While not a perfect record, Kyuss’ …And the Circus Leaves Town captures the Californian stoner rock juggernauts at a unique moment in time.
Warts and all, Ozzy and Black Sabbath’s farewell set a new standard for how we say goodbye to our favorite bands. Let’s hope for more shows of this kind.
In June’s best metal, Cryptosy reconquer brutal death metal heights, Anfauglir’s symphonic black metal returns, and Hexvessel offer mystique and bleakness.
Ghost’s more measured approach lends an appealing atmosphere of sadness, but fans will be clamoring for more energy and menace amidst the garishness next time.
In May’s best metal albums, Pelican turn back the clock, Drouth ascend to black/death glory, and Obsidian Tongue relish the early Agalloch-ian teachings.
Hedvig Mollestad Trio offer progressive rock, metal, free jazz, psychedelia, and dark ambient rolled into one exquisitely heavy yet organized whole.
In April’s best metal, Ancient Death tread into otherworldly death metal, Behölder stand firm on heavy ground, and Messa look beyond the doom confinements.
The Monochrome Festival was a perfect mini-fest weekend and so many reasons for hope in these strange times: The youth ARE alright.
In March’s best metal, Imperial Triumphant’s technical ecstasy continues, Rwake reinstate the magic, and Teitanblood rage their war against all.
Deafheaven are going to make Lonely People With Power. They’re going to melt your face off. However, you have to wait for it. It’s magic.
In February’s best metal, Pissgrave produce laser-focus disgust, Retromorphosis dazzle with technical prowess and Sleep Paralysis blur the lines between genres.
Pantera’s performance have lost some of their fire, but for devoted fans, it remains the closest they will ever come to experiencing their music live.
