Dec 172024
 

(Here we have the second installment of DGR‘s year-end Top 50 list, counting down the second group of 10, with the next three groups slated for the next three days ahead.)

While we have not achieved critical mass yet in terms of writing for the year-end list, we’re definitely making progress down the line. This is still an area of the list where I often tell people that rankings – useless as they may be since this could be best viewed as ’50 albums DGR liked’ – don’t really start to crystalize in any sense until you start reaching the mid-30’s. So you’re reading the last vestiges of the albums I felt must be spoken about just so I can feel good about saying something about them and also starting to see the ones that I really sunk my teeth into.

They’re not a perfect representation by any means and I guarantee that come January 1st I’ll likely be kicking myself for leaving something off – especially with a late December drop of Frontierer‘s new EP looking like a contender to really fuck things up for me – but at least there’s some confidence in the ten collected before you today.

Tomorrow’s genre-spread will likely be just as silly but you’ll definitely start to see some old favorites popping up there since, much like one of the groups that appears in this collection, I too am a hallmark of consistency. I’m just not nearly as attractive. Continue reading »

Oct 272024
 

(written by Islander)

Moving on from yesterday’s Part I of the usual weekend roundup, I’m starting with the next letter of the band-name alphabet and continuing through W (no X, Y, or Z bands in this collection).

I mentioned yesterday that I had a few complete releases in this collection, in addition to all the singles, but I realized that one I thought had come out on Friday isn’t actually out yet, so I’ll push that one to a subsequent weekend.

But the first band today does have a complete release to their name, and it’s an interesting one. Continue reading »

Sep 102024
 

(Below we present DGR’s review of the new album by Finland’s Wolfheart, which was released on September 6th by Reigning Phoenix Music.)

Much as we joke about it – yours truly in particular has created enough material to 3-D print a house – Finland’s Wolfheart have become a hallmark of consistency on a near unchallenged level since their inception. Save for a brutal year-over-year album schedule a few discs ago, Wolfheart have been a band you could set your watch by. Every two years, without fail, ballpark eight or so songs and about forty minutes of music. In fact, it wasn’t until the band’s Napalm era that Wolfheart flipped their career paradigm on its head by putting out albums with seven and nine songs.

It won’t shock then that a discussion of Wolfheart‘s newest album Draconian Darkness is going to contain a lot of familiar shades to it, because with consistency comes familiarity, and familiarity leads to an odd approach in reviewing their discs wherein you almost reset-to-zero with them every time and approach a new album at face value.

Which is interesting, because in a lot of ways you could view Draconian Darkness as a double-album with the one that preceded it, King Of The North. Continue reading »

Jun 082024
 

Welcome to another Saturday roundup of new music and videos. Confronted again with the daunting task of choosing from among a vast array of new releases to check out, I defaulted this time to bands I already like, and that decision didn’t steer me wrong.

The music mainly consists of variants of death and black metal, but with some interesting twists along the way.

HAIL SPIRIT NOIR (Greece)

Whenever I think of Hail Spirit Noir I usually think of their 2012 debut album Pneuma, not because it’s their best one but because it was so different from everything else I was listening to at that time, and because so many of those songs got so quickly and firmly stuck in my head (I listened to it a lot).

Since then, they’ve followed their wandering muse in different and usually unpredictable directions. They now have a new album on the way, four years after Eden In Reverse and almost three years after Mannequins, and of course the upper-most question is: What have they gotten up to this time? Continue reading »

Jan 302023
 


Wolfheart

We’re getting down to the wire for this list. I’ve used that expression many times in many contexts without knowing precisely what it means or where it came from, but having checked the dictionary today I find that it’s an apt expression here. It means an outcome that’s unclear and unsettled until the last minute, the very end, and thus also means “full of suspense”.

Another source reports: “This term comes from horseracing, where it was long the practice to stretch a wire across and above the track at the finish line. It was extended to figurative use about 1900.”

With only tomorrow left to bring this list to an end, I feel suspenseful myself, because I have no fucking idea how to end it. Well, tomorrow is another day. Today I picked these three songs: Continue reading »

Sep 292022
 

(We present DGR‘s extensive review of the latest album by Finland’s Wolfheart, out now on Napalm Records.)

Right before Tuomas Saukkonen launched Wolfheart way back in 2013 as his only musical endeavor he had his musical tendrils spread pretty wide across a collective of projects. Over time he had become quite prolific, and each of those projects started to blur together save for one defining trait of each that was often the one identifiable thing that still made it that separate project.

Wolfheart‘s launch felt like an acknowledgement of that, coming soon after the release of the then-final Before The Dawn album Rise Of The Phoenix – and what a wild world that’s become with the recent release of the song “Downhearted” on that end – which in a lot of ways felt like a proto-blueprint for what Wolfheart would eventually become.

Even though Wolfheart began under auspices of being bitter cold and doomier flavored melodeath – which has been the core of many of Tuomas‘ projects – it didn’t take long before the high-energy blastbeat drumming and energetic aggression of the band became its trademarks; Wolfheart morphed into a band that was more often than not bathed in fire. The group’s final release with Spinefarm Records, Tyhjyys in 2017, contained two songs named “World On Fire” and “Call Of The Winter” for instance, if you’re hunting for the sort of dynamic that has come to define this group. Continue reading »

Mar 192022
 


Ufomammut – photo by Francesca De Franceschi Manzoni

I hope your weekend is going well. Mine got off to a very good start this morning as I made my way through songs and videos that surfaced over the past week or so. By sheer good fortune, almost everything I listened to struck a chord, and the ones that rang loudest made its way into this big round-up.

I organized the selections in a way that made sense to me, capped by a shot of pure adrenaline. I’ll briefly tell you what to prepare for.

UFOMAMMUT (Italy)

Prepare for: a slow burn, a dreamy but sinew-triggering trip reminiscent of an old Pink Floyd space odyssey, with an increasingly fiery slug-fest as its destination. Continue reading »

Mar 122021
 

 

(In this post our contributor Gonzo reviews two wolfish records which were released one week ago — and this dual review would have been published one week ago except for our editor (me) having been brutally distracted by his day job.)

I feel like the onslaught of high-quality albums we’re already seeing in 2021 is a promising sign. Either that or everyone’s going out of their fucking minds without shows, travel, and the requisite level of creative outlets. (Hopefully not for very much longer.) Whatever it is, it’s already March and this month is chock-full of music that sounds urgent as hell, commanding your attention when the rest of the world continues to unfurl from its unending corridor of suck.

Last week, though, we saw the release of new music from Wolf King and Wolfheart. If the old legends are true and there are in fact two wolves that live inside of us all, existing in a perpetual state of conflict over which one gets to wrest control of our collective psyche in some kind of moral struggle for the ages, then… I dunno, maybe they were just really into wolves? My metaphor game is leaving some serious shit to be desired today.

Fortunately, the music released by both wolves today is anything but lacking. Continue reading »

Jan 242021
 

 

We had a rare day with no posts yesterday. I spent most of my free time clawing through the hundreds of mostly un-read e-mails that had piled up in our in-box last week, and made a gigantic list of new music to check out, and then attempted to do the checking. I didn’t finish listening to everything because the list was so long. But of the new stuff I heard, the following collection kind of assembled itself.

I don’t think any of these bands require an introduction. All of their names are prominent. And all the songs until the last one have a pronounced old school death metal flavor. They’re also all heavy on the chugs, and the death metal tracks include uniformly ferocious vocals. Melvins obviously aren’t a death metal band, but their new song is also heavy on the chugs, and there’s also another reason why it fits in an “old school” round-up.

P.S. If you came here today expecting to find a SHADES OF BLACK column, be patient. It’s coming.

ASPHYX

As mentioned above, there are a lot of powerhouse vocalists in this collection I’ve assembled, beginning with the inimitable Martin van Drunen (a lot of people do try to imitate him, and to be honest, some do so with some success, but there still ain’t nothing like the original). Continue reading »

Jun 262020
 

 

(Here is DGR’s review of the latest album by Finland’s Wolfheart, which is out now on Napalm Records.)

If you’ve been following, with …And Oceans and Feastem having gotten reviews, Wolfheart marks three from Finland that had been hanging out in the backlog pile.

With the April release of Wolves Of Karelia, it is clear that by their fifth full-length album — their second for Napalm Records after their couple on SpinefarmWolfheart have found a pretty solid niche for themselves. Performing epic-length hybrids of folk metal, melodeath, and a very light airing of the sort of ice and melancholy that affects their region’s branch of the doom metal tree, Wolfheart have for some time now been the ultimate representation of frontman/guitarist and project owner Tuomas Saukkonen‘s musical consciousness.

In fact, up until the release of this year’s Dawn Of Solace album Waves — arriving nearly fourteen years after that group’s previous disc — Wolfheart has been his only project for the last seven years and was consistently dishing out enjoyable music, Wolves Of Karelia included (for the early spoiler), on a nearly two-year interval. Other than the addition of new guitarist Vagelis Karzis into the band’s ranks, Wolfheart remain largely unchanged from when they became a full group rather than just a solo project. Continue reading »