REVIEW: ANALEPSY - Dehumanization by Supremacy


If it isn't obvious, I was drawn to this band strictly due to the band's name 'ANALEPSY' and the fact that, despite sounding like a symptom of the ass, the cover art portrays something like some evil lord descending upon the earth. The obvious conclusion is that this creature is the lord of butts, why wouldn't he be? Though, in all honesty, its nice to see a Modern Death Metal release that doesn't feature grotesque monsters, strewn about body parts, or prolapsed rectums and genitals; strange to be surprised by something so normal compared. Anyhow, what really matters here is the music and not the art (sometimes). Usually with these late night bands, the kind I hazily open in the dead of night with some half-minded idea of doing justice for the little guys, I get exactly what I expect: too many influences, not enough originality. I get this, I really do. Everyone wants to be like their idols; wants to sound like the bands they love. Though, with bands like ANALEPSY, I feel like somehow Death Metal has become some sort of strange amalgamation - one that doesn't resemble actual Death Metal but more falls, as usual, into Grind or Beatdown.

Don't get me wrong, there is some talent behind ANALEPSY and these guys know how to play - albeit, there sound is painfully typical and follows every trope imaginable for bands of this ilk. There is some serious heaviness, lots of clean playing (as in, no bad notes), and I'm absolutely sure it'd piss off your neighbors due to the extreme nature of the vocals. The thing is, for anyone who frequently listens to this breed of music, it isn't going to turn heads. In fact, it's probably going to make them yearn for the days when Death Metal was more then just blast beats and breakdowns, when it had some character to speak of. Its not like I want to bash 'Dehumanization by Supremacy', I'd really like to say something great about this album or even a song but due to the band's Grind-y nature, there isn't even a single track that distinguishes itself from the others. Everything literally sounds the same, apart from a few momentary intro effects to let you know that there is another song playing. You'll thank the band for these because if they weren't here you wouldn't, in most cases, be able to tell where a track ended and another began.

Somewhere along the way Death Metal took a turn and sadly bands like this, who I'm sure love this style and sound, became way too typical. It's not completely the fault of ANALEPSY that they are painfully boring but I'm not going to let the fact slip either. Dehumanization by Supremacy is another one for the bin, where all the same-old non-innovative bands go.  And, damn, I was really hoping for something with this one. Maybe they should've just put a giant asshole on the cover?


REVIEW: VAMPIRE - Cimmerian Shade


There was a time where I'd thought VAMPIRE's debut album was the next best thing and, though a lot of other stuff has come along since, I still sort of feel it's a stand-out album. I even purchased it digitally and I hate owning digital copies of anything, that's saying a lot. So, imagine my surprise when I find that VAMPIRE has another release. This honestly came out of nowhere to me as I heard nothing about it until receiving a e-mail in my inbox as of the morning of this post. So, what do I think?

Firstly, you have to take VAMPIRE for what the band is (or used to be). It was a horror drenched, absolutely insane, homage to 80's and early 90's styles of underground Death and even Black Metal. Though that is great, I could honestly say back in the day that it would be unlikely that VAMPIRE would put out a release equally as entertaining or acceptably full of such influences. Holy lord though, they must have anticipated that fact as Cimmerian Shade's tracks are even better then their debut album. 

Not only has the band kept their roots, they've expanded on them. 'Pyre of the Harvest Queen' is a stand out track, showing that VAMPIRE can and will destroy your expectations. This time, the band takes things back a little, a little less thrash (though there is plenty of that on 'Night Hunter' and 'Hexahedron') and more of a progressive-metal feel. You can see that the band wanted to show off a little more of their musical skill this time, rather then just catchy hooks and insanely memorable lyrics. And, honestly, it works very well. Much to my surprise, I even sensed some Celtic Frost influences in here - something that pleases the hell out of a Tom Warrior fan such as me. Can I get a 'uh!'

The rest of the EP, excluding a instrumental track titled 'Sleeper in the Deep', is a little more typical VAMPIRE fare. Tearing, angry, and seething vocals paired with horror-laden lyrics - 'Night Hunter' probably being the most memorable song on this EP. The song-writing has stepped up a bit with these tracks too but not so far as to pull the band completely out of the realm of Blackened Death.

Fans of their debut, which I know there to be plenty, need not miss out on Cimmerian Shade. As this EP shows the world that VAMPIRE is back, with a vengeance, and they are no one-album wonders. I can't wait for a full album to come in the near future, and you shouldn't be patient either.

RELEASE DATE: SEPT. 25th 2015.



-III is a significant departure from the faster pace of previous albums (especially the first), did you feel that a more doom-laden approach to songwriting would fit the void/space/horror themes more?

I wouldn’t say that there is a significant departure but that the songs on “III” are completely different. When we write our songs we don´t pay attention to what might be the concept of it. We just play and/or jam what we feel to play in that particular moment. If there is a good riff or pattern that feels right and good to us, we record it with our cellphones or whatever to remember it and try to combine it with other ideas. That´s it. The concept comes very late when we write the lyrics or add samples and synths. Summarized: We don´t give a fuck about concepts and play what we want to play. But yes, the doom sound fits perfectly to the lyrical content.  

-Did you face any difficulties when it came to writing such massive songs? Would you say your songwriting process has changed since the band begun?

No. As I explained above all the songs you hear on that album come into existence because we jam a lot and this was, is and will be the method that fits best for us. We feel that we can be a lot more creative with this approach. To act on impulse brought us some very good ideas I think. When we recorded the drums in the studio I only had some rough notes and Ideas that I wrote down but when it came to the recordings I just played what felt right for me in this moment.

-What was it like to work with other artists on the album?

Nothing special really, we are doing that since album one, but the session with Markus Stock for “Perdition Time Loop” was good fun. Lots of creative energy.

-Why did you pick the name Stellar Master Elite? How did the band form? 

I can´t exactly tell you how we agreed on the band name, but I guess it was because it wasn’t taken and we both are huge fans of Thorns. 

I know Dave for a long time now. Before we formed SME we both played in other bands and wanted to do something together because our musical taste is more or less congruent, and we had and have the same visions of how this band should sound and develop. No regrets so far. 

-I see you guys are huge fans of beer, does Stellar Master Elite have any choice brands?

Of course! Beer is love, Beer is life! For the everyday life we prefer Bitburger because the brewery is only some kilometres away from our hometown (say local patriotism). For fancy occasions I like some IPAs and of course Bavarian beer. Bavarian beer, no matter what sort is always good. But the best one for me is “Tegernseer Hell”. Hell means something like blond and not hell (just to eradicate clich├ęs)

-What would you say was a great moment in the band’s history?

A great moment was definitely when we found out that the refrigerator in our rehearsal room is actually working. That was a good day. That and the great day when we discovered some leftover weed. Great times. 

Apart from these really awesome milestones we were pretty happy when our first two albums got released and we finally had some physical statement of work.

-And, on the flipside, what was the worst or most embarrassing?

There was mold inside the refrigerator and the weed didn’t taste good. What a bummer.

Then we had some kind of dispute with our former label which nearly drove us insane but I can´t tell you details about that. But I can say that this issue was the most embarrassing thing ever. And the awful weed.

-What do you think the future holds for Stellar Master Elite?

Well, I can only hope that the new album reaches some people that enjoy our work. We want to reach people that are focused listeners and don´t listen to albums while doing 5 things in between. 

-Favorite non-metal album?

Pink Floyd – A Saucerful of Secrets

REVIEW: Stellar Master Elite - III: Eternalism - The Psychospherical Chapter


I'm no stranger to space-based Metal acts. The ether, stars, planets, infinite unknown, and beyond are prime subjects for the dark and despairing - the ideas always draw at least my curiosity. The execution of most, however, sometimes leans in the direction of overtly typical: zippy sound effects, cheap synth, and cheaper lyrical content. If I was to make a list of some of the most ridiculous lyrics I've ever heard, they'd mostly comprise of space-themed bands. STELLAR MASTER ELITE, though, really takes it all a step back and adopts 'space' more as if it was still in the belief system of the early 1900's - where it was the basis of nightmares, cosmic terror, and fearful psychological woes. Granted, these guys still know that the content almost requires a campy edge, though the whole album is essentially a blackened doom project, even if it's nothing more then some 80's sci-fi inspired pads here and there.

III: Eternalism - The Pyschospherical Chapter, I suppose, is the third part of a album trilogy that quickly grew into a space-horror epic of sorts. Unlike most bands which adopt this subject matter, who often incorporate a lot of industrial influences, STELLAR MASTER ELITE goes in a completely different direction with a slow, meticulous, doom sound. The most blackened aspect of the whole thing is a few select passages but for the most part it seems the band grew into a different sound as their album series progressed. And, what that essentially means is: long songs. III loves long songs,with the lengthiest being a second short of fifteen minutes (the title track)! Ambiance pervades every corner of these tracks, the low tuned and sustain laden songwriting almost taking a back seat to atmosphere. It's such a stark difference from STELLAR MASTER ELITE's previous albums, which were far more active, that you'd easily think it was a completely different band altogether. Especially since the band now uses it's vocal style for

There is one fatal flaw with this release, however. For all its interesting concepts, atmosphere, and uber-doom length - it really is a double edged sword. The pace sometimes feels artificial, whereas it feels like a track or two was meant to be much faster but then someone just slowed the tempo down to the speed of a snail. It does work, but sometimes there are massive gaps of space and such slow, simple progression that you can't help be feel a little bored. However, the creativity and darkness of the album as a whole outweighs these few down-moments and you still want to see where the whole thing leads.

For a massive experience, not just a collection of angry or weird songs, you'd better believe that III is the album you want to listen to. No matter if you listen to it as a enormous chunk of sci-fi themed doom, or songs individually to make them a tad easier to digest, you are getting something unique and frightening as hell (or space).

INTERVIEW: Orc Adams of ORCumentary


ORCumentary (see the review here) is a unique Orc based project, opposed to the Troll and Goblin bands of late, headed by Orc Adams. Though it is fundamentally metal, Adams incorporates a lot of other influences and a heavy dose of comedy within his music. Currently playing a host of live shows in anticipation for the upcoming release of 'Destroy the Dwarves' - Adams took time out of his busy schedule to answer a few questions for Direnotes.

-In a world full of Troll bands (and goblins too), why Orcs?

Why not orcs? Seriously though, I kind of stumbled into writing songs about orcs. I was huge into the LOTR films when I was a teenager (still am) and I was getting bored of piano lessons, so I thought it would be funny to write songs with vocals in an orc voice. I didn't expect it to go anywhere, at first it was just something to do during an otherwise boring summer. I didn't take it seriously for a while and didn't play my first live show until almost 2 years later.

-What sort of difficulties do you face when dealing with a more experimental form of music?

The bad part of making music that's "love it or hate it" is, unfortunately, the people who hate it. Fortunately, almost all of the negativity is online, which isn't a surprise. The people who come out to shows usually have a good time. 

Luckily I've been doing this for a while, so I don't have as many difficulties as in the past, such as being stuck on bills with bands I didn't fit in with at all and generally not being treated with the same respect any other local-level musician would get. There have been a few instances where I've been cut short because the other bands were indie rock bullshit and I didn't fit. It's like "the scene" didn't know what to do with me at first and I didn't know what to do with ORCumentary. As I got my name out there more, improved as a songwriter and a performer, things got better. I remember how surprised I was the first time someone came out to one of the shows specifically to see me.

I still have some trouble getting booked at new places because my act is pretty hard to adequately describe via email, unfortunately.

-There are so many genre’s melded into ORCumentary’s sound, influences reaching as far as dance, electronica, and industrial. So, that being said, what exactly did or does influence your particular brand of ‘Orc Metal’? (Even if it’s not music?)

I wasn't really into metal when I started ORCumentary, as weird as that sounds. Like I said before, my biggest influence to start writing original music was the LOTR films. I've always loved reading fantasy books (Shannara, Harry Potter, and Forgotten Realms are among my favorites), ever since I was very young. I took writing classes in college and was even working on a fantasy book for a while, but it got to a point where I didn't have the time and creative energy to devote to both, so I chose music since I was much more inspired. The storytelling aspect of ORCumentary is very strong though; my two most recent albums are part of a multi-album original story (which was loosely set up in the Praise Gor-Nacular EP) that I plan on continuing for at least 2 more albums.

For more musical influences, I love European metal. My favorite subgenres are melodic death, industrial, folk, and power metal, but I also like lighter music like film score stuff. Those are my main musical influences, but I also incorporate elements of genres i'm not as big into or even ones I don't like too much on the whole (like thrash and black metal). Basically, I make music that I want to hear and i'm not limited by genre cliches or stereotypes. Anything is fair game.

-What are live shows with ORCumentary like?

They are a lot of fun. It's just me on stage with a keyboard; I do the vocals and synth/solo parts live. My performances are really energetic and I can stand toe-to-toe with any full band. What most people remember about seeing ORCumentary live is my larger-than-life stage personality. I'm not "me" on stage. I am Orc Adams, hero of the Orcs and wielder of the Keyboard of Mayhem, slayer of Goblins, Dwarves, Elves, and Humans. It allows me to be the complete opposite of who I am in real life; Orc Adams is loud, rude, demanding, and arrogant, but it's done in such a dry and over the top way that it's pretty funny and almost impossible to take seriously. I love getting the crowd involved in the songs.

-With so many live shows under your belt, do you think ORCumentary will ever have a live release?

It's possible. I haven't seriously considered it, but it could happen down the line if the music catches on sufficiently after I have a few more releases under my belt.

-Some of your pet peeves when it comes to today’s metal scene?

So many bands in the local scenes mush together because they are just trying to sound like their favorite band rather than try to make their own sound. I want local bands to take more risks and to try to stand out.

-What do you think the future has in store of ORCumentary?

I don't like looking too far into the future. This year and next year I want to focus on promoting Destroy the Dwarves. Hoping to play a lot of shows and get to some new areas. I'd also like to make a music video. ORCumentary's 10th anniversary is coming up too, the tail end of next year. I have some ideas for what to do to commemorate that, but nothing I want to share just yet.

-Thoughts on ‘Babymetal’? (Had to)

LOL! Nobody knows better than me that niche artists definitely have an audience. I can get behind the instrumentals but I don't like the vocals and choreographed dancing doesn't impress me. They seem like a decent gateway band for non-metal fans to get into the genre though, and maybe pop fans can get behind the dancing aspect. Another "love it or hate it" band, Babymetal just doesn't do it for me at all.

THROWBACK THURSDAY #2: Roger Waters - Radio Kaos

For those unfamiliar, which I don't honestly know how one would be, Roger Waters was one of the major creative forces behind Pink Floyd. He contributed vocals, almost entirely on The Final Cut, as well as played bass for the band. Almost any song by Pink Floyd which had dark or outspoken content had him behind it, thus why albums began to shift towards more focused, questionable, and interesting topics with Animals, Dark Side of the Moon, Wish You Were Here, and The Wall (in no particular order). There was a noticeable shift when he left, as he'd made the band almost all his own by that point - while others were primarily interested in doing things other then keeping Pink Floyd afloat. David Gilmour eventually resurrected the band but the edge Waters provided, and the focus his themes provided, was forever gone - hence the reprehensible mess that was The Endless River. Luckily, Roger Waters kept his outspoken self in the music-making business, albeit his presence was, and continues to be, less appreciated.

Radio Kaos is his second studio album, and I'll be honest in saying that it is a personal favorite - at least, the original release. As with his previous album, and future solo work, it revolves around a concept: a story of a disabled man who can hear radio signals in his head, becomes friends with a radio host, and who mourns the loss of his working class brother - who is sent to prison for throwing a brick that may or may not have killed a taxi driver. From there, it somehow ends with the main character trying to destroy the world. And yes, this happens as jarringly as you can imagine.

The sad fact about Radio Kaos is that it worked so well up to a certain point. All of the songs are extremely representative of music that was on the radio in the late 80's and early 90's. Everything playing sounds like that safe light-rock you'd hear on a late-night rock radio station. However, with a unprecedented darkness within the lyrics - especially with tracks like 'Sunset Strip.' The radio host is actually a good character in this story, having to put on a smile for a seemingly insane world that won't leave him alone. You actually feel like he is listening to the main characters story and connecting, finally, with someone odd but understandable. The problem stems from when Waters decides to shift the setting from radio to world. Instead of being more of a commentary of the world facing it's inevitable doom, the album just seems to drop the surrounding story and Waters seems to go on saying whatever he thinks about the situation. It's honestly jarring and it creates a gap where everything seems fine, then all of a sudden the end of the world is about to happen, then it isn't. Hurrah, the world is turning around? I fully understand what was being reached for here, but when things go outside of character stories and 'powers that be' type songs - then Radio Kaos falls, really hard.

Still, I have a lot of love for this album. The songs present are great, despite the story hooking you then having a jarring turn without much say or reason to happen. You'll find yourself in love with it, the messages of thought-freedom and corporate greed are well presented and extremely relevant even nowadays. Everything is catchy, thoughtful, meaningful, and though I've said some bad - it's beyond worth a listen. Oh, but don't expect the cut or expanded tracks to be hidden gems. There was most certainly a reason for them being cut and they add nothing to the album.

EDITORIAL: The Good and the Bad: Creative Freedom in Metal

The Good and the Bad: 
Creative Freedom in Metal
By Leatis Graves

The topic of creative freedom has been one quickly building lately, something that happens for one reason or another yearly in the Metal community. It doesn’t matter what you think you’re talking about, it usually boils down to this topic; no matter if it’s about occult, pagan, satanic, or atheist imagery; no matter if it’s about sexism, gender roles, or what fans, dancers, and bands are wearing while they sing. The fact remains that, while people are out there fighting for the goodness and greatness of certain communities and genders, no matter the case a person is going to be stepping on another’s freedom to express.

Metal, the entire genre and all of its sub-genre's, are completely open. This it’s one major benefit. People parade on against and about religion and, since there are a lot of people on both sides, others are drawn to those opinions and subjects – both of them. So, when it comes to sexism, women, and all then the same applies: there are people on both sides of the coin. It is not necessarily the problem, it is the natural condition of full creative freedom. You don’t have to go far to find bands almost completely dedicated to the defamation of women, races, and hell, even children. When you find them, you’ll find thousands backing up and agreeing to their form of expression. It’s an outspoken genre, driven by extremely loud opinions in which everyone has the right to express – even if we do not like the opinions being presented. To simply presume that the only issue present in metal is sexism is startlingly shortsighted and circumstantial at best. I may have only been on this earth a short twenty-seven years but I’ve seen more bands and fans stand up against it than anything else, and I’ve also seen my fair share of those who wish to simply jump on the ‘all metal is this and it needs to stop’ bandwagon –just because they can get a little attention- more than I ever should have. Truth be told, there is no actual battle to be fought. Because, if everyone was to remove all the negative opinions about certain genders or sexualities, then that would be infringing on the creative integrity of metal as a whole. Once you remove something simply because others don’t agree, then you have all sorts of people doing the same. No, I don’t feel it’s fair that SOME bands and groups treat women unfairly. However, I don’t feel it’s fair that I’ve been attacked for being a straight white male in my time either or that some of these ‘activists’ feel the need to treat me like I’m lesser because I was born that way. Though, I don’t feel the need to stifle their opinions on the matter. It’s not a political uproar to me: it’s an opinion of others. And, guess what? You have the right to your own opinion; your informed opinion.

The saddest truth of these constant debacles is that the people who empower these sexist, racist, and what-have-you bands are those that are against them. We all know the saying: all publicity is good publicity. When you are posting about these groups and fans who treat women so badly, take into consideration that you are driving up their views, making them more visible to like-minded people, and overall making them more visible to everyone. With the internet, where there are people who openly delve into every activity imaginable, this does not put the problem out into the open. It simply empowers, it pushes the muck up from the bottom and some people simply love the filth. But, every top does need a bottom. And, sadly, to remove it is to kick the legs out from beneath you and all band’s freedoms. Your opinion IS valid but so is that of those on the opposite side of the spectrum.

To be perfectly honest, I can’t believe that the community I’ve loved so long has resorted to such petty ways and bickering. Especially when the best and most sensible conclusion is to not draw attention to what you love, not bring the hatefulness out. However, despite how everyone goes on about the media doing just the same: we are all now doing the same. Nothing is worth talking about unless it is bad and nobody wants to see the good in anything. I, personally, have nothing against women as a whole, only individuals that have actually wronged me – including men. I say have a good time, make music, and like whatever you so choose. But, do not expect everyone to conform to some pseudo-utopian ideal. Everyone has something to say and no matter how popular or unpopular the opinion is to others: they all have the right to express it, especially in music.

REVIEW: Herida Profunda - Self-Titled


Herida Profunda, after a short claustrophobic introduction, hits you like a bag of hammers. Though this Self-titled release doesn’t wholly rely on speed, the opening track ‘Spalone Mosty’ ensures you that what you are about to listen to is, in fact, no walk in the park and not your typical Crust affair.

Personally, I love when bands like this lean back on their punk influences, and this album certainly has enough of that to satiate someone like me. Things are kept relatively simple yet somehow the sound and songwriting here is almost expertly crafted, though the former isn’t overtly polished thankfully. It’s almost important that bands like this don’t delve too far into production standards. Songs are extremely concise, sticking to that Elvis/Misfits/Any-punk-band-ever formula of no song over three minutes. It does make this album feel more then a little on the short side but the sheer variety of it all makes the experience worth it. As I said, this is no typical Crust affair. There is a fair share of almost Death-like moments interspersed with a lot of punk, in fact I’d go as far as to retract the label of Crust and to go as far as calling it Death-Punk. There is just something about the vocals, the palm muting, controlled feedback, well-timed tempo changes, talk of Nazi-hunting and general all-round religious fuckery that makes me feel like Herida Profunda really has something all on their own.

The short run-time sort of hampers my enjoyment of this album, it’s fantastic and all – definitely something I’d purchase for both the Punk and Death metal fanatic within- but it’s the same problem I had with all the Misfits albums. Just when I’m hooked, it ends. Honestly, this is a minor gripe overall. There just is no shortage of great tracks on this release. I’d go as far as saying it’s almost essential to your Crust/Punk/Death collection.

MINI-REVIEW: Plague Rider - Paroxysm EP


Paraoxysm is an EP bathed in, not only filthy and infectious ideas, but insanity as well. These four tracks simply refuse to follow only one track. Yes, it's Death Metal but it goes so far beyond - delving into grind, beat-down, and even throwing in some blackened elements. Vocals are all over the place - only, this is in the best possible way. Every style you've probably heard in Death Metal, aside from singing, is present here: guttural, bellowing, howling, screeching, and even some sections that feel very VAMPIRE-esque (though, less of a paranormal theme and more something along the lines of biological fear). At times, the variety seems almost too dense, overwhelming even - as song's hop around with styles almost violently. One moment your ears are being thoroughly slaughtered by its thrash-laden sound, seemingly unfocused collections of riffs quickly confuse you, and then the next moment PLAGUE RIDER presents you with an extremely intricate solo or sudden realization that maybe there is order in all this chaos your hearing.

For those who love their Death Metal -technical or not- heavy, varied, and thoroughly gruesome.

THROWBACK THURSDAY #1: Spooky Tooth/Pierre Henry - Ceremony


Ceremony is a questionably experimental album by Spooky Tooth from 1967. It attempts to employ found-object sounds to create something more unique and surreal, along with the theme of a Church service. On paper, everything seems like it'd work and sounds extremely interesting. In practice, and due to the limitations at the time, however, it really doesn't come together very well.

Underneath all the breathing sounds, poles being banged on, and strange low-fi attempts at synth - there is a solid, albeit rather plain, album to experience. It isn't bad, somewhat enjoyable at times. But, my god, what could've been relatively good is put through the grinder by sounds that lay almost completely on-top of the music. Worse yet, none of these tones seem to follow any sort of structure, rhyme, or reason. You can very much tell the idea was there but the execution was not.

There are exceptions, however, which do show me why there is somewhat of a cult-following with this album. Songs like Jubilation (titled 'Credo' on some releases) do show promise, though I can tell you right now that even that song falls into a uncomfortable (and somewhat hilarious) awkwardness. While the song shows some real use of the medium at first, and the music behind it becomes very good - the song gets almost stupid half-way through when someone thought it'd be wonderful to have some people going 'bo-bo-bobo' continuously over the mix. Why? Was there some insecurities as to the music being played here?

This is an album of weird that I don't feel many will ever appreciate, only because its attempts at 'experimental' feel more like the workings of a child who thought he could do better. It would've held out without these inclusions, or at least far less of them. I personally felt the theme was extremely unique, and that without the shoddy found-object sounds it would've been a good album. I'm sure it provided the inspiration for quite a bit of noise albums, but as it stands - Ceremony was and is an inferior album.



There are few albums that confuse me, and fewer that I enjoy if they do. Grim Love is what you'd call intentionally misleading, surely it's not a love themed album and its sound is as ugly as hell. However, it's certainly a lovable chunk of sound and hell if it isn't grim either.

There is a certain groove to this album, and a backbreaking aggression that reminds me of late Pantera albums. Sure, it's way heavier and a whole lot darker. But, a lot of the time I hear a focus on melody and rhythm over technical skill. And, GRIM VAN DOOM, seems to carry this quite well. In fact, I'd even dare to say they probably surpassed that fated legendary band in many aspects.

As this album goes on, things drastically slow down and just seem to get darker. Whereas the first few tracks were relatively fast paced, not breakneck or anything - but faster. They soon slow down to a crawl, embracing an intense Doom Metal feel. Songs like 'Thulsa' even remind me of Lumbar, they are so slow and grimy. Even better, not a single track descends into a series of boring ringing notes (I hate when slower songs do), keeping things extremely interesting. Oddly, there is even a few moments where everything becomes oddly melodic, even on heavier songs like 'Butchr.' Specifically, mid-song an utterly fantastic moment features a guttural growl synchronizing with the music to create a strange, obscure, symphony of sorts.

There is, honestly, very little at fault with this album. Actually, I can scarcely find anything at all. Simply put, Grim Love works as a whole and it just keeps getting better. The album isn't too short, doesn't overstay its welcome, and there is not a single song on here I'd consider filler. This album is worth your time and it begs to be listened to.