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#HumanitysLastBreath

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Humanity’s Last Breath - Ashen

Came for the music, stayed for the production from Humanity’s Last Breath

Fourth outing becomes the sexiest, with this absolute monster of an album music wise, to this absolute unit of production for the music that it alone becomes another member to the band

I’ve been looking at what Buster does for a few year now for their production [plus playing in the bands], as well as following with their other projects & productions.
A true pioneer of modern day metal production & always look forward to what arrives next

#humanityslastbreath #ashen #deathcore #djent #metal #vinyl #vinylcollector #music #vinylcommunity #whatimlisteningto #supportartists #supportindependentbusiness #supportthearts #musiclover #vinylrecords #musiccommunity

Vildhjarta – Där skogen sjunger under evighetens granar Review

By Dear Hollow

You could make the case that Vildhjarta’s third full-length is too late to be relevant. There are few that djent as hard as the Swedes, and their own influence exists in pockets of tone-abusing youngsters and diehard veterans who just keep releasing shit: Tesseract, Periphery, and Animals As Leaders, for example. I’ve always thought that Vildhjarta is the more curious Humanity’s Last Breath, utilizing a similarly crushingly heavy bone-to-dust djent tone, dark atmosphere, and vocal attack,1 but with a shimmering ethereality more akin to Uneven Structure or older The Contortionist, heaven and hell alike. Regardless, you can bet your bottom dollar that Vildhjarta djents. Hard.

Vildhjarta has a fervent fanbase in spite of having relatively little music to speak of. Having coined the mysterious “thall!” battle cry and influencing a ton of “djentlemen,” Där skogen sjunger under evighetens granar is only their third full-length. The influential concept album Måsstaden was a landmark of djenty deathcore, but was immediately left almost entirely unanswered (apart from the Thousands of Evils EP in 2013) until 2021 with the release of Måsstaden under vatten (“seagull city underwater”). That album rekindled what made the act so formidable to begin with: downtuned choppy djent riffs, reverb-laden leads that sway between dissonant and hyper-melodic, and staccato overlapping rhythms. Där skogen sjunger under evighetens granar is undeniably Vildhjarta in this way, although it benefits from its more playful approach, streamlined songwriting, heightened atmosphere, and deepened weight, but it won’t change your mind about Vildhjarta in its one-note and overlong glory.

Vildhjarta has always been unique for its ability to take the novelty and highlights of djent and make an experience out of it. Där skogen sjunger under evighetens granar is the most pristine and positive of the band’s discography, reflecting its sanguine title,2 compared to the ominous ambiance pervading the dark fairytales of the Måsstaden suite. While its predecessors dove headfirst into the darkness, Där skogen... seems to embrace a more dreamy attitude reminiscent of post-rock bands like Sigur Rós or Hammock. Yes, the Swedes have amped the density and weight of their djent, but have also raised its hell-gazing heads to the cosmos. There are certainly moments of ominous dissonance (“Där mossan möter havet”), but most tracks feel downright cheery by comparison. Toss in some well-placed vocals that range from dreamy to powerful (“Sargasso,” “Där mossan möter havet,” “Kristallfågel,” “? regnet, the ?,” “Viktlös & evig”), and stargazing to djent never seemed so apt.

That being said, if drop-tuned djenty beatdowns interspersed with reverb-y leads, wild runs, and synth overlays are not your thing, that’s basically what Vildhjarta does for fifty-six minutes straight, which is downright brief compared to its predecessor’s eighty-one minutes. One riff to rule them all: variety and differentiation are not names of the game for Vildhjarta. Even tempo remains at a comfortable 90 bpm for the majority of the album; sudden blastbeats give the illusion of speed. Vilhelm Bladin’s harsh vocals remain predictable death growls with a climax of a shriek here and there aside from sparse, almost-spoken word (“Hösten som togs ifrån mig,” “Den spanska känslan”), although the cleans have much more range. Guitar work remains entirely predictable, aside from the pairing of melancholy plucking and its punchy polyrhythm call-back (“Viktlös & evig”) or some almost classical noodling (“Den spanska känslan”).

Yes, Vildhjarta is an experience of surreal proportions, particularly compared to the legions of their super-serious genremates. Där skogen sjunger under evighetens granar’s pristine atmosphere stands out among even its own shadowy discography, although it retains all the act’s trademarks. The act works better as a trio, as it forces them to cut the fluff into what works and what doesn’t. That being said, it does not justify why you should spend nearly an hour getting a djent concussion only to gaze up at the stars through newly encephalopathic eyes. Old habits die hard, and while mysterious and enigmatic, the Swedes’ formula is predictable, if not hella fun for the initiated. Ultimately, if you’re a fan, Vildhjarta is above-average djent; if you’re not a fan, Vildhjarta is average djent.

Rating: 2.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: vildhjarta.bandcamp.com | vildhjartastore.com | facebook.com/vildhjartaofficial
Releases Worldwide: May 30th, 2025

#25 #2025 #AnimalsAsLeaders #AtmosphericMetal #CenturyMediaRecords #DärSkogenSjungerUnderEvighetensGranar #Deathcore #Djent #Hammock #HumanitySLastBreath #May25 #Periphery #Review #Reviews #SigurRÃS #SwedishMetal #TesseracT #TheContortionist #UnevenStructure #Vildhjarta

Cabal – Everything Rots Review

By Dear Hollow

The struggle between viciousness and velocity is a storied one in the realm of deathcore, and Cabal is no exception in its battle between tone-abusing slogs and blazing blastbeats. Enacting a blackened deathcore attack that neglects orchestral atmospheres and paper-thin symphonics in favor of thick filth that covers every surface lead and fills every chugging crevice, it flaunts an arsenal of blackened chord progressions that lend a horror appropriate to its occult theme. The band has nevertheless toiled between the trenches of stagnation and devastation. Four albums in, expect filthy chugging aplenty, dark electronic flourishes abound, and a tasteful array of guest vocalists, all in service of a darker power. Business as usual.

In spite of its unmistakable filth that separates it from the likes of Lorna Shore, Worm Shepherd, or any of the other Deathcore Borgirs of the world, Denmark’s Cabal has a bit of a rollercoaster of a discography since 2018. Debut Mark of Rot was a simultaneously too-clean and too-dirty blend of down-tempo deathcore with blackened flourishes and a sterile djent guitar tone. 2020’s Drag Me Down amped the tempo with an unfuckwithable cutthroat quality that kept things fresh and brutal with spotlights of guests from Polaris, Møl, and Trivium. 2022’s Magno Interitus amped the tone with a lightless and mammoth foray into dark electronics that kept things interesting, although its more experimental pieces damaged its consistency. In this way, Everything Rots more seamlessly incorporates it into an over-the-top and absolutely relentless deathcore romp caked with Cabal’s suffocating trademark filth.

Like “Tongues” or “Demagogue” from Drag Me Down, Cabal manages to balance its absolutely crushing weight with a tasteful novelty in Everything Rots. While you’re guaranteed to be bludgeoned by breakdowns infused with the weight of Magno Interitus and pulverized by Andreas Bjulver’s husky roars, a heavier usage of blastbeats adds to the frenzy and the guest vocals add a dosage of well-placed freshness, not unlike Aborted’s latest. Injecting a hardcore call-out badassery (Viscera’s Jamie Graham in “No Peace;” Nasty’s Matthi Odysseus in “Unveiled”), rapid-fire groove (ten56.’s Aaron Matts in “Still Cursed”), and thick brutality (Aviana’s Joel Holmqvist in “Stuck;” Distant’s Alan Grnja in “Beneath Blackened Skies”). “Sort Sommer” (featuring hip-hop/punk duo Fabräk) has the same feel as “Blod af Mit” from Magno Interitus in its sudden embarrassment of nu-metal riches, but has been safely relegated to bonus track this time around. Cabal utilizes novelty as a reprieve to the relentless density that comprises its more straightforward pieces.

What’s consistently refreshing about Cabal is that their deathcore novelty is bolstered by a smart songwriting style that balances the meatheaded and the menacing. The best songs are those that are securely Cabal’s – in spite of the army of guests elsewhere – from the sweet placements of icy blackened chord progressions to mammoth breakdowns (“Everything Rots,” “Hell Hounds”). Compared to its predecessor, Everything Rots returns to what the band does best: being completely unhinged. It’s all about adrenaline-pumping intensity, pure gym-core, unshakeable groove populating its digestible tracks with a cold and intense melodic template (“Redemption Denied,” “End Times”). The electronic influence is far less jarring, adding a surreal pulse in addition to (instead of in replacement of) the deathcore intensity (“Forever Marked,” “Snake Tongues”).

Everything Rots will not sway your opinion on deathcore. It’s a meatheaded foray with enough chuggy breakdowns, brickwalled production, and vomitous vocals to kill an adult horse:1 A faster Black Tongue perhaps or a more blackened Humanity’s Last Breath. But armed with a blackened filth and a vocalist who could pass as his own arsenal of guest vocalists, Cabal’s got a trademark sound and a great interpretation of it. It’s a return to form for a band known for its balance, thanks to a cutthroat intensity that recalls the grandiosity of Drag Me Down. Dwelling in hell-scraping tone worship and tempo ignorance only when it benefits its occult aims, Everything Rots is a suffocating listen, smartly designed with necessary reprieves, with a must more tasteful electronic presence. It’s a brutal blackened deathcore album without all the symphonic bullshit. Deathcore fans rejoice!

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: cabalcph.bandcamp.com | cabalcult.com | facebook.com/@cabalcph
Releases Worldwide: April 11th, 2025

#2025 #35 #Aborted #Apr25 #Aviana #BlackTongue #BlackenedDeathcore #CABAL #DanishMetal #Deathcore #DimmuBorgir #Distant #Electronic #EverythingRots #Fabräk #Hardcore #HumanitySLastBreath #LornaShore #Møl #Nasty #NuclearBlastRecords #Polaris #Review #Reviews #ten56_ #Trivium #Viscera #WormShepherd

In this week's #TuneTuesday, @Kitty is asking about our #2024MusicDiscoveries, or music we found this year (but regardless of the release year).
I've listened to so many of the songs you good people have been kind enough to share and I'm really grateful for that. Unfortunately that prevents me to pick just one from the vast ocean of excellent music 😔
Ashen by #HumanitysLastBreath was my #AOTY2023, which made me discover the sound. Exploring the genre (some say it isn't one, nor is #Djent, but who cares) has put new bands onto my radar.
Curious about what I found? Check out #ThallNights. Happy listening 😁

Weston Super Maim – See You Tomorrow Baby Review

By Dear Hollow

What’s so wonderful about Weston Super Maim is that the duo doesn’t take itself too seriously. With the style of music they profess, you’d be tempted to expect a Blindfolded and Led to the Woods or Ion Dissonance, maybe leaning a bit towards Aseitas or Dysphoria. You’d probably be right – technically – but these guys describe their sound as “imagine if Meshuggah couldn’t count,” describing a blend of the mathy pioneers’ wonky rhythms, Will Haven’s dissonance, Crowbar’s riffs, Car Bomb and Humanity’s Last Breath’s boundary-pushing technicality. From the successful 2021 EP 180-Degree Murder, they have worsened their sound (their words, not mine) to unleash the ol’ razzle dazzle of See You Tomorrow Baby on unsuspecting feet.

Somehow managing to encapsulate the three-fold overlap of mathcore, djent, and dissodeath in the Venn diagram of excess, the international duo (vocalist Seth Detrick from Oregon, the instrumentalist Tom Stevens from London) also tosses in a cyber metal sorta take on atmospherics, with laser sounds and obnoxious effects atop the fray, while Weston Super Maim’s ultimate claim to fame is their absolute apeshit intensity. Chunky riffs, wild electronics, an utter lack of rhythm, and breakdowns galore add to the insanity – a strange dichotomy of unhinged bananas music and solemn and abstract lyrics. Ultimately, See You Tomorrow Baby blessedly hits the sweet spot between listenability, unhinged ridiculousness, and unashamed excess.

This unrelenting assault comprises a blast for the willing to withstand an utter lack of subtlety and dignified rhythm for mathcore intensity with squonky tech and obscene sounds. The opening title track feels straight outta The Tony Danza Tapdance Extravaganza and Ion Dissonance’s school of thought, with chunky, djenty riffs offering a face full of thick stuffing with stinging dissonant leads and wonky blastbeats, although this insanity truly kicks in with following track “Autistic Kill Trance.” Weston Super Maim does a bang-up job of making deathcore/dissodeath/djent as brutal as possible, then amping it with even more ridiculousness, a trend further shown in “Johnny Menomic,” “Brute Fact,” and the aptly titled “The Bare Maximum” in spacy cybermetal effects and other forms of insanity. It features an expert blend of bananas hugeness, catchy earworms, moments that revel in the hugeness, and just enough melody to contrast the huge bite taken out of your left eardrum. There are four guests on See You Tomorrow Baby,1 but for better, the duo creates a bulletproof sound that the contributors do little but inject a jolt of energy. The closer “Perfect Meadows in Every Direction” offers punishment aplenty but adds a dimension of exploration to its proceedings.

See You Tomorrow Baby is big, dumb fun. The production only adds to its colossal loudness, which makes the more subdued tracks fall by the wayside. “Slow Hell” and “Kryptonite Renegade” are the best examples, few riffs dominating and some passages feeling like Frontierer or Psyopus copy-and-paste printer jobs, alongside a general and unwelcome subtlety. While “Perfect Meadows in Every Direction” does a bang-up job closing the album in its unique fusion of punishing and contemplative, its eight-minute-and-change runtime can make it feel daunting and distant. These are small potatoes, and ultimately add to the dynamic of the album at large, because you’re not here for boundary-pushing music; you’re here to have your skull caved in by a couple of dudes who make big fat metal.

This album has been on repeat for weeks, because it is both tormenting and insanely fun. The dissonant death metal influence is largely an afterthought to Weston Super Maim, but I can’t tell if it’s because the sonic palette doesn’t focus on it or the duo doesn’t take itself seriously enough. Either way, See You Tomorrow Baby leans hard into djenty deathcore/mathcore with megaton riffs and excess coded into every track, with an obnoxious aesthetic that pairs surprisingly nicely with its lyrical abstractness. With just enough melody and breathing room to give further emphasis to the beatdown at its core, its more-than-reasonable forty-minute runtime ensures that, although never overstaying its welcome, you’ll get your fair share of punishment. Don’t you worry about that.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: westonsupermaim.bandcamp.com | facebook.com/westonsupermaim
Releases Worldwide: March 15th, 2024

#2024 #35 #Aseitas #BlindfoldedAndLedToTheWoods #CarBomb #Crowbar #Deathcore #DissonantDeathMetal #Djent #Dysphoria #Frontierer #HumanitySLastBreath #InternationalMetal #IonDissonance #Mar24 #Mathcore #Meshuggah #Psyopus #Review #Reviews #SeeYouTomorrowBaby #SelfRelease #Soreption #TheTonyDanzaTapdanceExtravaganza #WestonSuperMaim #WillHaven

Continued thread

#TuneTuesday, hosted by @Kitty, theme is #TheCircleOfLife suggested by @pgs

We all could probably go on endlessly with songs referencing death or life for today's theme. But I wondered, does the absence of life or death also count? 🤔

From the just released new album by Humanity's Last Breath called Ashen, the song 'Lifeless, Deathless'.

Listen to it on youtube here:
youtube.com/watch?v=j4w9BdDzb1