The average age of all the cells in an adult human is somewhere between seven and ten years old. We constantly replace parts of ourselves, so that you are mostly a different person every decade or so. That means if you really, like, think about it, no band that lasts longer than ten years has any of its original lineup left. This is how I explain In the Woods… to myself. The outfit is in its fourth decade of shuffling through lineups and genres, with drummer Anders Kobro and the ellipsis in their name the only constants. They began as a black metal act, segued to a form of avant-garde progressive metal, and lately they specialize in doom- and psychedelia-inflected progressive rock. It’s a thrilling and occasionally confounding arc, and it’s fair to question whether all these sounds fit comfortably under the umbrella of one little band name. Still, In the Woods… has always been worth listening to, and here they are with Diversum, the third album of a comeback that launched in 2016. So who exactly is In the Woods… now?

Diversum features anthemic rock songs, composed in conventional verse-chorus-verse structures that are adorned with progressive and metal flourishes. Before he passed on to a realm of utter trvth, my colleague Mark Z saw parallels between the recent work of In the Woods… and Enslaved. That remains their best comp, but the specter of Roger Waters-era Pink Floyd also looms over Diversum. These are hummable, chorus-driven songs about bleak topics like the isolation that accompanies depression (“A Wonderful Crisis”) and praying for the release of death (“The Malevolent God”). The band’s spirit of adventure seems to have wandered off; there’s nothing avant-garde or even daring about Diversum. Still, the album is a capable and occasionally stirring effort that’s bolstered by an upgrade behind the mic in new singer Bernt Fjallestad. Diversum soars in spots and bores in others, finally landing toward the high end of the “middling-to-good” continuum that has defined the outfit’s post-comeback output.

James Fogerty, who sang on previous albums Pure and Cease the Day, quit the band just before In the Woods… recorded Diversum. Fjellestad was a late replacement, but he’s a good choice all the same–Fjallestad boasts superior vocal technique, even if he sometimes lags behind Fogerty in emotive power. Fjallestad works in three modes: a carefully enunciated baritone, a sandpaper-scuffed belt, and a harsh but always understandable rasping growl. Harsh vocals are all over this thing, co-existing with soaring cleans in songs like opener “The Coward’s Way” and “Moments.” But the real power of Diversum comes from the build-up to the choruses, and the release as Fjallestad’s voice and Kåre André Sietteberg’s guitars push the songs over the top. The platter is littered with moments like that, but the best of them come on lead single “A Wonderful Crisis” and “Your Dark.”

The flashes of prog and metal enliven the album, but Diversum, in spite of its title, could use more variety. An In the Woods… album used to promise surprising turns, like you might encounter on a hike through the forest that begins with no destination in mind. That sense of possibility is missing here, replaced by a formula that, while well-executed, still gets dull as the record wears on. Two of the weaker cuts (“Humanity” and “Master of None”) are stashed near the end. By the time you slog through that boggy patch, you’re ready for this walk to be over. Closer “Your Dark” does its best to redeem the home stretch with a striking balance of the gorgeous and the heavy, but there’s no disguising the second half’s drop in quality.

The three albums of the In The Woods… comeback, considered as a whole, leave an impression of a band that’s casting about for an exact identity. That’s a strange thing to say about an outfit that launched in the nineties, but there you go. It seems that the current members of In the Woods… are more certain that they want to keep the entity alive than they are certain of what it should be. But maybe I’m too spoiled by all the triumphant reunions of the past decade to appreciate a pretty-good-but-flawed one for what it’s worth. Diversum peaks with a few terrific songs, and the whole thing holds together well enough that I’ll return for more spins. I wanted more; the odds are you will, too. But strip away the expectations that come with the band’s history, and there’s plenty to like here. ... See More

The mix between influences of Hard Rock and Heavy Metal in the USA gave birth to US Metal DNA in the early days of the 80s, being slightly different from European Metal Schools due the technical care, melodic appeal and energy (hey, come on, I wrote this explanation with deeper words countless times in the past, please). Still today these features are heard on US Metal acts, even with a different dressing. But some bands prefers to have something more personal, even using the old features of the past, as the quartet VERITAS, from Kansas City (Kansas) with their second attack called “Silent Script”. Their music can be said as classic US Power Metal that uses an embodiment inherited from Progressive Rock/Metal acts as FATES WARNING and QUEENSRŸCHE, mixed with the strength of the weight of bands as SANCTUARY, and the final result is something amazing for the ears, something that’s hooking and melodic, but technical and refined, with excellent contrasts.

It’s heavy and full of vitality, strong and aggressive when things demands, but with a technical care above the norm and it’s always very good to be heard and enjoyed. For those into US Metal, their work is on that kind named as ‘must have’. “Silent Script” was mixed at Wild Horse Recording Studios, at Minnesota, by the hands of Daryl Bolicek. Of course things could be better (it’s not a problem on the mixing to be clear) in the shaping of the instrumental tunes and recordings, because things sounds a bit rawer than the needed. It’s not bad, but could be better.

Musically, the quartet is expressive and shows strength on their second album, and deserves applause. And for a first experience on “Silent Script”, taste “Limit” (a song that mixes melodies, technique, weight and aggressiveness in an excellent way, with very good guitar riffs and expressive vocals), “Creation Groans” (a heavier song with slower tempos that brings US Metal natural elements, with a technical and heavy work on bass guitar and drums), “Grind Away” (pay attention to the classic US Prog Metal appeal of the 80s during the chorus), “Buried” (this one brings something of Southern Rock of the 70s on its melodies, but keeping the weight and technical approach of the band’s music as well), “None Enslaved” (what lovely heavy melodies are unleashed on its harmonies and excellent vocals), “Oxygen” (pay attention to the technical use of the cymbals on the drums and on the bass parts), “More than I Can Say” (that darkened and ethereal feeling used by many US Metal acts is heard here in a very good way, with charming guitars’ arrangements), and “Modulate”, and these ones will do the work.

Some maturing will help VERITAS to set things in a better shape in the future. But for now, “Silent Script” is really a great release. ... See More

Already in 2024 it became clear that Destruction‘s new effort would be a blazing metal release and after the launch of three singles the thrash metal veterans have “Birth of Malice” in the starting blocks. Destruction has been around for more than four decades and it’s bandleader Schmier who has been the driving force for all these years. The only remaining founding member pushes the band to new peaks and the new studio album is another excellent workpiece.

The four-piece from Germany belongs to the Big 4 of German thrash metal and Destruction never disappointed – neither on record nor on stage. The guys continue their journey with “Birth of Malice”, where the title track is more of an intro. It’s the beating metal heart that starts the album and turns into an intro that feels like the calm before the storm.

The first real song on the album is called “Destruction” which is a raging ode to thrash metal in general and the band in particular. “We’re Destruction” it says in the chorus and that’s exactly what this album needs as a starting point. Sharp riffs, Schmier’s typical vocals and a massive rhythm section are what drive the song. It’s a typical Destruction song, but what surprises is the enormous energy the quartet generates. “Destruction” is a blistering start to one of the best albums the band has released to date.

Schmier and his bandmates have managed to bring the spirit of Destruction from the 80’s into the here and now. The band doesn’t compromise on the heaviness, as their mighty riff power is the fuel for songs like “Cyber Warfare”. The latter is also equipped with a blistering guitar solo and screams in the chorus part that can lead to a sing-along at upcoming live shows.

“Cyberwar” hints at it, and songs like “A.N.G.S.T.” confirm the lyrical connection to reality. “A.N.G.S.T.” deals with paranoid instincts. The music reinforces the lyrical approach, as the song is a slow-paced riff monster that exhales an evil spirit.

What adds to the versatility and aggressiveness is the twin guitar power. What started with the release of “Born to Perish” has become a constant success factor for the band. Having two guitarists on board allows the band to give their music more of a twist that Destruction can bring to the stage too. This setup also benefits “Birth of Malice” and listening to the screaming guitars during “Evil Never Sleeps” is a delight for any headbanger. The song also has a rather melodic chorus, in the context of a thrash metal band, while the tempo also stays in a moderate range.

“Chains of Sorrow” is a throbbing thrash metal anthem, and it is “Scumbag Human Race” that hits you right in the face. This metallic wrecking ball spreads an evil vibe. The title tells you what the song is about. It’s about the maldevelopment of the human race with all the mistakes that have been made and are still being made in these crazy times. And like some of the other tracks, “Scumbag Human Race” also contains more melodic guitar lines that never win over the aggressiveness of thrash metal. However, these guitar melodies allow the listener to easily connect to these thrash metal anthems.

Destruction put a cover version at the end of the album. It is a brutal interpretation of Accept’s “Fast As A Shark”. Now, the original Accept classic belongs to the real heavy songs and might be one of the first speed metal songs. What is almost a mission impossible works well here. Destruction gives the song its own twist and while staying close to the original it is yet a brutal thrash metal version. It is a homage to one of the great German metal pioneers.

Destruction in 2025 unleash a lot of power and raw heaviness. I was expecting a very solid thrash metal release as the band always stands for quality. I have to say that my expectations were exceeded. “Birth Of Malice” is a brutal and razor sharp thrash metal release. Strong neck muscles are a must as you can’t listen to these songs without headbanging from start to finish. ... See More

In their early days, Primordial played a hybrid of black metal and pagan metal inspired by their native Ireland. Over time, their sound became more idiosyncratic, arguably culminating on The Gathering Wilderness. The album features one of the best recordings ever heard in metal. It may not be as loud as its contemporaries, but that's because it avoids over-compression and keeps its dynamics. The drums sound beautifully natural, guitars sizzle and burn, and the production retains a ragged edge that perfectly fits the material. Here, Primordial fully integrate their homeland's stirring melodies into an electric framework. Rolling 6/8 rhythms propel this Irish longboat forward. Alan Averill's hyper-passionate vocals take getting used to, but they're heart-swelling. In "End of All Times," he howls "I feel like a wounded animal/In the dying throes," and you believe him. "The Coffin Ships" finds Primordial at their darkest, as glowering clean tones give way to martial walls of distortion. The highlight is the title track, which rumbles with menacing toms, droning melodies, and chant-like vocals. The best metal stands for something; this record speaks for one's soul, one's homeland, and metal itself. Utterly magnificent. ... See More

CHECK OUT THAT BAND !!!

Agnes Vein is a Greek band which was formed two decades ago. Having released only three full lengths within this time span probably has not helped gather a bit more attention – which is a shame given the passion and love for details they put into their work. “Deathcall” is their third album with eight years having gone by since the previous one “Soulship”. To be honest this is my first foray into their work so I cannot give any comparisons, but sometimes it anyway is better to review a record all on its own without references to past efforts. Six tracks adding up to 47 minutes of running time make up for a quite meaty affair and I have to give credit Agnes Vein for having filled each moment with meaningful content. The whole album just feels perfectly crafted and edited, there is more or less no filler material left in the end product.

The first song I came across by them is “Vultures Hymn”, which has a very distinct stoner rock / sludge kind of vibe. I expected the whole album to be similar to this one, but in fact most of the remaining tracks offer something darker so that the tag “blackened doom” surely is not wrong. Often the music presented by Agnes Vein is the sonic equivalent of looming storm clouds, shadowy and oppressive with just the odd hint of sunlight through the fogginess. Their music is slow, most of the time stumbling along an ill-light path, but there are sections which push the rhythm section a bit more and bring additional layers to the fore. One thing they have down to a T is how they succeed to seamlessly combine those different parts while never destroying the mood.

Epic harmonies are alternating with crunchy riffs, which while not necessarily offering something completely new are played with so much energy and freshness that missing innovation does not bother me. Most times the music comes across being quite accessible, with Agnes Vein escaping pretentiousness without losing power and punch. A good example of this is the title track, which starts the album in great fashion, hitting with a powerful and stunning chorus line and some massive and crunchy riffs. That being said when it comes to music like this it might not make that much sense to highlight single tracks. This is more about the emotions ebbing and flowing with the melancholic instrumentation, and losing yourself within the darkness. Agnes Vein are fantastic songwriters and they have placed each tune in the perfect place when looking at the context of the whole record.

As can be predicted, the path ahead through all the material is long and slow, but the music occasionally moves forward with a more deathly march. Desperate and anguished roars lead the way, with a good balance of crunchy guitars and some blackened harmonies, which give the whole music its very unique identity. For me Agnes Vein are their best whenever they drift into the more sinister and bleak side of their repertoire, like they prove with e.g. “Sovereign Star”, a song which carries a fantastic and unsettling atmosphere thanks to the creepy lead sequences dominating from the background.

Once the listener reaches the epic conclusion with the 11 minutes long epic “The Golgotha Entanglement” the maelstrom of power chords and emotional harmonies has completely enveloped him. With a more or less faultless production which combines organic power and crisp clarity “Deathcall” is a manifestation by a band who finally came to their own. This album is a must-have for doom metal fans in the first place, but fans of other metal sub-genres would be well advised to also give this one a concentrated listen. ... See More