Happy May! I can’t believe we are almost halfway through 2023, but here we are. April was heavy, and I mean HEAVY. We’ll get into the best metal had to offer this past month but first I want to talk about a killer Dungeon Synth label in Dark Sorcery Records.
Like much of the dungeon synth labels and even artists for that matter, it hasn’t been around that long. If the chronology on their Bandcamp page is any indication, then they have been around since their first release in the summer of 2022. That first release being an all-time classic of course of Grimdor’s There and Back Again EP which is an incredible lo-fi soundtrack based on The Hobbit. Grimdor is of course the classic Tolkien-influenced Dungeon Synth/Raw Black Metal entity I have referenced multiple times on this channel, as they are incredible and one of my favorite projects since discovering this genre.
Dark Sorcery has also released a few of my favorites as well with the Old Mysticism demo Stargazers, and the classic Carpathian Winter. Earlier in the year they released several demos from an act known as UGLUK. Kind of a 70s psychedelic take on Dungeon Synth that I haven’t really heard before. We have the killer trilogy of releases from Komrade’s Pax Atomica which makes me think, what if you were suddenly all alone in an icy town, and all you had was your hammer, sickle, and wits?
Lastly and probably most famously are the Secrets of Maya releases. Not only are they short, sweet, anime-inspired pieces of Dungeon Synth, but these three releases have garnered a lot of attention outside of the Dungeon Synth world, including a Cave Dweller Music piece that I highly recommend checking out. These three mini-releases are some of the most original, and awe-inspiring pieces of Dungeon Synth released this year, and it shows that something doesn’t have to be morose and melancholy to be great Dungeon Synth. Also, on a personal level, the track Dead Roses has one of the catchiest Dungeon Synth hooks I’ve ever heard.
Anonymity is the name of the game in Dungeon Synth, and I don’t know much else about the behind-the-scenes aspect of the label. All I know is, is that we are lucky to not only be a part of this killer scene, but we have great minds releasing this quality of music for us. Oh! Also, you can buy the complete discography on Bandcamp for under $3!!! (at the time of this writing) Thank you Dark Sorcery Records, and long live Dungeon Synth! And now onto the heavy that is April 2023.
Spectral Spectrum – Strange Souls, Vol. 1
Black/Heavy Metal from Massachusetts
Grime Stone Records
I’ll kick off this month of reviews with a disclaimer. This is a weird one, and definitely won’t be for everyone. What you have is a funny, stereotypically “heavy metal” all while keeping with the creepy black metal vibe that a lot of Grime Stone Records releases possess. You know you’ll be getting killer riffs, eerie keys, and music that definitely doesn’t take itself too seriously. I don’t really know what else to say, if you do that this is any good, I implore you to check it out. It’s a fun-as-hell Scooby Doo style of spooky black metal.
All Hell – All Hail the Night
Black/Thrash Metal from North Carolina
Terminus Hate City Records
Let’s speed things up a bit with this killer thrashy black-and-roll release from North Carolina’s All Hell. It’s been about four years since we last heard from All Hell with their incredible 2019 release, The Witch’s Grail, and All Hell has only gotten better in that time. Understandably so, the pandemic lit a fire under so many bands to really be the best version of themselves and that is the case with All Hell.
The first track featuring Skeletonwitch’s axe man, Nate Garnette rips and shreds us to pieces, followed by a more simplistic, yet still absolutely pulverizing few tracks. Absolutely a top EP contender for the year. When All Hell releases that next album, I know we will be into a speed demon right down our throats.
Extermination Order – The Siege of Ascalon
Death Metal from California, Iceland, and Germany
War Anthem Records
So, if you’ve spent any time with me, or have ever paid attention to the Sounds of the Void Instagram page, you would know that Bolt Thrower is my favorite death metal band. Take a look at the album artwork of the new Extermination Order EP. Does that remind you of anything? Look at the logo. It’s safe to say that Bolt Thrower was not only a major influence on this release, but on the entire existence of the band as well.
But that’s honestly OK. This EP is incredible mid-paced death metal that really shines beyond just the standard Bolt Thrower worship. Great production really highlights the chunky riffs and great guttural vocals, with pace kept perfectly in check by former Heaven Shall Burn drummer, Matthias Voigt. War Anthem Records released a real winner with this EP.
Rotpit – Let There Be Rot
Death Metal from Sweden and Germany
War Anthem Records
War Anthem Records had a very good April. Not only releasing one of my favorite EPs of the year so far but a solid 33-minute brutally packed outing with Rotpit’s Let There Be Rot. Featuring Jonny Pettersson from Massacre and Wombbath on guitar and bass, this tightly packed maggot filled abomination of a record (in a good way) not only packs a death metal punch, but it absolutely rains down killer leads, hooks, and groovy basslines that sometimes gets forgotten about in modern death metal.
I don’t love the production, but with the quality of songwriting and expert musicianship, it can honestly be overlooked. I am so happy that War Anthem put this out as I may have missed this great release otherwise.
Lurk – Aegis
Death/Doom Metal from Finland
Transcending Obscurity Records
Let’s slow it down a little bit with Lurk’s fourth full-length release, Aegis. An absolute creep of a record that fills whatever space you are in with a gloomy barren wasteland of emptiness and despair. In the distance, all you can see are two eyes of what you know is a beast barreling your way at slow yet breakneck speeds that petrify you where you stand. Did I set the tone well enough for you?
This release is all about the atmosphere which Transcending Obscurity always delivers with its bands and releases and Aegis is no different. The second you feel like you understand what this album is or is going to be, Lurk completely changes the question of what it is. When I think of bands from Finland this is certainly not the style of death metal I think of, but that is what Lurk does. Always keeps their listeners guessing.
Putrid Yell – Consuming Aberration
Death Metal from Chile
Pulverised Records
Next, we have the debut full-length album from the Chilean death metal group, Putrid Yell. This is a band I have been keeping up with for a while as they really do hit all of my boxes for a quality death metal band. Consuming Aberration continues that trend. Death metal that pays respect to the way of old while maintaining fresh energy all throughout the album. While most of these songs will already be familiar to those who have kept up with their EPs and demos, it’s great to hear these songs reworked and in a way, finalized. This release immediately reminded me of another great OSDM-style record in Outre-Tombe’s 2021 release, Abysse Mortifère. The biggest difference to me is the more retro-inspired production and vocals that lean more in the realm of Asphyx and Repugnant realm.
Overall if you’re looking for killer bands that are doing things the right way, Putrid Yell has a bright present and because of that an even brighter future. Even if Consuming Aberration is a black cesspool of filth and depravity (in a good way!).
Pustilence – Beliefs of Dead Stargazers and Soothsayers
Death Metal from Australia
Memento Mori
I promise when I was making this list I wasn’t trying to find albums that I can compare to old bands/albums. Within the opening riffs of the newest Pustilence release, I immediately got Morbid Angel, Covenant vibes. Albeit with much better production and a more varied vocal style.
Beliefs of Dead Stargazers and Soothsayers is the debut full-length release from Australia’s own Pustilence (which my computer really wants to change to Pestilence). This debut while definitely influenced by early 90s death metal, especially in the production department, really does a great job of being much more progressive than its contemporaries. Wait! Don’t leave because I said progressive! I mean that in every positive way imaginable. Riffs constantly changing, and tempo changes come out of nowhere but are so satisfyingly cool to hear that you’ll want to give this 45-minute release a few listens to fully get what Pustilence is trying to achieve on this release. And they succeeded and much more.
Enforced – War Remains
Thrash Metal/Crossover from Virginia
Century Media Records
I discovered Enforced in 2021 with their killer sophomore record, Kill Grid. On this record, frontman Knox Colby stated, “It’s almost ten minutes shorter than our last record and packs ten times more of a punch.” That pretty much sums up the album and is absolutely true. But for those that aren’t familiar with this excellent thrashy crossover band, think of Power Trip at its best and speed it up, and you’ll have War Remains which is definitely Enforced’s best album to date in my opinion.
The drumming on this release is absolutely masterful. Some of the best I’ve ever heard from the genre. Guitar work is incredible, production is perfect, but not too perfect. Enforced have stamped their place as the current kings of modern thrash with War Remains, Sounds of the Void’s album of the month of April 2023.
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Do you agree with this list? Let me know in the comments, or come join the party over at the Sounds of the Void Instagram page!
