Album Reviews
Ba'al: The Fine Line Between Heaven and Here: 3
Ba'al have returned with, "The Fine Line Heaven and Here." The album starts with "Mother’s Concrete Womb," featuring a soft piano intro that lasts 90 seconds before the guitars and drums kick in. The guitar tones are incredible, showing the guitarists' talent. Vocalist Joe joins in after about 3.5 minutes, bringing his fierce style and incorporating lower growls and a storytelling singing approach throughout the album. The intense ending of this track is particularly noteworthy.
The next song, "Waxwork Gorgon," begins gently as well but then shifts to heavy grooves perfect for headbanging. This song leans towards the groove side of Extreme Metal, while "Floral Cairn" brings back atmospheric lead sections. The hope is that their performances at festivals like Bloodstock will be supported by sound engineers who can highlight their sound.
Instead of detailing every song, the album can be summarized as a redefinition of Black Metal, distinguishing Ba’al from many lesser bands in the genre. The music is complex and richly textured, though the lengthy songs, averaging around 10 minutes and totaling about 65 minutes, may challenge casual listeners. However, fans will likely revisit their favorite parts often. If only one song can be chosen, "Legasov" is recommended for its combination of heavy grooves and ambient sections, leading to an epic climax.
Overall, "The Fine Line Between Heaven and Here" is expected to feature on numerous top 10 lists by the end of 2025. This album might serve as a significant breakthrough for them.
Testament: Para Bellum: 2
In 2025, the Bay Area thrash metal band TESTAMENT releases their fourteenth studio album, Para Bellum, via Nuclear Blast Records. The title comes from a Latin phrase meaning "If you want peace, prepare for war," and the album reflects on humanity’s struggles with technology and disconnection. The music is urgent and showcases TESTAMENT's signature thrash style, led by guitarist Eric Peterson and vocalist Chuck Billy.
Each track on Para Bellum is unique yet works together to create a cohesive flow that explores themes such as the impact of technology, fear, and generational issues. Notable songs include the atmospheric “Shadow People” and the intense “Infanticide A. I.” Chuck Billy humorously remarks about the fast-paced nature of the music, highlighting the diversity of vocal styles throughout the album.
For the first time in years, the band includes a ballad called “Meant To Be,” which blends seamlessly with the rest of the album. This track features orchestrated strings performed by cellist Dave Eggar and showcases a new direction for TESTAMENT. Drummer Chris Dovas brings a fresh energy with his skills, collaborating closely with Peterson to enhance the song structures and add variety to the album’s sound.
Guitarist Alex Skolnick describes the album as a representation of different aspects of the band, while Steve DiGiorgio’s bass lines add depth. Chuck leads the lyrics with contributions that mix mythology and sociopolitical themes. Recorded and mixed to a polished finish, Para Bellum’s cover art symbolizes its themes, and the album opens with a nod to the band’s past. It concludes peacefully, reflecting the warriors' journey through chaos, crafted to endure future challenges.
Ancient Thrones: Melancholia: 4
Sean Hickey, the bassist and drummer, describes the album as a turning point for the band, shifting from a poetic and hopeful tone to one that aims to eliminate any remaining hope. The album tells the story of a colorblind person who uses psychedelic drugs to see color, but the truth of his experience unfolds throughout the record.
The first track, "A Moon Fused Key," combines elements of Death, Black, and Thrash Metal with intricate guitar work. It transitions to "Achromatopsia," featuring somber piano notes before leading to an intense title track that delivers a powerful and aggressive sound. Subsequent tracks like "A Turning Point" and "A Pellucid Prism" maintain high energy and aggression, with heavy bass and guttural vocals. "Sacred Swollen Glass" intensifies further, while "A Pale Palace" slows down slightly but remains aggressive.
The album concludes with "Vacant," a slow and dark track that adds to the overall bleakness. This record is described as a brutal and intense experience that pushes boundaries, inviting listeners to enter a world of "Melancholia. "
Rivers of Nihli: 3
When Rivers of Nihil announced their fifth self-titled studio album, set for release on May 30th via Metal Blade Records, they described it as a mix of ideas from their previous four albums. The first reaction linked it to their earlier work "Where Owls Know My Name" and "The Work," but the new album offers much more and is larger than anticipated.
The track “The Sub-Orbital Blues” introduces an ambitious tone, blending mid-tempo grooves with clean harmonies, gutturals, and captivating sections. It features haunting whispers, saxophone, and an intense guitar solo that create a dynamic atmosphere. Following this, “Dustman” and “Criminals” adopt more aggression, with eerie synths and heavy breakdowns, while still incorporating some clean harmonies and dark vocal elements. “Despair Church” exemplifies classic Rivers of Nihil, featuring complex rhythms and a powerful energy, interspersed with ambient moments and a beautiful saxophone section.
“Water & Time” is the most experimental track, focusing on emotional composition rather than being a traditional ballad. “House of Light” continues the blend of jazz saxophone and death metal, while “Evidence” delivers a fierce and violent attack, sure to please fans. “American Death” is a standout track with catchy hooks and rapid blast beats that will likely engage the audience in live performances. “The Logical End” offers a mix of unsettling keyboard tones, clean vocals, and the band's technical sound, showcasing their versatile talent. The closing title track balances ambient melodies with aggression and leaves a lasting impression.
The album's production is exceptional, highlighting each instrument without overshadowing others. The song structure flows well, contrasting intense aggression with serene beauty. This self-titled release shows the band's evolution, retaining familiar elements while introducing more progressive influences, resulting in an innovative sound. Overall, this album highlights the band’s growth, artistry, and ability to challenge genre boundaries, offering a rewarding experience for listeners willing to explore its complexities.
Phobetor: A Solitary Vigil: 2
After releasing two albums in two years, Phobetor took time for their next project, expanding their lineup to include guitarist Ben Ash. They returned with an impressive EP titled A Solitary Vigil, which creates a dark and unsettling atmosphere. This work evokes forgotten fears and dreams, featuring a blend of blackened death metal and intense emotions.
The EP contains five well-crafted tracks that are both fierce and intricate. Starting with "Black Fading Winter," characterized by powerful bass and sharp riffs, to "The Vacant Worlds Within," a formidable death metal piece, each song is masterfully constructed. Vocalist Debora Conserva delivers exceptional performances that enhance the chilling atmosphere of each track. A Solitary Vigil is noted to surpass the previous albums, showcasing a deeper and darker evolution for the band.
The EP features expert mixing by Ollie Roberts and mastering by Lawrence Mackrory, which adds to its intensity, along with striking cover art by Ghost Kid. Released on July 25th by Black Jasper Records, listeners are invited to explore this intricate journey filled with themes of mourning, hunger, and despair.
False Gods: Lost In Darkness And Distance: 4
Wow, False Gods have just dropped one of the best album of the year. Lost in Darkness and Distance reflects the struggles and personal tragedies faced by the band members during its creation, including themes of death, addiction, and emotional turmoil. Stack's vocals express raw confessions without any metaphors, making each track feel deeply personal and authentic.
The songs cover various topics: “Enemy That Never Was” addresses emotional pain from a family member's death; “Imposter” deals with identity confusion and self-hatred; “Straw Dog” confronts feelings of failure; “Worldless” highlights the emptiness of substance abuse; and “Suffering in a Strange Land” evokes a profound sense of loneliness. The closing track, “Death Is Listening,” presents a vulnerable reflection on mortality.
The album's emotional depth creates a strong impact, allowing listeners to confront dark subjects without feeling forced. The title refers to feeling exiled from reality, emphasizing the core theme of the work. Musically, the band blends influences from various genres, creating a unique sound that is not merely imitative.
With a revamped lineup, False Gods have demonstrated a tighter and more intense performance. Their live gigs include shows with notable bands, and they have been part of several festivals. They will tour with EYEHATEGOD in July 2025. Overall, False Gods aim to produce genuine music rather than offer false hope, with "Lost in Darkness and Distance" set to release on July 25, 2025.
CARACH ANGREN: The Cult of Kariba: 3
Carach Angren, a Dutch band, is known for their theatrical style in the extreme symphonic metal sub-genre, similar to bands like Cradle of Filth and Dimmu Borgir. Their 2012 album "WHERE THE CORPSES SINK FOREVER" made them one of my favorites in this category. After five years, they released a new EP titled "THE CULT OF KARIBA," just in time for Halloween.
The EP is brief at only 20 minutes, starting with an instrumental narration that sets the stage for the story. The cover art features a creepy image of a possessed girl, contributing to the horror theme. Carach Angren’s storytelling and lyrics are known for their chilling horror tales, and this EP continues that tradition, featuring narration, sound effects, and symphonic elements.
It returns to themes from their debut, recounting a tale of cult members trying to resurrect a demon, which leads to grim outcomes. Musically, the EP offers fierce and bombastic sounds, with a mix of Black metal and orchestral components. The song “Ik Kom Uit Het Graf” adds an intriguing touch, sounding particularly sinister. Fans will likely be eager for a full album based on this EP.
GAAHLS WYRD: Braiding the Stories: 3
Norway’s Gaahls Wyrd has released a new album, "Braiding the Stories," following their 2019 album "Gastir – Ghost’s Invited. " The band continues to explore avant-garde and post-black metal sounds. The title track, "Braiding the Stories," is a complex and emotional piece that offers a unique and captivating listening experience, requiring careful attention to appreciate its beauty. It blends elements of black metal with a lead guitar tone reminiscent of Lindsay Buckingham, showcasing the band's innovative approach.
In contrast, "Time and Timeless Timeline" is a straightforward rock song that offers a more traditional black metal feel, although the band's evolution is evident. Gaahl's vocal techniques add depth and complexity to the music. The songs "Through the Veil" and "Visions in Time" also contain similar sonic qualities, with "Visions in Time" featuring influences from Queen and Brian May.
"And the Now" presents a dreamy atmosphere, moving away from standard song structures. The band's talent shines here as they create a deep connection with listeners, elevating the music beyond mere genres like "black-gaze" or "shoegaze. " The immersive experience of listening to Gaahls Wyrd is compared to watching the Apple TV show "Severance," as it takes listeners on an unpredictable journey.
The album was co-produced with Iver Sandoy, known for his work in Enslaved. The exceptional production allows subtle sounds to be heard, with Gaahl's voice serving both as the lead vocal and an atmospheric instrument. He mentions that he utilized various voices throughout the album to create a cohesive and cinematic listening experience.
Furthermore, it boasts a distinctive 12-inch vinyl record filled with hair, perfect for those who enjoy collecting them. The album is a true and unmatched creation by one of Norway's most celebrated musicians.
Rating Scale
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4 = Excellent
3 = Good
2 = Fair
1 = Poor