Amorphis – Queen of Time (Nuclear Blast, 2018)

As I was preparing to review this album, something occurred to me; In nearly ten years of THKD I’ve never once written about Amorphis (I have no idea why).  It also occurred to me that many readers will probably be surprised to find out that I unabashedly love this band, given that their music is pretty much the antithesis of so much of the other metal I love; it’s proggy, folky, pristinely produced and at times poppy as all hell, yet somehow Amorphis makes all these elements that I’m not always such a big fan of (at least not when it comes to metal) palatable, nay downright tasty.

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Green Druid – Ashen Blood (Earache, 2018)

It seems that not enough people are talking about Green Druid, but they damn well oughta be, because the quartet has released what should rightfully be considered as one of the stickiest of the icky doom metal releases of 2018 in the form of Ashen Blood, out now on Earache Records.

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The Creatures From The Tomb – The Terrifying Menace (Rotten Roll Rex, 2018)

What’s this?  A goregrind band that doesn’t sing about gore?  Germany’s The Creatures From The Tomb (henceforth referred to as TCFTT) play groovy goregrind in the vein of Cock and Ball Torture, The Day Everything Became Nothing and Cliteater, but their songs are not about zombies or hacking people up or having sex with corpses.  Instead, TCFTT mine their subject matter from classic black and white horror films, such as The Phantom of the Opera and Creature from the Black Lagoon.

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Birdflesh – Night of the Ultimate Mosh (Everlasting Spew Records, reissue 2018)

When I was in college, there were a few instances where I was beyond dirt poor.  Back then, people actually still gave a shit about CDs, so painful as it was, I’d sell off chunks of my music collection so that I could like, pay my bills and eat ‘n’ shit.  One of the CDs I sold was an original pressing of Birdflesh’s Night of the Ultimate Mosh on Razorback Recordings.

That was really stupid of me.

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The Smashing Pumpkins – Mellon Collie and the Infinite Sadness (Virgin, 1995)

My wife recently surprised me with tickets to the Smashing Pumpkins reunion tour, and as such I’ve naturally been compelled to revisit their catalog.  For the longest time I’ve proclaimed that the band’s 1993 breakthrough Siamese Dream was my favorite Pumpkins album, but right now I’m thinking it might actually be Mellon Collie and the Infinite Sadness.

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Harm’s Way – Posthuman (Metal Blade Records, 2018)

I wasn’t terribly familiar with Harm’s Way prior to getting the promo for Posthuman, but I was somewhat aware of the buzz their previous album Rust had garnered, so I decided to give them a try.  I was pleasantly surprised to find that Posthuman is a burly-as-fuck collection of non-stop mosh riffs mixed with electronic elements that wouldn’t be out of place on a late-nineties Godflesh record.  It’s an odd combination to be sure, but I’ll be damned if Harm’s Way doesn’t make it work.

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