Dethklok - The Doomstar Requiem: A Klok Opera (2013)

It could be said that Dethklok have always been living a double life. Sure, they are the world's biggest band in the fictional world of their cartoon series, Metalocalypse. But they transcended those four walls, and found a home for themselves in the real world, leading to sold out tours and top selling albums along the way. Their fans stretch far and wide - the world over, in fact - something that even series creator Brendon Small couldn't have possibly predicted. With the series completed through it's fourth season on Cartoon Network, a one hour special was, allegedly, going to bring the entire story to an end, following metal's greatest anti-heroes to their victory... or doom. Taking the form of a grandiose metal rock opera, "The Doomstar Requiem" is well beyond the vision and reach of anything Small has concocted to date. Teamed with award winning composer Bear McCreary, who is most famous for his orchestral work on Battlestar Galactica and The Walking Dead, Small went beyond the straight death metal roots of the world's seventh largest economy, and created something as massive and epic as the band itself.

Let it be said first, "The Doomstar Requiem" is not a fourth Dethklok album; it is the soundtrack to the mini-movie itself, something that must be understood before ever pressing play. There are a slew of highlights scattered throughout the disc, with some heavy and hard hitting as you would expect. But focusing mainly on story and exposition, you won't find very many instances of true brutality. It follows the band on their mission to, eventually save Toki from the clutches of the masked man and Magnus Hammersmith. Thus, you follow the band through the spectrum of emotions, or at least as much as they can convey. The tongue in cheek tracks, like "How Can I Be a Hero?" and "Givin' Back to You" (which amounts to a brilliantly played parody of Michael Jackson's "Thriller") are enjoyable in the scope of the special itself, but seem less so without the visual element. Outside of the heavier edged tracks, the album's highlight comes in the form of "Abigail's Lullabye," with her voiced provided by none other than McCreary's wife, the magnificent Raya Yarbrough. She sings as sweetly as any voice you've heard in your life, only with a lyrical edge ("They'll cut off our veins") that makes for a humorous contrast.

Where "The Doomstar Requiem" succeeds is in Small feeding his inner artist, something that many fans of the show and the band won't understand if they come to this disc unprepared. Together, Samll and McCreary have penned a masterpiece that extends well beyond the Metalocalypse universe. That says a lot, given the popularity that both have amassed in their careers. Fans of the show, or even Dethklok as a band, will most definitely find something to enjoy on this soundtrack, and in the special in general. But those who have avoided all contact with their work to this point should also invest the time in listening. Buried after the waves of parody, rock opera, and death metal, you have a nearly twenty four minute piece that sums up the show, it's scope, and the talents of all involved. It is in the title track, "The Doomstar Requiem," that Small and McCreary create their masterpiece. Sweeping orchestra melodies, dark tones, and a taste for the theatrical combine to form a potent mix. And that is what this disc, and this opera, are all about.

9/10

Official Sites - http://video.adultswim.com/metalocalypse/
http://www.brendonsmall.com
http://www.bearmccreary.com/

Facebook - http://www.facebook.com/brendonsmallgalaktikon
https://www.facebook.com/pages/Bear-McCreary/39808337095

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Ihsahn - Das Seelenbrechen (2013)

We all know his pedigree: former vocalist in the now legendary band Emperor. But that was then. Over the last seven years, Ihsahn has forged his own identity, well beyond anything that pertains to his earlier years. He's pushed the boundaries of metal in many ways, incorporating both his fervor for high speed guitar work and his penchant for all things avant. In fact, he has made the saxophone such an integral part of his last three solo albums, that he could practically take ownership of its use in extreme music. Even more to his credit, though, is his ability to make it all work. Anyone can put the pieces together; he has made them fit. At the release of his last album, we surmised that he could do no wrong; that wasn't an opinion as much as it was an observation. When another album pops up on our radar, we must always wonder if we would have to eat those words. Yet, somehow, there is little doubt. And with the release of "Das Seelenbrechen," Ihsahn continues his dominance.

Within the first two minutes of the opening track, "Hilber," any reservations are quickly removed. To say that Ihsahn has added further depth to his sound would seem ludicrous, yet here he does exactly that. The melodies, when present, are more infectious than before; though it is the straightforward chord work that resonates most. As his signature voice rises and falls over distortion and keyboard intricacies, the flow may be hard to follow initially. But in time - a few minutes at most - you feel right at home in it's avant delivery. By adding in clean piano keys, something rarely utilized in his back catalog, he turns "Regen" into an expansive foray into the progressive side of extreme music. His talents and versatility seem custom made for music like this, music as eclectic and unpredictable as his persona. An epic orchestral interjection comes in the second half, complete with chanting vocals and a piece of guitar work that pulls you in, even as it brings the track to a close. What it does, more than anything, is open doors, windows, and ceiling ducts for a growing expanse of musical styles. "NaCl," for example, is built off of a brilliant lead riff, one that fester and spreads in your mind like a field of weeds. You would struggle to rid yourself of it, nor would you really want to. But the way the entire track functions is wildly innovative and impressively conceived.

Much like the spirals of the nautilus shell, the music radiates outward from that median point, with tracks like "Pulse" moving farther from the center we've known as Ihsahn music of the past. The light electronic element is important, albeit obscured by wonderfully constructed clean vocal melodies. It is hard to verbalize the evolution here, but the final minute becomes a summary for the entire track. And as is so often the case, contrast becomes a crucial part, with 'Tacit 2" abandoning all of that subtlety and melody in favor of chaos and deafening screams. The drums go wild, as if the kit has begun to roll down the mountain side, as Ihsahn wails over the top. There would seem to be no rhyme nor reason to the track on the whole, but one thought of it being performed live with a stage full of smoke and lights, and it becomes an obsession. It's partner, "Tacit," may share a name and a simlar drum beat, but that is where it ends. The brass sounds that cover it are majestic in scope, and broaden the ever growing horizon of the album. It seamlessly combines the old and new into something all together different. On the other hand, "Rec" is a short track, falling short of three minutes, that may be able to change your perspective in significant ways. It's a track that must be heard to understand.

The mind bending nature of Ihsahn's work has never been lost on his audience, but he continues to take it to new levels. On "M," he spokes softly over little more than ambient noise, before a wailing guitar riff bursts onto the scene. That it works is amazing in it's own right; how well it works is just staggering. You feel as though you've stumbled into a blues jam and poetry reading gone awry. And the final howl of the guitar is the closing of the curtain. By the time you've reached "Sub Alter," nothing should be a surprise, yet it is impossible not to be slightly shocked at each twist and turn. Now far from the center point, the spiral outward has yielded incredibly difference results. It is a melodic turn you take this time, like others before, only sweeping in its delivery. It leaves the seven plus minute "See" as the last remaining twist in what is an album of subtle changes and smooth transitions. From quiet whispers to booming drum interludes, the song goes nowhere and everywhere all at once; a terrifying and haunting ride through sound and fury, where feedback and reverb speak volumes alongside pained screams.  

If you're interested in hearing an artists do the same thing, album after album, then you probably wouldn't be interested in what Ihsahn has to offer. He has managed to push and bend his own boundaries, while experimenting with sounds, structures, and themes. Merely aspiring to it wouldn't be enough for a man with admittedly "abstract " goals. Making it come to life right in front of you is the victory here. By adding new wrinkles to his arsenal and minimizing some of the old, he finds new ground to stand on, and new ground to then conquer. Saxophones don't have the same place here as before, replaced by orchestral elements and horns. And while those were some of the highlights on earlier releases, you won't find yourself missing them in the arc of this project. Sure, this album won't appeal to everyone; it isn't exactly a "conventional" extreme metal release (though I would be hard pressed to define what, exactly, that means. But the only prerequisite to enjoying "Das Seelenbrechen" is to have an open mind.

9.5/10

Official Site - http://www.ihsahn.com
Facebook - http://www.facebook.com/IhsahnMusic

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Idaaliur - Le Chemin De L'Étincelant (EP) (2013)

When we waxed poetic about the endless classifications of metal, namely raw black metal, it was not a one off idea. As misunderstood as the raw sister can be, the melodic or depressive black metal movement might be moreso. Because somewhere in the sadness and melancholy, projects like Idaaliur have managed to be uplifting along the way. Maybe it is the way they craft their melodic elements; or maybe it's the balance they find between heavy and soft, light and dark. Either way, sole proprietor Malphas has thrown his hat into the growing ring of melody based black metal outfits who are doing more for the new school than ever before. As prolific as he has been, having his hand in five releases over the last twenty months, each one has its own identity and sound. That alone would be impressive; but they've grown with him over the years, and each one represents a small evolution in the man, the band, and the sound. His latest release, a two track EP titled "Le Chemin De L'Étincelant," is nothing short of breathtaking.

It's as if the artwork and the opening of the first track, "Le Chemin De L'Étincelant (Part 1)" are attached to one another. As the shadowed figure stares out at the vastness of space, a keyboard fueled epic unfolds, with an incredible amount of depth contained within a mix that is less than crisp. But somehow, Malphas makes it all work in his favor, seamlessly combining the flowing melodies, both vocal and instrumental, with the grating screams that come later on. As you cross the four minute mark, you are now completely submerged in his vast soundscape, one part frightening black metal, and one part somber harmony. The transition from part one to the second part is as flawless as it is beautiful. His use of keyboards and synthesizers makes all the difference in the world, allowing the music to live and breathe. As a result, each passing movement pulls you deeper and deeper into the world he has created here. As difficult as it is to not allow yourself to be swept up in the wonder of it all, it may be best to just let the guitar and keyboard work to carry you. Each scream builds from silence and cascades over the top of the instrumental in a fractured harmony of sorts. And all at once, it seems like you have returned to where the album began, staring out into the stars.

When instrumental, vocal, and imagery collide in such a profound way, you won't be able to move on to the next big thing. Malphas has accomplished something here that most musicians work their entire career for, and rarely achieve; he has found the common ground between all three of those elements, and let them come together in a meaningful and clear way. But even more impressive than that is how easy he makes it all seem. Melodies collide with distortion, and simplicity melts together with intricacy to form what is one of the richest, most detailed piece of blackened metal you could think of. It is the latest crowning achievement in a career that seems to be gaining momentum with each and every release. And in his own special way, he has given an uplifting piece of music to the masses; one that, despite the depressing undertones, soars at times. It isn't perfect, though, something that could be remedied with more material. But even with the lack of run time, "Le Chemin De L'Étincelant" is an EP that will stay with you.

8.5/10

Bandcamp - http://idaaliur616.bandcamp.com/
Facebook - https://www.facebook.com/pages/Idaaliur/137739849619080

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Kataklysm - Waiting for the End to Come (2013)

Every time a new Kataklysm album gets released, I get all giddy like it’s Christmas day. I already know that the album is going to have killer riffs, impressive drumming and great vocals. Every album since “Serenity in Fire” seems to have stayed in one place. While it’s not a bad thing at all, they just needed a little change. Branching out and making Ex Deo’s second album “I, Caligvla,” was one of the best things the band has done. They learned a lot about melody and solid pacing. It seems they took the skills they used to make Ex Deo’s “I, Caligvla,” combined them with new drummer, Oli Beaudoin, and created something truly special. “Waiting for the End to Come” shows the band in their most grounded and solid form in years.

The album kicks off with “Fire” and “If I Was God…I’d Burn It All” which showcases Oli Beaudoin’s drumming and the textures it brings. It’s amazing how one instrument can make such a difference. It makes the band sound more full and solid than ever before. Also, Jean-Francois Dagenais’ guitar work is absolutely bad ass on “Fire.” After all these years, he is still one of the premiere riff masters. “Like Animals” is a little more groove oriented than the other tracks on the album. “Kill the Elite” is melodic as hell before it goes into a crushing chorus that Kataklysm is known for. “Under Lawless Skies” and “Dead and Buried” both have super melodic choruses that are a new sound for Kataklysm. The guitar work in these songs breathes new life into their music and makes them sound more epic. “The Darkest Days of Slumber” keeps the melodic style going but it gets a little heavier than previous tracks. “Real Blood, Real Scars” picks the pace up with one of the most fucking awesome riffs Jean-Francois Dagenais has ever written. This is by far my personal favorite on the album. The vocals, drums, guitar and bass just fit together perfectly. The bridge of the song has an odd breakdown-esque riff, but it fits. On “The Promise,” Oli Beaudoin’s drumming is very impressive but the overall track isn’t one of the strongest on the album. Coming after “Real Blood, Real Scars,” this song falls a little flat. “Empire of Dirt” is a little more interesting than the previous track but not by much. The closing track, “Elevate” is a weird song to end the album with and it’s a song that comes out of left field, but somehow it works. Kataklysm isn’t known for their slow, melodic tracks. It’s an oddball for sure, but it fits perfectly at the tail end of the album. It also shows that trying different things is on their agenda and hopefully they continue this trend.

“Waiting for the End to Come” is the most solid Kataklysm album since “Serenity in Fire.” It tries new sounds and while some of them fall flat, most of them work out in their favor. My raving about the new drummer isn’t meant as an insult to Max Duhamel. He’s one of the best drummers out there, it’s just that Oli Beaudoin’s style is a breath of fresh air. He’s a little more technical and has a full sound. I’ve heard other people talking about how this album is really generic. I can honestly say that those people are full of shit. “Waiting for the End to Come” is Kataklysm at their finest. Nobody has kicked this much ass consistently for over twenty years.

9/10

Facebook - https://www.facebook.com/kataklysm

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Krayl - Froide Et Sombre (Demo) (2013)

There are genres and sub genres, and sub sub genres in metal; even the most dedicated scholars would be hard pressed to name and catalog them all. But when it comes to black metal, the casual observer might think that attaching the word "raw" might be redundant. Known for the grating tones and tin can production, to be known as raw in any form might be misconstrued as being poor quality musicians. But Svartblod is anything but, this time putting his stamp on a more traditional raw black metal project, one that runs contrary to the sadness and morose of his other project, The End. And where the latter relies on emotional investment to his home with his listeners, Krayl is about contrast and light/dark dynamics. For every action, there is a reaction. They might not be equal, but they are certainly opposite. And with this latest demo, "Froide Et Sombre," he takes those tenets to their limits, giving the word "raw" a reprieve from the constant belittling it endures.

What you've gotten yourself into is a tale of two sounds; one raw, one hauntingly scary. The intro track, "The River Of Blood" exemplifies that without hesitation. Early on, an unbridled black metal assault is all your ears can break down. Production values are stripped down and chaotic, and there is no sign of layering or subtlety. But the second half, atmospheric as it is, brings a chill. With sound effects and chanting, Svartblod does more than any instrumental could. Finding a way to merge the two would be groundbreaking, but songs like "The Call Of The Night" take a contrary approach, keeping them separate but equal. This isn't to say one is less successful without the other. But the ambient noise of the second half more than props up the traditions of the first. And somehow, with all that contrast "Burning The Righteous" has something that makes it stand out. The dynamic is almost the same, but stronger, as sampled spoken word segments hit so much harder than the vocals in the main verse. In this instance, you come full circle; starting and ending raw and unpolished. The way Svartblod harnesses these elements, especially in a song like the finale, "As We Travel Across The Filthy Lands," is what separates this effort from others. He dials back the aggression at the right times here, allowing a looped phrase to hit home again and again, before bringing the raw distortion back to the fore.

Raw black metal isn't exactly the most easily understood or digested form of metal you'll hear; sometimes you have to look far deeper than you might be willing to. But if you can delve deeper, beyond the distortion and screams, you might find something interesting to come back to. Svartblod hasn't penned an instant classic here, nor has he reinvented himself or the genre. But the black and white dynamic he relies so heavily on in this effort works in mysterious ways. It's not like the quiet moments are heartwarming or sure to make you feel all warm and fuzzy. But their impact is undeniable, something that was surely the intent. In those down tempo, downtrodden passages, you can find something more than just wildly inconsistent production and musicianship; you can find a vision and an ability to execute on profound levels. And that is enough to propel the demo into a different place in the musical spectrum. Raw black metal isn't as one dimensional as you might have been led to believe. And "Froide Et Sombre" gives you a glimpse at the second level.

7/10

Bandcamp - http://krayl.bandcamp.com/
Facebook - https://www.facebook.com/kraylofficial

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Apathy - Beneath The Ashen Sky (2013)

"Viktor Jonas isn't a rock star. He is a musician. With every strum of the strings, press of a button, touch of a key, or twist of a knob, he is giving of himself for your enjoyment. And "Ghost Light" is the man himself, written into musical form." That summary first appeared on our site on August 15, 2012. Having just finished a lengthy review of the then new Apathy album, "Ghost Light," we found ourselves cutting to the core of the man behind the music. Some things have changed since then, but many more have stayed exactly the same. Viktor Jonas may never be on the cover of Metal Hammer or Revolver. That is probably for the best. His music speaks far louder than any cover story or expose ever could. And the return of Apathy, only a year later, is a blessing for the death/doom genre. He is still in control of all things instrumental, from guitar to bass, drums to keys; that will never change. But he is joined by a new vocalist, and a new set of songs that embody the man himself. That is what makes "Beneath The Ashen Sky" a captivating listen from beginning to end.

Despite thinking we knew what to expect, Jonas outdoes himself early in "Leper Tides;" his drum programming has returned more powerful than before, without losing any of the punch the kick drum provides. But all of the force of the drums would be wasted without an equally commanding guitar lead, something he seems to supply endlessly. Somehow, Jonas finds a perfect harmony between all of the instrumental pieces, a tricky process that few truly succeed at. The vocal component suits the mix well, as Philip Grüning screams his way over a sturdy foundation. That analogy, the one of the building, rings true over the course of these nine songs, each track adding a new floor. On "The Burial Ground," each drum beat pounds nails and rivets into place, a series of double kicks mechanizing the entire process. But it isn't all brute force; finesse plays a key role here, as Jonas crafts backing melodies and deep soundscapes. Each layer must protect the one above and below, so their timing and balance is important, if not crucial. One misstep, whether it be in the all out aggressive section, or the smooth melodic portion, could throw the entire track off the rails. Luckily, there is no such stumble, seamlessly flowing into "Typhoon." The dynamics are the same, offsetting heavy with soft, but there is no filler here; the bass work alone would be enough to make the track stand out, not to mention the strong performance from Grüning.

As you get into the mid section of the album, there is no let down to be found. "Fear Me" embodies it's title, with Grüning's screams becoming even more chilling. The clarity here is especially impressive, with each fragment of the main riff shining through clearly and crisply. That lead is one of the more catchy riffs on the album, an incredible feat given the driving tempo and harshness of the lead vocal. This is the most pure form of death/doom you'll find, borrowing heavily from both. But like the other titans of the genre, Jonas is not content to fuse those two alone; his use of melodic elements adds another dimension. To this point, the lyrical content has forged it's own path, but on "Murder Sun," the music and lyrics come together to form an unbreakable tie. Under the hammer and anvil of Jonas, the drums pound away at your very core, all the while Grüning rains down solar charged words of disappointment and hate. Having grown tired of humanities failings, the sun becomes a terror. The lyrics speak for the music, and the music elevates the lyrics. Together, they form one of the strongest songs on the album, one that connects directly to "Amongst The Dead." The imagery here is staggering, with each screaming verse painting a bleak picture of walking through a sea of corpses, echoed by the devastating instrumental.

When the pace slows down, albeit seldom, Jonas can deliver an even bigger blow. It's in times like these that it becomes hard to believe the drums are programmed. The depth of sound he has crafted in this computer driven kit is astounding, from kicks to snares, toms to cymbals. His work on each individual piece makes the structure stand so tall, never wavering, never fearing that it could all collapse under the weight. Instead, it grows stronger with each movement, the bass and drums anchoring the entire operation. It allows Grüning to reach deep and summon every ounce of hate and rage. The reward? A two minute interlude that shows Jonas at his musical best. As dynamic as he is as a multi-instrumentalist, it is the quiet, melodic moments that best showcase those abilities. It lets his creativity shine through in ways the metal genre doesn't usually embrace. This is the ultimate show of vision for Jonas, who calmly exits his solo piece, "Luna," and forges ahead into the last track, "Endgame." once again, the transition means everything, as he flows from one to the next. No jump, no skip, just a smooth bridging of the gap from solemn to pained. It also becomes the home for some of his most subtly beautiful instrumental work, captured so delicately in the lead and drum backing.

It's hard to throw the word genius around. There will be backlash, questioning, even ridicule. But what Viktor Jonas has shown, release after release, album after album, is that he is playing on a far different level than everyone else. He is a multi-million dollar corporation, erecting a skyscraper with the help of plans, machinery, and state of the art equipment; everyone else is back in Amish country, raising a barn. That isn't a knock on other bands who dwell in the same genre as Jonas, and by no means is it meant to tear anyone down. But after hearing what this one man puts together, it's hard to believe there are even bands in the same stratosphere. But luckily, he isn't alone; Grüning has written and delivered a performance of his own, one that completes the scope of the album. One without the other might not stand as tall, or even as firmly. But together, they are undeniable in their excellence. And while many have declared the death/doom genre dead, year after year, it's still alive and well. Apathy may have just erected a new headquarters, "Beneath The Ashen Sky."

9.5/10

Bandcamp - http://vjonas.bandcamp.com/
Facebook - https://www.facebook.com/pages/Apathy/116709615006241

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So Hideous - Last Poem​/​First Light (2013)

Sometimes, the best albums are the ones you stumble on unknowingly. We have been fortunate enough to receive promotional copies of albums from all over the world. Some are good, some are not so good. But when we are charged with writing a review for something that was submitted, there is an element of "work" added to the equation. Meeting deadlines, making sure our reviews are as well written as we are capable of, and even using social media to spread our reviews and opinions can be a lot of time and effort. But when you find an album, all on your own, something special happens. Listening to the album, digesting it, hearing it again and again until you have all the information you need to write a comprehensive and informative review becomes fun again. So Hideous can now be added to the short list of bands that have made me sit back in my seat, and just let it all happen around me. Their new album, which was found by pure chance in a routine sweep of the internet, is unlike other things we've heard. "Last Poem​/​First Light" is something special.

Once the first scream washes over you, some five seconds into "Rising," there is simply no going back. You have been washed away in a chaotic sea of blackened drum beats and well utilized keyboards. There is a density to the instrumental here that may seem counterproductive, yet it somehow manages to equate to something far more grandiose than one would imagine. Even when the drums seem out of control, the crying ambient noise always brings them back. The last minute,  with the crackling and humming of feedback seems like the haunting white noise of a dungeon. It becomes a recognizable pattern; building from a whisper, and eventually returning to it. But it isn't all massive kick drums and distortion in between. Beginning with "Stabat Mater," the symphonic element takes on a role of it's own. It sets the stage, quietly, for an explosion of epic proportions. I would be remiss to fail to note the presence of hardcore tendencies in the mix, but their unification with black metal seems almost too good to be true. Each well placed scream adds to the ever deepening soundscape. A magnificent piano outro returns you to that base point, this time erupting with the force of a volcano as "My Light" begins.

The climbing keyboard notes here are incredibly rich, despite being so far back in the mix. Organized chaos reigns supreme, a bombastic sonic assault that runs counter to everything you thought you knew about black metal in all it's forms. To be replaced soon thereafter by a sweeping orchestral melody seems impossible, but they do just that; it is short and fleeting, but a clearer example of black and white contrast would be impossible to find. If there was only one track you could use as a weapon to spread the gospel of So Hideous, "Rhapsody" would be it. The fusion of elements is now complete, finding a striking balance here unlike anything I've ever heard. Whether you find your solace in the neverending battery of drums, or in the atmospheric keyboards that rise and fall behind them, something will catch your ear. It would be a challenge to find a segment of music more compelling than the last minute of this track.

What's even more stunning is the way they follow it. The sound of "Last Poem" is immense; The sound waves would stand a miraculous mile high if your screen could contain them. Every kick drum slams into your skull, every scream rattles your inner ear. But amidst all of that, you can find serenity and calm in the use of strings. You will be swept up in the wonder of it all, captivated by the constant shifting and changing of this single song. When it cuts out to silence, only to return with the most minimal of synthesized sounds, you might be concerned that you've lost your sense of direction. But fear not; it really is every bit as beautiful as it seems. Yes, with the screams, blasting drum beats, squealing guitars, and everything, it is still awe-inspiringly beautiful. How you complete this masterpiece would be far beyond my mental reach. But they do it with ease, allowing "glory" to rise, to build, to take shape, and then to fall. How this combination of sounds works here is a complete mystery, but even note on the keyboard seems to sync up with every kick drum and distorted riff. They all work... somehow.

It's hard to keep all of our label partners and sources straight. Which albums came from who, who represents which bands, and so on. It is up to s to do that due diligence to make all the pieces come together. It's what we do, as music lovers, for all of our favorite bands. So Hideous may have a name that almost told me to shy away, but they have a sound that is now engrained into my head for an undetermined length of infinite time. They have a sound all their own, which is nearly impossible in this day and age. But they've done it here, and in a way that is not only impressive, but exciting. They are doing something outside the realm of any one genre, and they are doing it without hesitation or pause. And in doing so, they have truly joined a very limited list of bands that have redefined a sound or genre for me. Malnatt opened our eyes to what black metal could be. Blizzard At Sea made sludge an office favorite. And So Hideous has now taken symphonic post-black melodic hardcore and given it a face.

9.5/10

Bandcamp - http://sohideous.bandcamp.com/
Facebook - https://www.facebook.com/sohideous

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