Carcharodon

King of the North(ish).

Kardashev – Alunea Review

By Carcharodon on April 24, 2025 in Reviews, Deathcore, Melodic Metal, Post-Metal, Progressive Death, 108 comments

“Kardashev’s return has been the most eagerly anticipated in a year, and so far, it has been full of returning favorites. Since I discovered their stunning 2020 EP, The Baring of Shadows, they’ve been a firm favorite. Their progressive, blackened “deathgaze” was both haunting and beautiful in its ferociously emotive stylings. Although 2022’s Liminal Rite suffered a bit from its production, that didn’t stop me awarding it a 4.5 and placing it at #5 on my end-of-year List, both decisions that I stand by. Upping their progressive tendencies and leaning into longer form storytelling, I hoped the Arizonan quartet would carve their own little niche just a little deeper on fourth full-length, Alunea.” New directions.

Messa – The Spin Review

By Carcharodon on April 9, 2025 in Reviews, Blues, Doom Jazz, Doom Metal, Heavy Metal, post-punk, Psychedelic Rock, 101 comments

A double review of Messa’s latest opus, The Spin. Will it spin you round and round?

Mizmor & Hell – Alluvion Review

By Carcharodon on April 3, 2025 in Reviews, Black Metal, Doom Metal, Drone, Noise, Sludge, 9 comments

“A.L.N. (a.k.a. Mizmor) and M.S.W. (Hell) inhabit similar territories: geographically, the Pacific Northwest; sonically, abrasive, droning, blackened doom; and, perhaps critically, emotionally, all claustrophobic, tortured heft. Although they’ve collaborated live before, Alluvion, which refers to the sedimentary deposits left by a body of flowing water, is their first studio outing together. Billed as a map to aid the listener in navigating through bouts of psychic distress, the prone form on the cover could easily be me by the time I’m finished with this review, crushed beneath the weight of Mizmor & Hell.’s compositions, corpse abandoned on that mountainside rising from the promo sump.” A hill to die on.

Dissocia – To Lift the Veil Review

By Carcharodon on March 21, 2025 in Reviews, Deathcore, Electronica Metal, Progressive Metal, Synthwave, 65 comments

“Dissocia is the brainchild of multi-instrumentalist Daniel R Flys (of Persefone and Eternal Storm) and drummer Gabriel Valcázar (Wormed and Cancer). On their debut, To Lift the Veil, the duo set themselves a challenge: blend extreme metal with synthwave and dreamwave elements to create a catchy, yet unpredictable, blend of genres that come together into a progressive package. Were this two complete unknowns presenting that vision, one would rightly expect a horrifically unlistenable car crash. However, given Flys and Valcázar’s pedigree with their other outfits, I had somewhat higher hopes (albeit with expectations carefully managed) for Dissocia.” Waves and waterlogging.

Thurnin – Harmr Review

By Carcharodon on March 14, 2025 in Reviews, Dark Neofolk, Folk, Not Metal, 45 comments

“Dutch one-man project Thurnin were unknown to me before I snagged Harmr for review. Having now investigated, I see that I’m in for a subdued time. Following a similar, winding path to that walked by Wardruna’s Einar Selvik, Thurnin main minstrel Jurre Timmer wandered away from his black metal roots, corpse paint washing off in a Dutch downpour, to arrive in instrumental neofolk land. He has now taken up permanent residence there, with two albums under his belt as Thurnin, 2021’s Menhir, followed two years later by Útiseta. I am informed (whether reliably or not) by the promo blurb for this latest platter that the Icelandic word Harmr is now understood to mean ‘sorrow.'” Sorrow of the folk hammer.

Grima – Nightside Review

By Carcharodon on February 27, 2025 in Reviews, Atmospheric Black Metal, Black Metal, Folk Metal, 88 comments

“Siberia’s Grima and I are old friends. Even though I only managed to snaffle reviewing rights on their last outing, 2022’s Frostbitten, each of their three releases since I started my indeterminate sentence here at AMG Industries has made my year-end Lists. From the raw, folksy, accordion-driven black metal charms of Will of the Primordial (2019), through the more grandiose (if ever so slightly tropey) atmoblack of Rotten Garden (2021) to pick-of-the-pack Frostbitten, Grima has my number.” Grima tidings.

Novarupta – Astral Sands Review

By Carcharodon on February 13, 2025 in Reviews, Alternative Metal, Ambient Metal, Post-Metal, 17 comments

“Novarupta’s Astral Sands is the fourth and final part of a tetralogy based on the elements fire, water, air, and earth. Covering the ‘earth’ part of that equation, Astral Sands follows ‘air,’ which came in the form of 2022’s Carrion Movements. A departure from previous outings, that album was an instrumental piece, comprising just two sprawling compositions but was executed so well that I couldn’t help but award it a 4.0. Astral Sands sees Novarupta not only reintroduce the vocals but return to the model seen on the series’ first two installments, Disillusioned Fire and Marine Snow, respectively, working with a different vocalist for each track on the album.” Metal bending.

Unreqvited – A Pathway to the Moon Review

By Carcharodon on February 6, 2025 in Reviews, Ambient Metal, Post-Metal, Shoegaze, Synthwave, 49 comments

“Unreqvited and I have history. The excellent Mosaic I: L’Amour et L’Ardeur (2018) was just the third review I wrote here and also my first 4.0. Since then, I’ve reviewed the slightly creaky Mosaic II: La déteste et la détresse (3.0) and the very good Beautiful Ghosts (3.5). Now back with seventh album, A Pathway to the Moon, Unreqvited are the band I’ve reviewed more than any other, and the bright, expansive synth work, paired with post-black explosions and howled, wordless vocals feel almost like a comforting hug at this point.” Like a comfortable shoe(gaze).

Fós – Níl mo chroí in aon rud Review

By Carcharodon on January 27, 2025 in Reviews, Ambient Metal, Doom Metal, Drone, Electronica, Noise, Post-Metal, 24 comments

“When I reviewed Irish duo Fós’ last outing, Rinne mé iarraidh (which translates as “I Tried”), back in 2020, I wanted to be spellbound. And I was, in parts. Combining traditional Irish folk sean-nós singing (courtesy of Orla Cadden Patel) with the drone, electronica and the vaguely post-metal stylings of multi-instrumentalist and main songwriter Fionn Murray, it had a deeply emotional core. It was also rare in offering something genuinely unique. At the same time, the duo were finding their voice on that record, and it showed. Cadden Patel’s voice was stunning but, at times, rather than coalescing with the music, the two felt discordant and disjointed, while the music itself was rarely memorable. Four years later, with a record deal and a new singer—Susan ní Cholmáin—Fós are back with Níl mo chroí in aon rud.” Folking about.