission statement if I’ve ever heard one, with the blazing fast riffs, kicks, and all the other elements creating a synergy that tells you exactly what you’re about to receive for the next 42 minutes.

I have only two complaints, and they are incredibly minor. One has nothing to do with the music. My first is that even within the variety displayed, it’s the same variety in each song. If that isn’t making sense, it means the band has a lot of great tricks, but they use almost all of them in the same way, song-by-song. Once again, however, those tricks are brilliant, so they are minor.

The final complaint is more of an observation. You guys had to get that barbarian cock on the cover, didn’t you? Considering the accompanying weaponry, an intelligent barbarian would do himself well to keep that particular sword in its sheath. Regardless, Slay Utterly is a certified, stamped, sealed, and delivered banger to start 2026, and will be repeated because of it for the rest of the year.

If you’re not already familiar, I suggest you do yourself a service and track down, at minimum, the last full-length from 2023, Rejecting Obliteration. Unbeknownst to me, they also have 3 prior albums listed as “deathcore.” While they have certainly branched out from that genre branding, it’s a good way to start describing their sound.

However, they have transcended the deathcore subgenre by taking a progressive death metal turn. As their previous genre has grown stale, it wouldn’t surprise me to see others do the same. Take, for instance, the title track, “The Hardest Thing About Being God is That No One Believes Me.” Believe it or not, the title is mentioned several times. It’s awkward at first, but then it gets stuck in my head. Before that refrain is a bombastic, heavy, yet skronky beginning. Furious drumming, along with a down-tuned riff, brings us to the three-minute mark, which is where the song title is repeated. Once you’ve heard it several times, it may become a moment where one pumps their fist.

If you’re looking for something on the progressive side, “Coalescence” has you covered. This is also a track with many deathcore elements. The down-tuned main riff chugs home that point. Halfway through, it’s still a deathcore tune, but far more focus is placed on the “death” part. Vocalist Stace Fifield’s hardcore shout is mostly the “hardcore” part. With around two minutes remaining, the song brings in a woman vocalist, Hera, to perform clean vocals for the remainder. It may be slightly anti-climactic given this is the end of the album, but not this review.

I’m going to go back to the beginning with “Arrows of Golden Light” for that honor. After a 30-second intro, clean guitars come in, but the background foreshadows where it’s going with the opening growl. The entire track, all eight-plus minutes, feels like a massive build. The blast beats and lead at nearly the halfway point mitigates the chaos only slightly. A deathcore bludgeoning begins with a few minutes left, but it quickly clears with clean guitars and some symphonics/keyboards in the background, which have a subtle presence. Double bass drums then accompany it all until it crashes and ends.

In the beginning, I must admit not being impressed. However, since I held the band’s previous album in such high regard, I continued to give this a shot. It rewards the listener with repetition. I started to remember bits and pieces with each listen until I realized there were parts from nearly every track stuck in my head at certain points throughout my normal days. That’s when my perception changed from it being a good listen to an engaging, enthralling one. Admittedly, it’s not as good as its immediate predecessor, but to do anything other than mark The Hardest Thing About Being God is That No One Believes Me” as a complete triumph would be a travesty.

Firstly, Tribal Gaze has no intention of reinventing the genre we all know and love, but they certainly inject a little more hardcore into their songwriting, two steps be damned. Tell me you can listen to the beginning of “Beyond Recognition” and not think hardcore, or perhaps metalcore, but let’s not push it too far. A lot of that influence comes directly from the drum patterns, which are at times minimal and sometimes blast beats. The cavernous death metal vocals remind you that death metal is at the forefront, though.

“Guarding the Illusion,” only a couple of tracks later, starts with a muddy, swamp-trudging, filthy riff. The bludgeoning mostly continues through the track. Around the minute-and-a-half mark, a hardcore stomp begins, and the guitars sound huge. With around a minute left, it’s guitar feedback until a furious, ass-shaking, headbanging riff comes in, but is taken over by a solo to end the song.

It’s around this time that I should tell you most of the album proceeds in familiar territory, but you probably already knew that. However, I will point out the opener, “Smiling from Their Chariots,” since it is hefty, short, and only has lyrics for half of its two minutes. It’s bouncy in the way that it may elicit subtle shoulder shaking. I implore you to say that several times fast. Or don’t, kid. It’s your life.

The closer is quite the track, called “Lord of Blasphemy.” It’s not notable so much for its different approach overall, because if you look closely, it’s basically the same, except slightly drawn out. The riff is still a dick swinger, and it still has that trademark of their tracks, which I can only describe as being a metalcore bounce. The ending of it is bizarre to me, though. It’s a drum solo for the last three minutes. I’m not one to complain about a drum solo by any means, but to end the album, it seems anticlimactic.

If you feel the same way as I regarding the drum solo, just skip it because this is a certified banger. It just happens to be that it seems like there are a ton of good albums coming out around year-end list season. It’s that way every year, so it’s not surprising. Just like its predecessor, Inveighing Brilliance is a welcome addition, and it will remain in my rotation for quite some time.

It’s very easy to get things rolling immediately with the title track, “Abject Cruelty.” It’s the longest track on the album, clocking in at nearly 4 ½ minutes. If you take away the spoken word intro, which I can’t fucking understand, then it’s a little shorter. This is straight-up “living at the first five frets,” beatdown death metal, which is what we all need sometimes. The first track and most of the rest of the album make me think of Flesher and their exquisite debut, Tales of Grotesque Demise. What I’m saying is it’s roiling riff and headbang city with a population of your ass.

If you know me (you don’t), I like to explore the short tracks, too. That’s exactly what we have in “Dissecting the Leper.” After a very brief intro, the main riff shines with the appropriately punchy production. Some pinch harmonics also never hurt anyone. The meatiest, heaviest section hits around the two-minute mark, and it doesn’t let up.

You’ll have to skip all the way to the end to check out “Gatling Gun.” After the briefest of intros, another sledgehammer riff takes over, which then turns galloping once the drums get moving. If you think they’re just going to hit you in the face with riff after riff, you’re correct, but there is a chorus, too. Luckily, they keep the vocals in a low growl, because as I mentioned previously, this is kick you in the teeth death metal, which has no time for clean singing. In the solo at around three minutes, the guitarists like to show off their fretboard mastery, proving they can pen an excellent solo to go along with their stomp on your toe and slap your back pit riffs.

I hate to boil all this down into what I would call a short review, but there’s truthfully not much to add to what’s already been written. Last Retch isn’t out to reinvent anything, just punch you in the mouth. No orchestral sections, no clean singing, just riffs. I already mentioned Flesher’s debut as a reference, and it truly is. That album was one of my favorites in 2023, and Last Retch scratches that itch so completely that I’m bleeding. It’s a great workout album and has been added to my gym playlist.

There are several guest appearances, including on “Confines of Infinity,” which includes Travis Ryan of site favorites Cattle Decapitation. It’s one of the heavier tracks, with the main stomping riff being a beatdown. David employs mostly his lower growls to great effect, but that’s not why you’re here. Travis Ryan’s unmistakable goblin cleans, as I’ve called them (patent pending), show up roughly around three minutes in. That precedes the solo, then back into the beatdown. If one is to check out a song to convert them to fans, then this would be the one.

The guitar riffs from Revocation have taken a chugging approach on a significant portion of the album. Take, for instance, “Cronenberged,” which also happens to feature Johnny Davy of Job for a Cowboy. Slightly before 2 ½ minutes, his vocals begin as the thrashy riff, suitably crafted for this moment, accompanies him. It’s also just him on the vocals for the remainder of the runtime.

Let’s not get caught up in guest appearances, even though there are more; it takes away sometimes from what bands construct on their own. A track that encompasses almost everything Revocation does would be “Despiritualized.” It takes about 45 seconds to get moving, with a fast, thrash riff. David’s growls are prominent, highlighting the great production. It gets heavy with a tumbling riff about halfway through, then quickly back to a gallop. It’s slightly longer than most of the tracks, but fortunately, when it comes to Revocation, that typically means a long solo.

As my colleagues here at Ye Olde Teeth of the Divine admit, the musicians in Revocation have great chops, but they don’t always like the songs. So, to answer the obvious question, is New Gods, New Masters full of great songs? Absolutely. Are they different from what the band does? No. Will loyal, “down since day one” fans enjoy it? I can’t imagine they wouldn’t, as I consider this album one of their best. So, will it bring those curmudgeons with whom I write around to the good side? Admittedly, probably not.

Don’t be like those guys, be like me, the coolest one of us (according to a poll I conducted), check this out, and throw a great band some cash while you’re at it. Support is needed now more than ever.

Good or bad, this is no departure from the previous (or a Pale Haunt Departure if I may). For me, it’s great. As I previously mentioned, Novembers Doom is one of my favorite bands. I will admit the first single, the title track, “Major Arcana,” does employ some vocal stylings I haven’t heard much before, particularly in the chorus with Paul Kuhr showing off his higher register in his screaming, which also balance his deep, soulful croons. Other than that, it’s a heavy riff, along with Paul’s unmistakable, yet well enunciated and distinguishable growls.

I supposed it’s no mistake to place another single, “Ravenous” directly after the title track. Ya gotta hook ‘em early. A long, deep growl begins it with an almost bright main riff. Paul uses his intelligible, deep growls throughout. This is about as close to the “death” part of their death/doom as there’s not a clean vocal to be found. The production is clean, so unfortunately, it’s not death metal of the dirty, nasty, trench warfare death metal, which will disappoint some.

It’s about time I dig into one of the cuts, “XXII,” that you will not have heard before the release. It’s the closer on Major Arcana and is certainly a summary of the work the band put in during the previous tracks. It is certainly much shorter than the average song length as that usually barrels past the six-minute mark. The verses are growled, the chorus is clean, and those higher pitched screams return in the chorus. The final two minutes bring forth some singing, which is also in a higher register than usual for Novembers Doom, a solo, and of course, a final chorus.

After finishing the album, I certainly have some trivial complaints or issues. Firstly, it’s 51 minutes and consists of nine tracks. That’s not bad, but most of the songs do follow the same formula of growled verses and clean choruses. Every song is excellent, but maybe taking off one wouldn’t have been such a bad idea. The production, if it hadn’t been clear, is also clean and bright. Sometimes I just want my doom to sound kind of dirty and nasty. Aside from those few notes, I am not exactly disappointed, but I did want more experimentation. However, Novembers Doom knows the style at which they excel, and they prove it again here. Overall, I can’t see any unhappiness with any of the current fanbase, and perhaps Major Arcana will garner new ones. I don’t buy as much music as I used to, but the special edition bundle of this one will be in my collection.

Just in case you were wondering what it would be like to stick your head in a wood chipper, check out “Impulse” with its deep, chunky opening riff. Once the track gets going, the main riff is frantic. Until the doom part of this doom/death album comes back. The numerous solos sound plucked from the devil’s guitar when he showed Robert Johnson how to play the blues.

If a wood chipper isn’t your style, maybe “Dissonant Drift” with its traditional, yet brown sound-inducing riff is. It’s one of the longest tracks on the album, so it plods appropriately. That’s still under 5 minutes, though. Around two minutes, an almost skronky, yet technical riff takes over, with furious double bass accompaniment. The atmosphere is assuredly dark and ominous.

At this point, perhaps you’re into a faster pace, like getting hit by a car. Well, that’s too bad, as “Overwhelming Subjugation,” with its less than three minutes of runtime, is another slow, ass dragging attack. Until it isn’t, that is. Another finely-tuned, quick, aggressive riff takes over with around a minute left, until a brief solo at the end.

Just when you think there’s light at the end of the tunnel, perhaps the two most plodding and dark tracks end the album. Of course, the first one is the title track, “Pain Effulgence.” I mostly enjoy the riff at around the two-and-a-half-minute mark. It’s sort of like getting a handjob from Gail the Snail. Sure, she’s mashing it, but are you 100% sure you don’t like it?

The last offering, “Austerity and Attrition,” which is around 7 minutes, basically has the same approach as the rest of the album, which is like a cinder block falling directly onto your big toe. The deep, spelunking vocals do a fine job of narrating the inevitable collapse until there’s near silence around the halfway point. The solo takes the form of a brief reprieve from the bludgeoning, until the pace is finally picked up with about two minutes left.

When this is all over, you look outside, are blinded by the presence of the sun, and yet somehow you long for the gloomy, pitch-black pit in which you used to reside. While Innumerable Forms are only distant relatives of bands such as Insomnium, the sense of despair similarities are difficult to ignore. What I’m saying is that if you like the sunshine of these summer days, that’s fine, but fall is around the corner. If you’re looking for an album to get you prepared for it, you can’t do much better.

Ashen appeared on my radar when Ritual of Ash, their first full-length, was released in early 2023. It was self-released, they’re from Australia, and it took a long time to receive the CD in the mail. They made it worth my while as they all signed it and sent a CD copy of their previous EP as well. I’m grateful and surprised they are now signed with Redefining Darkness out of my home state.

My favorite track, “Void Within,” instantly makes me think of Dismember because of the intro. The vocals certainly give me that same vibe. There’s doom injected throughout with a great hook and a killer riff. It’s just a well-constructed, heavy, and impactful death metal song. There’s not much more that needs to be said.

The compelling title track, “Leave the Flesh Behind” precedes “Void Within,” and has a more frenetic pace. The riffs are no less meaty, though. Its swarming, main verse riff will have no problem getting the ones who are still fortunate enough to have hair, windmilling it. There’s still some doom present in the chorus. Except for those moments, it’s full speed ahead.

Earlier in the album is “Ancestral Gate,” which gives you one of the rare glimpses of an ambient soundscape, but the riff that immediately follows seems to say; “Enough with that shit.” The devastating riff leads into easily the best hook on the album. With less than a minute, a stank face riff takes over, then another hook right before it’s over.

To close it out is “Blood Offering,” and it’s almost “djenty.” Don’t freak out, though, as I said “almost.” It’s still heavy to the point of being nearly chaotic. In the last minute, there is another doomy riff with some spoken word over it before the album ends with some brief electronic/industrial sounds.

As I mentioned at the beginning of the review, this is a great death metal album that offers something for everyone. It took a while to resonate with me, even though I knew it was good immediately. I’m really excited for these dudes to hook up with Redefining Darkness, which will hopefully bring some of the praise they deserve. A US tour is probably out of the question, and honestly, why would they even want to come here, so I couldn’t blame them. However, if they’re anywhere near me, I guarantee I will be there. As for the album, it should be in your playlist or in your hands very soon.

Having seen the band more than half a dozen times, I was looking forward to full-length #2, Death Etiquette. Songs such as “Worms & Dirt” confirm the wait was worthwhile. It’s a straight-up banger relying heavily on their death/thrash influences, which only barely exceeds the three-minute mark. An engaging verse riff begins the track. This includes the semblance of a hook, which reappears around two minutes in, just before everything gets furious. It also wouldn’t be an Atomic Witch track without the dual vocals of Gorg the Impaler screaming and King Dagon adding his occasional falsettos.

Speaking of the falsettos, it would be appropriate to mention they open the album on “Morgue Rat,” trading off with the growls. The furious, galloping main riff lasts most of the track, except when a proggy Death sequence takes over. Then the solo ends the song after around two minutes. Sometimes, that’s long enough. No jokes, please.

Of course, the recent death of The Prince of Darkness comes to mind when I see the title “Sabbath Breaker,” although there’s no doom here, only furious thrash. At under 3 minutes, there are two chorus repetitions within the first minute and a half. There’s no breakdown in metal quite like one in a thrash song, and I’ll take that to my grave, deathcore. The one starting directly after that second hook lasts almost to the end. The solo places the breakdown in the background, which is usually where I have my mental ones. This track is one of the best as it has a hook and bludgeons the listener with it.

Nearing the end, “Skelecidal” is just too damn good a song title not to mention. An almost bouncy riff starts it before a wall of noise takes over for a few moments. The grunt and slower section changed the track halfway through, which leads the way for a succulent solo.

It is at this point that I must profess the negative, and I hate it because I really like Atomic Witch. I must be fair, though. Death Etiquette is not as good as Crypt of Sleepless Malice. There are no true standout tracks such as “70,000 Skulls” or “Too Rotten to Die” to get stuck in my head on repeat. While that album was quite the surprise, Death Etiquette doesn’t have that luxury, so perhaps that is also part of it. While it’s good, it feels as though these songs weren’t quite as fleshed out. Perhaps that’s due to the album being only 27 minutes, but it’s not as though the debut was much longer.

I suggest giving it a listen if you previously enjoyed what the band has to offer, and perhaps it will treat you better, but I’m sticking with Crypt of Sleepless Malice when I need to worship the (new) witch.

Luckily, the first released video/song, “Labyrinth of Stone” alleviated those concerns. Not only is the song a tech death banger with an excellent clean chorus, but the video itself has enough ironic self-awareness that it made me giggle the first time. The production is also clean and punchy, so crisis averted. I’m confident these dudes had a blast making it, and it’s one of the best tracks the band has ever released.

The very next track, “The Crystalline Veil,” hits just as hard, though. Making great, memorable tech death songs is difficult. It’s easy to draw some comparisons to Cynic, especially in the vocals. Kyle Schaeffer took over that role on their last album, Empyrean, and the signs of the band finally clicking were eminent. This isn’t to say that the heavy tech death parts are gone because that certainly isn’t the case. The songs, such as this one, just seem more complete.

Do these catchy hooks take away from some of the brutality? Yes, they do. Let’s be fair about it. The production, while excellent, highlights the guitars, but sacrifices heft in many places. “Kaleidoscopic Waves,” one of the earlier tracks, still provides guitar heroics, but Kyle’s silky croons would make Paul Masvidal perk up. Two minutes into the track, Scott and Sam have some excellent solos and harmonies with a chugging riff. That riff is one of those sections where some more heft to the production would be beneficial, but it’s a minor complaint.

Of course, I can’t leave out the title track at the end with its seven-plus minute runtime. Once everything takes off at around a minute, the harsh vocals are on display with some deeper growls. The furious guitars spin everything into a frenzy, and then a solo that reminds me of Within the Ruins takes over. Slightly over the halfway mark, it gets heavier, making the listener think that’s going to be the direction for the rest of the song, but there’s a slowdown into atmospheric territory with a slow-picked riff. That doesn’t last long because it does switch back into more brutal territory. While that section fades out, ethereal vocals take over and end the album.

I never thought I’d be really into a new Fallujah album again, but here we are. I haven’t enjoyed anything they’ve recorded since their first album, but I have listened to all of it. Some were marred by mixing and mastering issues. Some just didn’t have the songs to grab me. Xenotaph is different as there’s not even a middling, lower-quality track among them. In other words, this is a home run and I’m glad they could put it together. If you’re like me and haven’t felt the last few, this is likely to change your mind. I can’t recommend it enough.

However, this is a return to form in a way. I hold every Byzantine album in high regard, so it’s not to be taken the wrong way. The band never lost the edge, but I hear some elements I missed from The Fundamental Component back in 2004, which means an adult of legal drinking age was born between that time and now, and I am almost double that. I’ll point to the first example being “Riddance.” The harsh vocals and that rumble transported me to those times when I first started college and had hope. The clean vocals take over in the chorus, which leads to the vocals being placed firmly in the background, then a fantastic solo. The rumbling comes back with over a minute remaining, and it’s over. “Riddance” is good. So, one could say… Nevermind again.

The title track, “Harbingers,” is next, and it continues the early vibes, which I’m sure will be lower in the mix live since OJ said he’s self-conscious regarding his vocals. The sludgy riffs combined with the harsh vocals pave the way for the cleans to be even more impactful. If you haven’t listened to the band before, it should be mentioned the vocals in Byzantine are unique. I love them, but know it’s a point of contention with some who do not enjoy them. As with every track on Harbingers, it seems like it’s only about two minutes because of the urgency displayed, but it clocks in at well over four.

Only a few tracks later is the final track, “Irene.” The intro with its clean guitars lasts about a minute, which is then followed by another dirty riff and clean vocals. It doesn’t get particularly heavy until about three minutes in, but is almost immediately overtaken by some clean guitars, then back into the chorus with its bending, filthy riff. Eventually, there is a tuneful solo beginning with about thirty seconds left, and unfortunately, the album ends.

I know some friends on this writing staff who never paid attention to or liked Byzantine, but I’ve always thought they were missing out. Perhaps it’s because a great friend of mine was working in a studio in (I believe) Point Pleasant, WV when OJ came in after the first video from “… and They Shall Take Up Serpents” was released. Perhaps it’s because of their proximity to where I used to live. Perhaps it’s because the first time I saw them was in 2018, I asked OJ when they were going on, and he said “Midnight,” I scoffed and said I’m too old for that, and he retorted, “I have a gray beard.” It could be any of that, but ultimately, it’s because they’re a great band, they always deliver killer albums, and deserve the recognition. Harbingers is a true album of the year candidate, which means you should listen to it, buy it, and while you’re at it, scoop the rest of their discography, although I’m sure a few of the albums aren’t easy to come by these days.