2024’s Doom Rules Eternally introduced founding member Kostas Salodmidis’ new project to the world and established Distorted Reflection’s core of doom. Combining Candlemass riffs with Sorcerer drama and a touch of Sorrows Path shred, that core carries over unchanged into Doom Zone. Kostas’ beefy riffs and screaming solos remain as present as ever, and so does his shaky baritone croon. Vangelis gains greater presence with his bass here, which is a welcome improvement over the debut, burbling in lockstep with riffs and offering counterpoint during solo breaks. Filling out the lineup, Thomas Zen pounds the skins with a swinging stomp that suits this doom-laden material like a fitted suit, classy and reigned into the pocket at all times. It might not be the most exciting or unique formula, but it works.

Unfortunately, Doom Zone lacks the one thing that made Doom Rules Eternally worth covering: charm. Doom Zone isn’t completely soulless, but its flaws dominate my experience, leaving very little room for Distorted Reflection’s earnest delivery and competent riffcraft to shine. Evident from the onset of opener “3000 A.D.” and unrelenting throughout the runtime, Kostas’ vocals conspire to distract and detract at almost every opportunity. Unstable vibrato, strained upper range¹, abysmal growls and repetitive melodic phrasing make tracks like “My Second Father,” “Gates of Paranoia,” “Tower of Dreams,” and “Morbid Reality” difficult to enjoy. Doom Zone’s songwriting is also noticeably weaker, suffering from a deeply repetitive structure and monotonous pacing that inevitably stalls any momentum individual elements (riffs, solos, choruses) initiate (“Asphyxiation,” “The Final Attempt”). It’s a good thing, then, that Doom Zone is short, clocking in at a responsible 39 minutes. Even so, it drags such that I routinely check my playback to see if I’m close to the end.

This is a shame, because Distorted Reflection are gifted musicians with great potential. Kostas filled Doom Zone with an arsenal of chunky riffs and high-octane solos (“3000 A.D.,” “Certain Death,” “Diminished,” “Morbid Reality”), many of which aptly reference the great works of the doom metal scene, though perhaps a bit too closely. Zen’s drumming is a perfect fit for this sound as well, and Vangelis’ bass noodling is a delight to hear with such clarity. More importantly, everybody understands their role and can play their instruments well enough to attract the spotlight without having to force it away from someone else. The overarching problem ultimately lies in the songwriting. With the exception of a few solid tracks at the album’s midpoint, like “Diminished,” Doom Zone wholly lacks the dynamics, the creativity, and the voice it needs to succeed.

Charm can go a long way to make me like something I would otherwise pass up. Distorted Reflection almost instantaneously lost the charm they once had after my time with Doom Zone. Unmemorable, uninspired, and at times downright irritating, Doom Zone fails to exhibit Distorted Reflection’s strengths in a way that overshadows their flaws. Instead, it accomplished the inverse. Flaws glare, making the process of picking out highlights a grind, and the experience of enjoying the good a chore. I still have hope that they can turn it around with album three, but as it stands, my recommendation is to leave Doom Zone behind while you traverse the doom zone.

Rating: Bad
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: distortedreflectiondoom.bandcamp.com | facebook.com/distortedreflectiondoom
Releases Worldwide: February 27th, 2026

The post Distorted Reflection – Doom Zone Review appeared first on Angry Metal Guy.

The gates open wide on the opening title track to reveal a powerful, punchy sound with burly riffs pushing the song forward as Leo Stivala (Forsaken, Pagan Altar) delivers manly, rough-hewn bellows and plaintive, somber tones as the moment requires. This is almost like vintage Iced Earth doing epic doom, and honestly, it works pretty damn well. Better still is “The Lighthouse Chronicles,” which takes you on a moody, emotional voyage over 7-plus minutes with hooks deployed expertly along the way to snare your ear. It’s plenty mournful and forlorn, but the epic energy crackles just below the surface and the riffs are meaty and forceful. The chorus is immediately memorable, supported by dour riffing that reeks of Paradise Lost. Add an intriguing midpoint segment that screams introspective Nevermore, and it’s clear Anchorite are onto something. Through it all, Stivala moves adroitly from rougher tones to weepy sadboi wails, convincing at all times. Showing Anchorite’s range, “Devil on the Throne” shifts to muscular, bluesy biker doom like Place of Skulls and Pale Divine. It’s less direct, more classically doomy, and 70s Sabbath jam-intensive. It checks all the boxes, and Stivala once again channels Warrel Dane’s potent spirit to good effect.

If things had slipped a bit on the album’s back half, I’d still be pretty impressed with Realm of Ruin. Instead, you get shellacked by the majesty and might of “The Apostate’s Prayer,” which is half vintage Candlemass, half Sorcerer, and all badass. The guitar work here is stellar, and Stivala ups his game significantly for a vocal tour de force running across misery, grief, and soul-killing inner conflict. His despondent cries of “I have fallen so far” will give you goose bumps and pierce your cold, dead heart. This tune is aces. Closer “Kingdom Undone” is another big moment with a gripping chorus that blends classic metal, doom, and just a hint of power cheese for something extra hooky. It reminds me of the material on Human Fortress’ stellar Defenders of the Crown, but with a melancholic sheen slathered over everything. There are no duds here, and every track brings something interesting to the table, though they don’t all reach the same peaks as the aforementioned highlights. A few tracks suffer from slight bloating around the edges, but at 54 minutes, Realm of Ruin doesn’t feel overlong, nor would I want to see any selections cut.

I’m quite impressed with Leo Stivala’s performance. He mixes forceful Jorn-esque bellows with effectively downcast classic doom singing and switches up his delivery enough to provide surprises and meet the material where it is. He’s got some of the same charm and appeal as Crypt Sermon’s Brooks Wilson, and also reminds one of Robert Lowe (Solitude Aeturnus) at times. Then there are the scattered Warrel Dane bits. Not bad company to find oneself in. Matching Stivala at each step is the guitar work by Martin Andersen. He blends classic heavy metal tropes with all the expected epic doom sounds and brings in touches of power metal to round out the experience. He delivers emotional moments in his solos and harmonies while keeping things heavier than one might expect. Impressive showing in all phases.

Realm of Ruin is one of those albums you enjoy on the first go-through, and with each spin, it reveals more of itself until you’re fully submerged in the band’s craftwork. Anchorite have writing chops, and Realm comes fairly close to reaching the upper levels of doom glory. As it stands, it’s an immersive stroll through the ruins with moments of genuine brilliance and grandeur. I’ll be watching these cats closely because their potential is writ large. A happy surprise and well recommended.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: facebook.com/anchoritedoom
Releases Worldwide: August 1st, 2025

The post Anchorite – Realm of Ruin Review appeared first on Angry Metal Guy.

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yelland’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yelland’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay but overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yelland is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

The post Behölder – In the Temple of the Tyrant Review appeared first on Angry Metal Guy.

You hear about Listurnalia, but you never think it will happen to you. Well, here it comes and you aren’t the least bit ready for it! Starting the 2024 cavalcade of poor choices and deeply regrettable life decisions, we present the AMG staff picks. They’ve carefully assembled their Top Ten(ish) choices of what was best in life this year and now they humbly ask for your patience and understanding. You are under no legal obligation to give it, so do what feels right. Remember, Santa is now watching who gets naughty in 2025, so there will be consequences and repercussions down the road. Without further eloquence, let us commence the excessive pornucopia that is AMG’s Listurnalia. Here be the big opinions.

Iceberg

#ish. Necrowretch // Swords of Dajjal
#10. Hamfer∂ // Men Gu∂s hond er sterk
#9. The Vision Bleak // Weird Tales
#8. Deception // Daenacteh
#7. Fellowship // The Skies Above Eternity
#6. Nemedian Chronicles // The Savage Sword
#5. Brothers of Metal // Fimbulvinter
#4. Ulcerate // Cutting The Throat of God
#3. Myrath // Karma
#2. Aborted // Vault of Horrors
#1. Huntsmen // The Dry Land – Huntsmen is one of those bands that has a sonic toolbox primed to make me weak at the knees, but their follow-through has been wildly inconsistent. While I was enamored of the sharpened, doom-laced folk of EP American Scrap—specifically the chilling closer “The Last President”—2020’s Mandala of Fear missed the mark so greatly I feared Huntsmen had permanently lost their way. How wrong I was. The Dry Lands features the strongest synthesis of Huntsmen’s predilections to date, and their muti-vocal delivery has never been stronger. The masterful dynamic shape of “Rain,” the stylistic twists and turns of “Cruelly Dawns,” and the brilliant spoken word climax of “The Herbsight” kept me coming back to this album month after month. Shaping and honing their folk core with sludgy, proggy metal, Hunstmen has produced a jaw-dropping album that trumpets their return and cements their place as one of my favorite folk metal bands working now.

Honorable Mentions:

• I Am the Intimidator // I Am the Intimidator
• Sunburst // Manifesto
• Hell:On // Shaman
• Inner Strength // Daydreaming In Moonlight

Song o’ the Year:

• Myrath – “Let It Go”

Mystikus Hugebeard

#ish. Eternal Storm // A Giant Bound To Fall
#10. Sorcerer // Devotion
#9. Master Boot Record // Hardwarez
#8. Ulcerate // Cutting the Throat of God
#7. Alcest // Les Chants De L’Aurore
#6. Aborted // Vault of Horrors
#5. Albion // Lakesongs of Elbid
#4. Iotunn // Kinship
#3. Sgàile // Traverse the Bealach
#2. Keygen Church // Nel Nome Del Codice
#1. Ante-Inferno // Death’s Soliloquy – There are albums that are appreciably well-made and tick many of the right boxes for your tastes. Then, some albums speak to you. Death’s Soliloquy, the newest record by UK black metal act Ante-Inferno, is a harrowing work of genuine anguish reverberating deeper and deeper with each listen. This is black metal of the highest order, and should not be missed. It’s an extremely bleak album—the aggressive, second-wave-inspired riffs gnash with a nightmarish fervor at an unsympathetic, constant pace that grows into an ever-increasing oppressive weight across repeat listens. And yet, it’s also a beautiful album—the melodies radiate beauty and unyielding despair in equal measure, made all the more gripping by the clarity of the production. It’s atmospheric, but with such energy and density that attention never falters. At the time of writing, my own struggles with mental health have been such that my full review has sadly not yet beheld the light, but they fueled my burgeoning appreciation for what Death’s Soliloquy is, this is an album borne of dull, gray hopelessness—it neither somberly embraces oblivion, nor does it defiantly push against it. Death’s Soliloquy is the cold, crushing indifference of despair and the only reprieve from it.

Honorable Mentions:

• Adon // Adon
• Kanonenfieber // Die Urkatastrophe
• Stenched // Purulence Gushing From the Coffin
• Witch Bolt // Bellow
• Mount Shrine // The Mount Hibiki Tapes

Songs o’ the Year:

• Ante-Inferno – “An Axe. A Broadsoard. A Bullet”

• Master Boot Record – “CPU”

Alekhines Gun

#ish. Paysage D’hiver // Die Berge
#10. Spectral Wound // Sounds of Blood and Mire
#9. Ershetu // Yomi
#8. Wormed // Omegon
#7. Coffins // Sinister Oath
#6. Defeated Sanity // Chronicles of Lunacy
#5. Gigan // Anomalous Abstractigate Infinitessimus
#4. Darkspace // Dark Space -II
#3. Kanonenfieber // Die Urkatastrophe
#2. Spectral Voice // Sparagmos
#1. Brodequin // Harbinger of Woe – In a great year for brutal death of stripes spacey, techy, and alien, there’s something refreshing about a back-to-basics approach. A glorious return for one of the brutal death forerunners, Harbinger of Woe is an artistic triumph, a masterclass in riff-craft and song assembly with the sole purpose of flattening the listener into eardrum-flavored toothpaste. Catchier than flaying hooks and assembled with the diabolical symmetry of a Judas cradle, Brodequin has presented a flesh-severing reminder that you don’t need flourishes or gimmicks or fret-board wizardry to create an album capable of traumatizing, pulverizing, and captivating all who hear it. Yes, I do confess.

Honorable Mentions:

• Grin – Hush
• Electric Wizard – Black Magic Rituals and Perversions Vol. 1
  

Tyme

#ish. Replicant // Infinite Mortality
#10. 200 Stab Wounds // Manual Manic Procedures
#9. Defeated Sanity // Chronicles of Lunacy
#8. Pneuma Hagion // From Beyond
#7. Kanonenfieber // Die Urkatastrophe
#6. Noxis // Violence Inherent in the System
#5. Julie Christmas // Ridiculous and Full of Blood
#4. Ulcerate // Cutting the Throat of God
#3. Haunted // Stare at Nothing
#2. The Infernal Sea // Hellfenlic
#1. Brodequin // Harbinger of Woe – Twenty-twenty-four has been quite a year in the house of Tyme. The last twelve months were a roller coaster ride that saw me and Mrs. Tyme complete a rather large home renovation and survive. Our boxer Blu had a cancer scare and surgery as a result. I took a new job within my company, leaving the position I’d been in for the past five years. I got the news that I had, after an extended period in “the freezer,” been demoted to n00b status here at AMG, the greatest blog on the interwebs. On the heels of that amazing news, I then learned that my mother passed away unexpectedly. Then, most recently, received the incredible news I’d been further demoted to staff! To say this has been a year of ups and downs would be an understatement. The album I returned to most, again and again, whether high or low, was Brodequin’s Harbinger of Woe. Each brutal riff after riff after riff sated my thirst for emotional release this year and so I hail them, Brodequin, and their riffs. After a twenty-year hiatus, they emerged from the murk to release not only one of the best brutal death metal albums of 2024 but my fuckin’ album o’ the year.

Honorable Mentions:

• Sleepytime Gorilla Museum // Of the Last Human Being
• Glassing // From the Other Side of the Mirror
• Ingurgitating Oblivion // Ontology of Nought
• Stenched // Purulence Gushing From the Coffin

Song o’ the Year:

• Julie Christmas – “The Lighthouse”

Disappointment o’ the Year:

• No new King Diamond album, AGAIN! And it will stay my disappointment until we get one. I suspect around 2028 or so.

Killjoy

#ish. Lizzard // Mesh
#10. Noxis // Violence Inherent in the System
#9. Alcest // Les Chants de l’Aurore
#8. Mega Colossus // Showdown
#7. Albion // Lakesongs of Elbid
#6. Dååth // The Deceivers
#5. The Neptune Power Federation // Goodnight My Children
#4. Devenial Verdict // Blessing of Despair
#3. Fellowship // The Skies Above Eternity
#2. Laudare // Requiem
#1. In Vain // Solemn – This became my Record of the Year three tracks into my first spin when the melodious voice of Sindre Nedland in the chorus of “Season of Unrest” graced my undeserving ears. Indeed, the infinitely versatile vocal performances across the board are my favorite aspect, but Solemn ticks nearly every other box on my metal wishlist too. Catchy yet complex guitar lines, horn sections, a dreamy saxophone solo, string orchestrations, and the lyrics even rhyme! In Vain has perfected their sound so well that it’s easy to mistake their confidence for pretension. Though I fiddled with the placement of the rest of my list of candidates, there was never any doubt that Solemn was the best release of 2024.

Honorable Mentions:

• Weltenbrandt // Transzendenz Schatten Romantik
• Matrass // Cathedrals
• Sgàile // Traverse the Bealach
• Borknagar // Fall
• Ætheria Conscientia // The Blossoming
• Einvigi // Monokroma

Song o’ the Year:

• In Vain – “Season of Unrest”

The post Clowns, Fools, and Buffoons: The AMG Staff Pick Their Top Ten(ish) Records o’ 2024 appeared first on Angry Metal Guy.

One of the strongest aspects of Devotion is simply how great it sounds. Devotion is unquestionably hardcore music, but it’s much deeper and dirtier than most hardcore I’ve heard before. This isn’t to say the production is raw or anything. The guitars are crisp with a subtle buzz that shines during the heaviest riffs, and the bass has a hefty chug like it’s throwing its full weight around. What really sticks out for me are the vocals; hardcore music can live or die on its vocals, and I can comfortably say that Sorcerer’s vocalist is a cut above. He has a coarse, exhausted yell that sounds both professional and like a passionate newcomer screaming their voice to shreds. It’s a shockingly good vocal performance that sounds unhinged without losing control. The guest vocalists on “Fortress” and “In the Arms of Mortality” are both solid screamers, but I’d be lying if during their sections I wasn’t selfishly thinking to myself “alright yeah but bring back the other guy.”

The strength of Devotion’s sound allows the music to cut all the deeper, lending an unstoppable momentum to the riff onslaught. The strongest, heaviest sections aren’t imprisoned only to the breakdowns, allowing entire songs to be dynamic and memorable. There are standard thrashers like “The Eternal Grief” and “Devotion” if you want a quick fix of violence. Still, I love the more adventurous songs, like the seven-minute closer “Someone Else’s Skin” which closes on my favorite kind of escalating riffs with growing layers of noise. “The Bell Jar” is a crazy fun tune that cycles through tons of catchy ideas at a fast pace, and the massive opening verses of “Badlands” and “In the Arms of Mortality” are addictive. The aggression and energy is always high, but it feels focused on a single point; if I were to describe the spirit of hardcore music as the frenetic chaos that comes with the flailing of arms in a mosh pit, then the music of Devotion is targeted violence, focused into a singular, unstoppable beat-down.

At just over 30 minutes, Sorcerer’s Devotion is a slick and brutal album with violence in its heart and without any low points that I’ve been revisiting like clockwork for months now. It’s just the right kind of heavy that hits all the harder for how focused it is. I’d wager that the beefy guitar tone and stellar vocal performance might even convert some listeners who have never been all too into hardcore music. Or maybe I’m wrong, in which case Devotion will leave you lookin’ like the guy on the cover.

Tracks to Check Out: ”Badlands,” “In the Arms of Mortality,” “Fortress,” “The Bell Jar,” “Someone Else’s Skin”

The post Sorcerer – Devotion [Things You Might Have Missed 2024] appeared first on Angry Metal Guy.

Believe it or not, we’ve covered Flamekeeper mastermind Marco S. before, under his blackened death metal project Demonomancy. It stands to reason, then, that Marco knows what black metal sounds like, but there is almost no trace of it in Flamekeeper. An occasional dalliance with quicker gallops verifies some measure of power metal heritage as well, but at the core this music is tailor-made for raising swords and pumping chests in the traditional way—think less Morgul Blade and more Manowar. Despite heavily accented vocals, Marco proves himself a competent singer for this style. His smooth, but understated baritone complements the simplistic but highly effective instrumentation behind him. His sense of rhythm—as displayed through his choice of beats, bass guitar work, and vocal cadence—elicits just the right kind of triumphant swagger to give each of these nine tomes respectable motivation. Somewhat predictably, and despite similarities to the music of trad metal legends on the surface, Flamekeeper can’t hold a candle torch to those classics, though it does an admirable job at steel worship nonetheless.

In fact, one of Flamekeeper’s greatest strengths is memorability despite its rather generic nature. Opener “New Wild World,” slightly awkward lyrics and all, emits an irresistible charm that allows it’s chorus to lodge in the grey matter. The unexpected recall to Shocking Blue’s “Venus” in the title track similarly secures its permanent installment in my memory. “Raise the Banner” features some of the album’s strongest percussion, leads, and riffwork, but Marco’s spitfire verse work steals the show instantly with its clarity and accuracy. The album’s true highlight, however, is penultimate track “As One with Light.” Using this opportunity to flex epic metal musculature, Flamekeeper soars in this track with highly effective vocal and guitar leads, thrashy power metal rhythms, and a killer chorus, resulting in an unqualified heavy metal triumph.

Regrettably, Flamekeeper’s approach is far too reserved to make the meteor impact I think Marco intended with this record. Epic metal requires a certain undeniable grandeur and sense of scale to complement traditional metal’s adventurous and eager spirit. Think about bands like Sorcerer and Manilla Road, who each set souls ablaze across the world. This phenomenon is no accident; deliberately gigantic sound, gutsy performances, and a seemingly limitless thirst for battle and victory define the style and inform the standard by which genre standouts earn their names. With Flamekeeper, a distinct lack of all three of these qualities leaves me almost totally unmoved, with the exceptions of “Raise the Banner” and “As One with Light.” These highlights alone awaken the red-blooded warrior that lives in me as it does in all of us, but even then, they don’t make that warrior feel powerful enough to take on whatever the world dares throw my way.

Instead of empowering and enlivening me as a listener, Flamekeeper leaves me terminally starving for more POWERS. While this debut is, for the most part, enjoyable on casual spins, it fails the mission statement of epic, traditional metal. In my mind, a record of this type needs to make me feel absolutely invincible, as a paragon of battle-hardened strength and fierce will. Flamekeeper, on the other hand, feels almost tentative, uncommitted to achieving ultimate victory at all costs. A fine proof of concept for Marco, but nothing greater at this time.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Invictus Productions
Websites: facebook.com/flamekeeperofficial | flamekeeper.bandcamp.com
Releases Worldwide: May 10th, 2024

The post Flamekeeper – Flamekeeper Review appeared first on Angry Metal Guy.

Naturally, Distorted Reflection sounds remarkably similar to Sorrows Path on the surface—right down to each’s charming, heavily accented vocals. Tightly written, catchy, and chunky tunes form the backbone of each band’s repertoire, handily appealing to fans of Sorcerer and Candlemass. The most notable deviation Distorted Reflection takes from Sorrows Path’s application of the epic doom blueprint, dalliances with lightly progressive time signatures and slithering vocal lines give way to lusty trad/ heavy gallops, shreddy solos, and no-nonsense, straightforward songwriting. At a lean and lithe thirty-six minutes, Doom Rules Eternally defies the protracted runtimes of many modern epic doom opuses, instead opting for an infectious, easily digestible, and infinitely replayable collection.

With opener “Mr. Snake,” Distorted Reflection showcase their long-running pedigree of powerful, chest-pumping, epic doom. A remarkably strong opening salvo for this fledgling group, many of the album’s core attributes make their entrance here. Kostas’ endearing accent shoves through his gutsy, powerhouse baritone, backed by his groovy riffs and rocking solos (“Ring of Fire,” “Colours”). Vangelis Yalamas’ thrumming bass deliver ample heft to these perhaps overly simple, but effective structures, embellished with largely tasteful synth work in the background (“The Eternal Gate”). Last but not least, Stelios Pavlou’s effective, minimalist performance on the kit brings high levels of swagger to the whole affair (“Colours,” “Victim of Fate”). As the record progresses, memorable choruses, marching beats, and headbangable riffage abound. “Ring of Fire,” “Colours,” and “Cassandra” all offer great examples of each, “Cassandra” especially boasting the most dynamic songwriting of the bunch. Almost fooling me by playing the ballad card early on, “Cassandra” picks up steam in short order, creating a great surprise pick-me-up—not to mention one of the record’s best solos—that brings a shot of momentum to the back end of the record.

There’s a lot to love in Distorted Reflection’s debut, but there’s a near-equal number of things that don’t always work. Kostas’ affected vocals won me over very quickly, his powerhouse upper range unexpectedly solid. However, as the record continues, ESL lyrical fumbles and Kostas’ inexplicable tendency to limit himself to his lower midrange wear down my interest somewhat. While never enough of an issue to dispel the record’s charm outright, some of the cheesier songs like “Dark Mermaid,” “Twilight Zone,” and “Ghosts of Mind” do challenge my enjoyment as those aforementioned vocal concerns compound with a preponderance of muddy synths, oddly abrupt conclusions that disrupt album flow, and lackluster transitions between verse and chorus, respectively. As an added nitpick, there are moments where I question some of the mixing decisions made here. Kostas’ vocals seem too far forward in the mix, which causes many consonant sounds such as “ts” and “ch” to pierce harshly against the instrumental backdrop. There are similar instances in the drum mixing, which seem far too up front in “Cassandra” to evoke the delicate introduction that I believe the band intended. These are small mixing concerns easily ignored during initial listens, of course. However, they become more noticeable with greater time invested, so it might be something worth noting for future releases nonetheless.

All in all, Doom Rules Eternally never lost its charm during the two weeks I spent with it. It’s been a loyal work and gym companion, keeping me motivated and engaged for the most part. It’s been a worthwhile choice for focused spins as well, fun enough to get my head banging without trying my patience too much. Consequently, I believe Distorted Reflection holds great potential. It’s just a matter of realizing that potential going forward—working out the kinks in the armor will go a long way towards that goal. As is, Doom Rules Eternally is a decent, but flawed, epic doom record that will likely satisfy fans of the style, but won’t exceed expectations beyond that threshold.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Iron Shield Records
Website: facebook.com/distortedreflectiondoom
Releases Worldwide: February 9th, 2024

The post Distorted Reflection – Doom Rules Eternally Review appeared first on Angry Metal Guy.

Reign of the Reaper opens with a powerhouse run of songs that immediately restore one’s faith in Sorcerer’s ability to enchant and beguile. Opener “Morning Star” sounds like it fell off the Fire King truck — glorious, grandiose, it hits you right in the doom basket. Anders Engberg immediately seizes control and shepherds you with his amazing vocals as Kristian Niemann (Therion) and Peter Hallgren ply your mind with tasty and elegant riffs and the chorus is stunning and beautiful. Anders even throws in some harsh vocals near the end to put a fat cherry on the morose doom sundae. The title track is even better — dark and ominous, replete with a gripping black/post-black atmosphere as Anders delivers the vocal goods in dreary droves with another bleak, beautiful chorus. It hits like the Tony Martin era of Black Sabbath at points, especially albums like The Headless Cross and Tyr. “Thy Kingdom Will Come” is also excellent, with just a touch of Kamelot-esque power metal injected into the template. Come chorus time things get back to big dooming with Anders imploring you to “Hang the banners on the wall, together you will rise and take a stand.” Glory drips off this one like sweat off an AMG n00b submitting his/her first draft to the Editors of Grand Wengeance.

With so much top-notch material loaded upfront, it was never going to be easy to make the rest of Reign hold serve. There is an inevitable drop-off as the album spools out, but it isn’t steep, and very good moments are scattered across Reign of the Reaper. “Curse of Medusa” is Sorcerer doing their power/doom thing while throwing hooks in the road to snag your tires and it works. “Unveiling Blasphemy” is also quite good and reminds me of the best moments of Crypt Sermon. Even the very restrained power/doom ballad “Eternal Sleep” works thanks to an enormous vocal performance from Anders, though I want it to be both heavier and darker. There are no “bad” tracks here, just a few that don’t leverage the might and majesty of Sorcerer for maximum stargazing. The 47 minutes are predominantly of high quality though with some stellar cuts that outshine others.

Sorcerer have always been about the superb vocals of Anders and he does not disappoint here. The man has one of those voices that cuts right through the music and grabs your ears. He was born to sing this kind of epic fare and his rugged Tony Martin-esque style brings enormous gravitas and charm to the material. He never overdoes things or forces the issue, instead gracefully delivering the right levels of force and urgency. Kristian Niemann and Peter Hallgren do themselves proud once again with a winning collection of doom, traditional, and power influences decorating their playing. The occasional foray into black metal is a nice tool in the kit that they should explore further in the future. All told, it’s the improved writing that wins the day here.

Topping The Crowing of the Fire King was never in the tarot cards, but Reign of the Reaper does reestablish Sorcerer as a top-tier epic doom act and heir to the mantle renounced by Candlemass. This kind of polished, smooth doom is in increasingly rare supply and when done right, it’s just so, so satisfying. Reign of the Reaper will provide much satisfaction so get thee to the Wizard’s Tower of Power.¹

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade
Websites: sorcererdoom.com | sorcererdoom.bandcamp.com | facebook.com/sorcererdoom
Releases Worldwide: October 27th, 2023

The post Sorcerer – Reign of the Reaper Review appeared first on Angry Metal Guy.

1349 is a timely conceptual piece about Europe during the Black Death and it’s appropriately gloomy, glum and melancholic in its chosen color palette. Within this unfestive world the band crafts impressive set pieces that hit me right on the 90s nostalgia bone. Opener “Shallow Waters” is an winner that could have appeared on any of my favorite Tad Morose albums or even Candlemass’ underrated Chapter VI. Uber talented vocalist Stefan Berglund is thankfully still onboard and delivers a typically great performance that grabs your attention and holds it tight. The riffs are weighty and crunchy, the solos are majestic, and everything just clicks. “Pariah” sounds like a lost cut from Sorcerer’s The Crowning of the Fire King, and its doom meets traditional metal blend is spot on. “Distrust” dials up the doom crunch significantly and when Berglund ominously intones “Bring the Priest, we need him here,” it feels dire. This is exactly the kind of music I was soaking up ravenously in the 90s and it’s an unexpected delight to get such a big dose of it in 2021 and with such a high level of purity.

Highlights are plentiful, but “The Messenger” stands out for its poignant duet between Berglund and Josefin Bäck. It reminds me of the material on Pyramaze’s Legends of the Bone Carver, and emotion drips throughout. The title track is a memorable mood piece with a strong Sorcerer vibe, stellar vocal performance and hooks aplenty, and “The Empiric” benefits from the rousing guest vocals of Wolf’s Niklas Stålvind. Closer “Blood Moon” is a brooding denouement with a doomed man reflecting on life as he prepares for a date with the gallows. The line “seems clarity comes at the end of the rope” really twists the emotions, and the way the album ends with the creaking gallows rope is grim as fook. Add a punchy and powerful production by none other than Dan “The MAN” Swanö and there’s a lot to love about 1349. Are there negatives? I suppose there’s a bit of bloat on high-quality tunes like “Rivers Run Black” and “Distrust” but this is a minor issue and the album doesn’t feel long at 51 minutes.

I said it back in 2013 and I’ll say it again in 2021. It annoys me that a vocalist as skilled as Stefan Berglund isn’t more active. He’s just so good at what he does, channeling the best of Kristian Andrén, Urban Breed and Anders Engberg as he roars and soars in such restrained and tasteful ways. He wasted 8 years between Memory Garden outings when he should have been out there doing what he does best. He’s the ideal frontman for a morose concept piece like this and his presence elevates every song. Simon Johansson (Wolf, ex-Abstrakt Alegbra) returns to riff mightily and shred wondrously, and along with battery-mate Ante Mäkelä he makes some impressive things happen. There’s a lot of Candlemassive riffing, but at times the guitar phrasing sounds like modern-day Borknagar. Solos sometimes feel like they came from a late 80s King Diamond album and everything is kept elegant and upmarket. Add to this highly talented collective the significant kit talents of Tom Björn (Nightingale), who delivers a forceful, thunderous performance, and you’re in for a grand time dancing with the plague doctors.

1349 is Memory Garden’s magnum opus, and a significant step up from 2013’s Doomain, which was plenty good in its own right. Talk about a major comeback and a truly unexpected surprise as 2021 trots off the stage. Stately and somber, heavy but highly melodic, 1349 is the bleak holiday gift you should give yourself no matter how naughty you were this year. Memory Garden remembers but forgives.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: No Remorse
Website: facebook.com/memorygardenofficial
Releases Worldwide: December 17th, 2021

The post Memory Garden – 1349 Review appeared first on Angry Metal Guy.

After a short, somewhat folksy intro piece, things get super-sized on “A Wayward Son’s Return.” Here be the Candlemassive doom riffs and weighty worldbuilding you need in your weak, pedestrian lives. The mood is appropriate and the epic sound is there. Stephan Wehrbein has noble clean vocals with which to steer the ship, and all looks to be in good working order. It’s an easy enough song to enjoy with nearly all the genre’s essential oils accounted for, but by the end I’m left wishing it was a bit grander and more awe-inspiring. The 8 minutes of “North Sea” kick things up a few crucial notches for a bigger sound with grandeur imprinted in its DNA. Here the Atlantean Kodex influence is readily apparent and the central riff sounds like it was ripped from The White Goddess album. This stuff is succor for my warrior soul, immersing me in old timey pageantry and ancient majesty. Plug an endless stream of this into my medieval brainstem and you have one happy, broadswordy Steel.

“On Marsh and Bones (the Face of Black Palmyra)” carries subtle hints of To the Nameless Dead era Primordial and packs a righteous chorus, and “Your Sun Will Never Shine for Me” is a respectable little piece of epic doom with another solid chorus. They save the best for last though, as the nearly 9 minute closer “A Servant to the Tide” shows the band in the best possible light. This is big, epic stuff with an unexpected dose of doom death shoehorned in for extra killing power. The way the song ebbs and flows is slick and the chorus is simple but captivating. This is where the band shows what it can do when things come together and it’s quite impressive indeed. I especially love the trilling guitar harmonies at 5:45. At a scant 34 minutes, there’s not a lot of meat to the platter, and it feels like a glorified EP rather a fully fleshed out album. While none of the songs are bad, “A Wayward Son’s Return” feels a bit too safe and stuck in mid-epic, never fully ascending to that lofty mountaintop where Wotan presents tankards overflowing with Orange Julius to the brave and valiant. There are some other rough moments that crop as well, like sudden, awkward transitions and occasional DIY issues with the production.

Stephan Wehrbein has a decent voice, but he sounds better suited to folk singing than epic metal environs. He lacks range and fails to elevate his delivery for that extra punch at crucial moments. This gives certain songs a one-note flavor, leaving you longing for something bigger in scope, with even the best tracks crying out for a more commanding performance at times. He needs to be more bold and strident with his vocals if the band ever expects to make it to the golden halls of Valhalla. Leonid Rubinstein does a good job manning guitar, bass and keys, and some of his riffs are impressive. There’s a respectable amount of atmosphere crafted via his guitar and keyboard work and songs like “North Sea” and “A Servant to the Tide” are steeped in it with excellent results.

I wanted to love Servants to the Tide, but instead I heartily like it and love moments of it. These chaps have many of the tools necessary to create something epic enough to make Ares weep black tears of retribution, and now with some experience under their belts they’re twice as formidable. Fear the potential, respect the humble origin story.¹

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: servantstothetide.bandcamp.com | facebook.com/servantstothetide
Releases Worldwide: March 26th, 2021

The post Servants to the Tide – Servants to the Tide Review appeared first on Angry Metal Guy.