Review by Alex on March 2, 2020.

Rotting Kingdom independently put out a 3 track EP self-titled Rotting Kingdom in 2017, that once heard, felt as though one was being caped by the soundscapes the band produced. It sprouted a chapter of wonder and alarm though within the band's infant steps unto the massive fields of the genre. With just one listen you could tell Rotting Kingdom had been called to do justice unto the genre. Some years since the EP was released has gone-by, and on the winds of the past was rode the expectation of continuation. The foundation had already been laid by the quintet, thus said, it would only seem right they began the process of building upon such. Their sorrowful sirens rippling through the hemisphere of death/doom is now awoken again making landfall with the latest and easily the best output by Rotting Kingdom, A Deeper Shade of Sorrow. With a comforting improvement and transition towards multi-elemental songwriting, this harvest of rot is the bands most musically compelling yield. Two years spent gardening and putting the definitive touches and implementations to their music has been rewarding where A Deeper Shade of Sorrow is concerned. The impact of their debut EP has been magnified to such scale that the music here towers threateningly in demolishing pose above their past oeuvre.

Taken from the photographic angle of an American death metal manghir, then continuously remolded to situate itself within the Finnish death/doom metal demesne of bitter sadness, the transmogrified 'Barren Harvest' is what I'd say is the best song in Rotting Kingdom's discography. Possessing a range of grabbing emotional content in its 7-minute duration, this track alone is worth getting A Deeper Shade of Sorrow. You sense a band on the verge of evolution as you progress through the bold steps it takes towards landmark-esque branches within the genre of death/doom metal; the quintet makes it clear to all, they are not afraid to tackle the traditional regions of the genre. In-turn, this bravery and effectiveness of wrapping together melodic death/doom with the traditional fabric of death metal, mirrors a band certain of their identity and ability. It was indeed a well-received surprise considering A Deeper Shade of Sorrow appeared to be tracing the artistry of their debut judging by the album opener, 'Sculpted Into Life By The Hand Of Death' which keyed-in the compositional facets of Rotting Kingdom's music. Those burdensome, yet goring vocals of frontman Anton Escobar combined with the three way tag team of Chuck (bass), Clay (Guitars), Kyle (Guitars) and the heartfelt hammering of Brandon mapped out a detailed near perfect debut of a full length not only providing a clear musical temperature, but enforced but a road map of what other elements would soon become fundamentals of Rotting Kingdom's music.

The guitaring is something-else on A Deeper Shade of Sorrow, they represent the album title with engraved showings of despondency and despair heard on aforementioned 'Sculpted into Life by the Hand of Death' and the explosive 'Barren Harvest', but sustains the urbane motion through weeping to overpowering passages heard on the black metal fueled 'Absolute Ruin'. The string-work feel exacting and extract of the artwork thus bringing the atmosphere to life even on the mysteriously eerie yet progressively bluesy closing segment of 'The Antechambers of Eternity'. Rotting Kingdom dug deep within themselves to weave a profound album that many inquisitive ears will love once they get the chance to own and experience. A Deeper Shade of Sorrow is as the title suggests by means of improvements made to embolden and empower their music; however, proceeds to demonstrate diligent song writing development, whereby Rotting Kingdom as a band can breathe freely and not tie themselves to the limitations of a style or format. A Deeper Shade of Sorrow is the polishing of antiquity to glisten with crystalline reflection.

Rating: 9 out of 10

Review by Alex on March 6, 2020.

I had to take a few steps back and re-approach Temple of Void's newest album The World That Was, from an angle that would be fair to the band, because at first listen though enjoyable, a struggle to find its place in their discography seemed tedious. Some may have seen the updates members posted implying the sound and overall expression of The World That Was would take a different route contrast to their 2 previous records, which after seeing the statements were at the least worrying. How much of their identity would be sacrificed to make this new record lingered as a troubling thought, since knowing when bands get too ambitious, sometimes their aspirations backfire. Excessive change is not often well received, especially for someone that has kept up to date with a band and grown accustomed to their ways through the years. However, what may be easier said than done, remained a necessity for Temple of Void on The World That Was as to not alienate their supporters. Their music has always had some melody/rhythm, if you record their debut full length Of Terror and the Supernatural that under its heavy and brutal foundation there persisted some amount of hum. However, The World That Was, from the way it was described, implied a less routine and more experimental axis would assume governance over the powerful currents of the atmospheric death/doom metal plane.

Leaving behind some of the band’s prime characteristics in pursuit of this new chapter in their music would not sit too well with some listeners; however, Temple of Void understood just how much it meant that they did so cautiously as to retain the fundamentals of their identity but still achieve the goal of The World That Was. ‘A Beast Among Us’ and ‘Self Schism’ though only tiptoeing around the idea of an atmospheric approach still deliver a pragmatic combination of Temple of Void’s heaviness and some level of ambiance to signal where the material would be heading. And man does it arrive two-fold on one of, if not, the best track on The World That Was, ‘Leave the Light Behind’. Eerie, slightly poignant and bouncy; in some ways, even reminiscent Of Terror and the Supernatural era. While ‘A Beast Among Us’ and ‘Self Schism’ played with the idea, ‘Leave the Light Behind’ committed fully to the vision thus launching the album into new territory. The instrumental ‘A Single Oblous’ leading into ‘Leave the Light Behind’ was very effective if you think about the acoustic arrangement and how it bleeds into the entry even-so emphasizing the transition from a less atmospheric and ambient sector to one that is of a telling temperature in the bands temporary departure from their customs. The quirky, electronic, extraterrestrial-sound-effects at the beginning of ‘Leave the Light Behind’ create a gloomy feeling all the while wondrous which may be what Temple of Void were aiming for as a recurring theme. You stare at the artwork so vivid and colorful while hearing the music playing in your head comes as a gratifying and worthwhile experience on The World That Was effectively escorting the listener through the album.

Altogether the music offers a relaxing feel; that’s a quality somewhat ubiquitous on the record. Exceptionally amalgamated and handled, from the first to final notes played to the growling and clean vocals featured on 'Leave the Light Behind', The World That Was is courteous and considerate in having both seamless flow and positioning, with the latter being an aggregate of the former. While ‘Casket of Shame’ could be placed alongside ‘A Beast Among Us’ and ‘Self Schism’, judging by its eyeful formula, it does offer slightly more tune to end up on the atmospheric side of the album, the b side and the most convincing section of the record. Bringing me to the point of why The World That Was is so effective at what it does; you'll notice that with the progression of each new song, the atmospheric qualities heighten, they become more prominent in the music, therefore building the tone of the record. With 'Casket of Shame' positioned in the track-list as a medium between ‘Leave the Light Behind’ and title track ‘The World That Was’, thus it be said the album’s instrumental economy and variety keeps the songs moving whilst erasing any trace of nullity that could have potentially harmed the music. An excellent though experimental album in Temple of Void’s catalog; however, I would like to see them return to the past, write more of what was featured on Lords of Death, that chapter deserves to be explored more.

Rating: 8.8 out of 10

Review by Alex on March 2, 2020.

Rotting Kingdom independently put out a 3 track EP self-titled Rotting Kingdom in 2017, that once heard, felt as though one was being caped by the soundscapes the band produced. It sprouted a chapter of wonder and alarm though within the band's infant steps unto the massive fields of the genre. With just one listen you could tell Rotting Kingdom had been called to do justice unto the genre. Some years since the EP was released has gone-by, and on the winds of the past was rode the expectation of continuation. The foundation had already been laid by the quintet, thus said, it would only seem right they began the process of building upon such. Their sorrowful sirens rippling through the hemisphere of death/doom is now awoken again making landfall with the latest and easily the best output by Rotting Kingdom, A Deeper Shade of Sorrow. With a comforting improvement and transition towards multi-elemental songwriting, this harvest of rot is the bands most musically compelling yield. Two years spent gardening and putting the definitive touches and implementations to their music has been rewarding where A Deeper Shade of Sorrow is concerned. The impact of their debut EP has been magnified to such scale that the music here towers threateningly in demolishing pose above their past oeuvre.

Taken from the photographic angle of an American death metal manghir, then continuously remolded to situate itself within the Finnish death/doom metal demesne of bitter sadness, the transmogrified 'Barren Harvest' is what I'd say is the best song in Rotting Kingdom's discography. Possessing a range of grabbing emotional content in its 7-minute duration, this track alone is worth getting A Deeper Shade of Sorrow. You sense a band on the verge of evolution as you progress through the bold steps it takes towards landmark-esque branches within the genre of death/doom metal; the quintet makes it clear to all, they are not afraid to tackle the traditional regions of the genre. In-turn, this bravery and effectiveness of wrapping together melodic death/doom with the traditional fabric of death metal, mirrors a band certain of their identity and ability. It was indeed a well-received surprise considering A Deeper Shade of Sorrow appeared to be tracing the artistry of their debut judging by the album opener, 'Sculpted Into Life By The Hand Of Death' which keyed-in the compositional facets of Rotting Kingdom's music. Those burdensome, yet goring vocals of frontman Anton Escobar combined with the three way tag team of Chuck (bass), Clay (Guitars), Kyle (Guitars) and the heartfelt hammering of Brandon mapped out a detailed near perfect debut of a full length not only providing a clear musical temperature, but enforced but a road map of what other elements would soon become fundamentals of Rotting Kingdom's music.

The guitaring is something-else on A Deeper Shade of Sorrow, they represent the album title with engraved showings of despondency and despair heard on aforementioned 'Sculpted into Life by the Hand of Death' and the explosive 'Barren Harvest', but sustains the urbane motion through weeping to overpowering passages heard on the black metal fueled 'Absolute Ruin'. The string-work feel exacting and extract of the artwork thus bringing the atmosphere to life even on the mysteriously eerie yet progressively bluesy closing segment of 'The Antechambers of Eternity'. Rotting Kingdom dug deep within themselves to weave a profound album that many inquisitive ears will love once they get the chance to own and experience. A Deeper Shade of Sorrow is as the title suggests by means of improvements made to embolden and empower their music; however, proceeds to demonstrate diligent song writing development, whereby Rotting Kingdom as a band can breathe freely and not tie themselves to the limitations of a style or format. A Deeper Shade of Sorrow is the polishing of antiquity to glisten with crystalline reflection.

Rating: 9 out of 10

Review by Alex on March 2, 2020.

Rotting Kingdom independently put out a 3 track EP self-titled Rotting Kingdom in 2017, that once heard, felt as though one was being caped by the soundscapes the band produced. It sprouted a chapter of wonder and alarm though within the band's infant steps unto the massive fields of the genre. With just one listen you could tell Rotting Kingdom had been called to do justice unto the genre. Some years since the EP was released has gone-by, and on the winds of the past was rode the expectation of continuation. The foundation had already been laid by the quintet, thus said, it would only seem right they began the process of building upon such. Their sorrowful sirens rippling through the hemisphere of death/doom is now awoken again making landfall with the latest and easily the best output by Rotting Kingdom, A Deeper Shade of Sorrow. With a comforting improvement and transition towards multi-elemental songwriting, this harvest of rot is the bands most musically compelling yield. Two years spent gardening and putting the definitive touches and implementations to their music has been rewarding where A Deeper Shade of Sorrow is concerned. The impact of their debut EP has been magnified to such scale that the music here towers threateningly in demolishing pose above their past oeuvre.

Taken from the photographic angle of an American death metal manghir, then continuously remolded to situate itself within the Finnish death/doom metal demesne of bitter sadness, the transmogrified 'Barren Harvest' is what I'd say is the best song in Rotting Kingdom's discography. Possessing a range of grabbing emotional content in its 7-minute duration, this track alone is worth getting A Deeper Shade of Sorrow. You sense a band on the verge of evolution as you progress through the bold steps it takes towards landmark-esque branches within the genre of death/doom metal; the quintet makes it clear to all, they are not afraid to tackle the traditional regions of the genre. In-turn, this bravery and effectiveness of wrapping together melodic death/doom with the traditional fabric of death metal, mirrors a band certain of their identity and ability. It was indeed a well-received surprise considering A Deeper Shade of Sorrow appeared to be tracing the artistry of their debut judging by the album opener, 'Sculpted Into Life By The Hand Of Death' which keyed-in the compositional facets of Rotting Kingdom's music. Those burdensome, yet goring vocals of frontman Anton Escobar combined with the three way tag team of Chuck (bass), Clay (Guitars), Kyle (Guitars) and the heartfelt hammering of Brandon mapped out a detailed near perfect debut of a full length not only providing a clear musical temperature, but enforced but a road map of what other elements would soon become fundamentals of Rotting Kingdom's music.

The guitaring is something-else on A Deeper Shade of Sorrow, they represent the album title with engraved showings of despondency and despair heard on aforementioned 'Sculpted into Life by the Hand of Death' and the explosive 'Barren Harvest', but sustains the urbane motion through weeping to overpowering passages heard on the black metal fueled 'Absolute Ruin'. The string-work feel exacting and extract of the artwork thus bringing the atmosphere to life even on the mysteriously eerie yet progressively bluesy closing segment of 'The Antechambers of Eternity'. Rotting Kingdom dug deep within themselves to weave a profound album that many inquisitive ears will love once they get the chance to own and experience. A Deeper Shade of Sorrow is as the title suggests by means of improvements made to embolden and empower their music; however, proceeds to demonstrate diligent song writing development, whereby Rotting Kingdom as a band can breathe freely and not tie themselves to the limitations of a style or format. A Deeper Shade of Sorrow is the polishing of antiquity to glisten with crystalline reflection.

Rating: 9 out of 10

Review by Alex on March 2, 2020.

Rotting Kingdom independently put out a 3 track EP self-titled Rotting Kingdom in 2017, that once heard, felt as though one was being caped by the soundscapes the band produced. It sprouted a chapter of wonder and alarm though within the band's infant steps unto the massive fields of the genre. With just one listen you could tell Rotting Kingdom had been called to do justice unto the genre. Some years since the EP was released has gone-by, and on the winds of the past was rode the expectation of continuation. The foundation had already been laid by the quintet, thus said, it would only seem right they began the process of building upon such. Their sorrowful sirens rippling through the hemisphere of death/doom is now awoken again making landfall with the latest and easily the best output by Rotting Kingdom, A Deeper Shade of Sorrow. With a comforting improvement and transition towards multi-elemental songwriting, this harvest of rot is the bands most musically compelling yield. Two years spent gardening and putting the definitive touches and implementations to their music has been rewarding where A Deeper Shade of Sorrow is concerned. The impact of their debut EP has been magnified to such scale that the music here towers threateningly in demolishing pose above their past oeuvre.

Taken from the photographic angle of an American death metal manghir, then continuously remolded to situate itself within the Finnish death/doom metal demesne of bitter sadness, the transmogrified 'Barren Harvest' is what I'd say is the best song in Rotting Kingdom's discography. Possessing a range of grabbing emotional content in its 7-minute duration, this track alone is worth getting A Deeper Shade of Sorrow. You sense a band on the verge of evolution as you progress through the bold steps it takes towards landmark-esque branches within the genre of death/doom metal; the quintet makes it clear to all, they are not afraid to tackle the traditional regions of the genre. In-turn, this bravery and effectiveness of wrapping together melodic death/doom with the traditional fabric of death metal, mirrors a band certain of their identity and ability. It was indeed a well-received surprise considering A Deeper Shade of Sorrow appeared to be tracing the artistry of their debut judging by the album opener, 'Sculpted Into Life By The Hand Of Death' which keyed-in the compositional facets of Rotting Kingdom's music. Those burdensome, yet goring vocals of frontman Anton Escobar combined with the three way tag team of Chuck (bass), Clay (Guitars), Kyle (Guitars) and the heartfelt hammering of Brandon mapped out a detailed near perfect debut of a full length not only providing a clear musical temperature, but enforced but a road map of what other elements would soon become fundamentals of Rotting Kingdom's music.

The guitaring is something-else on A Deeper Shade of Sorrow, they represent the album title with engraved showings of despondency and despair heard on aforementioned 'Sculpted into Life by the Hand of Death' and the explosive 'Barren Harvest', but sustains the urbane motion through weeping to overpowering passages heard on the black metal fueled 'Absolute Ruin'. The string-work feel exacting and extract of the artwork thus bringing the atmosphere to life even on the mysteriously eerie yet progressively bluesy closing segment of 'The Antechambers of Eternity'. Rotting Kingdom dug deep within themselves to weave a profound album that many inquisitive ears will love once they get the chance to own and experience. A Deeper Shade of Sorrow is as the title suggests by means of improvements made to embolden and empower their music; however, proceeds to demonstrate diligent song writing development, whereby Rotting Kingdom as a band can breathe freely and not tie themselves to the limitations of a style or format. A Deeper Shade of Sorrow is the polishing of antiquity to glisten with crystalline reflection.

Rating: 9 out of 10

Review by Felix on February 28, 2020.

Dear Cronos,

I know that you have invented black metal, death metal and everything else between heaven and hell. That's one of the reasons why I am a Venom fan since I bought At War With Satan back in 1983 or 1984. I went with Venom through thick and thin. Cronos, you and I know that the history of the band has seen some lows and no, I don't speak of the albums with the Demolition Man. But I didn't care, and I was finally rewarded by From the Very Depths. A golden future seemed to be at hand. But now comes this EP... what can I say? It draws the shorter straw in each comparison. Let's put it in relation to...

..."Avé", the album of your former companions Mantas and Abaddon. Their debut under the banner of Venom Inc. presents some lively and some well-hung riffs and many good compositions that have an infectious effect. By contrast, 100 Miles to Hell sounds anything but spectacular. The title track with its solid guitar work doesn't suck, but its mid-tempo and the conventional pattern fail to give it a special glitter. To add insult to injury, lyrical lines like "Lay Down Your Soul to Sell... 100 Miles to Hell" appear as a self-parody.

...From the Very Depths, your last long player. The album had a lot of great tracks, but here we have rather cheap riffs and predictable configurations. Not to mention the fact that 'We the Loud' annoys me, because its ending is much too long, repetitive and useless. Especially the moaning of your bass guitar gives the entire track an insubstantial touch. In view of such a pretty mediocre number, it is a cold comfort that the earthy production of 100 Miles to Hell is more or less on a par with that of your formidable full-length from 2015.

...the fantastic Venom EPs from the early eighties. Songs like 'Lady Lust', 'Die Hard', 'Seven Gates of Hell' or 'Manitou' were true monsters, classics that have stood the test of time. But a track like 'Beaten to a Pulp' has - in spite of its acceptable instrumental part - absolutely nothing that could create a comparable reputation. Its unimaginative chorus illustrates the lack of outstanding ideas most significantly. Speaking of unimaginativeness, please compare the covers of 100 Miles to Hell and, for example, Manitou. The visual difference in terms of originality could not be bigger - and the same applies for the musical content.

Cronos, my old hero, you, your seemingly undernourished guitarist and the long-haired animal behind the drums will have my solidarity eternally, because the name Venom has become a monument. (And please forgive me that I support Venom Inc. as well.) You lead one of the bands that accompany me since more than three decades. But it is a critical solidarity and as much as I regret it: this EP does not whet the appetite for a new full-length. With a great deal of good will, one can say that the three tracks keep the head above water. But that's all. I admit that Venom have returned from the dead many times. Outputs like Prime Evil, Cast in Stone or From the Very Depths come to my mind. Nevertheless, what goes around comes around. Therefore, Cronos, consult Satan, invent the next music style, search for demo recordings from the early eighties with some great, never released songs or do whatever you want. But don't record "just another album" when entering the studio next time - I am curious whether you are able to regain your former strength. I hope so.

Sincerely yours, Felix.

Rating: 6 out of 10

Review by Chris Pratl on December 25, 2017.

As a Venom fan for the last 35-years, it pains me to think that the original trio that emerged from the hellish confines of Newcastle, England now sits woefully divided. As is the seeming norm these days, there are, indeed, two vehicles claiming the Venom moniker, one with Cronos and some hired guns and the other Venom Inc with the original Prime Evil lineup of Tony Dolan, Mantas and Abandon (the latter being far more interesting and musically viable).  So, here I sit, as a longtime, long-suffering fanboy, engaging the newest EP from the Cronos camp called 100 Miles to Hell, which is about 101 miles too long.

While Venom Inc has offered up a full-length more than worthy of the namesake,  Cronos has been pumping out subpar, sterile mediocrity for the last decade-plus. While the Venom / Motorhead comparisons have always been more than a little justified in terms of raw energy and attention to content over style, Venom seems to be stuck in a rut by going through robotic, predictable motions. They seem bent on appeasing only the crazed fanboys and nostalgia-wrapped “legions” that would buy a CD filled with Cronos farting into an old tin coffee can (which, at this point, would be a vast detour from this lackadaisical norm). Some bands need to know when to stop, but when the gravy train is attracting the same radicalized minions, what else does one do to make a living?

The music here is...okay, I guess. Nothing special, nothing exciting, but that's the least of the worries herein. The lyrics to these songs are not interesting in the least, giving way to pedestrian middle-school assemblage by way of the title tracks Dylanesque offering of “Follow the ancient track--/ let the devil wear black--”. Folks, this is what is musically viewed as riding something into the proverbial ground. This is a man who is criminally out of ideas, has no intention of even trying anymore at this point and is more than comfortable just phoning in a sorry ass slab of music like this and slapping the Venom logo on it, a logo that used to mean something. It's apparent that Cronos is trying hard to recapitulate on past tracks, i.e., “We the Loud,” a sad sequel to “Too Loud for the Crowd,” the latter being a crowd-pleasing track that got the blood flowing back in 1985. The title track for this EP is flat, lifeless and a literal “hit the bathroom” song in every facet. Even as the EP closes with “Beaten to a Pulp,” my only thought is how Cronos used words like “pathetic,” “dying,” “corrupt,” and “reeks of desperation” and I can't help but wonder if his subconscious is somehow trying to relay a message to him...a message he won't ever hear.

Is it the worst thing I've ever heard under the Venom name? I'd say it's no worse than Metal Black, From the Very Depths or Fallen Angels, but it's just boring and beating a dead horse in the middle of a muddy dirt road, and at this point either pump up the formula or just stop the madness. Becoming AC/DC and putting out the same formulaic album every couple of years when the bills are due worked for AC/DC, but for Venom it'll be a sardonic addition to their already weakened legacy. This is very typical of certain bands to figure that as long as the sales aren't horrible for their allotted position in the music world, then they can just churn out the same recycled lethargy and know the restless slaves will lap up the remnants like hungry lap dogs without question or complaint.

For my dollar, seek out the Venom Inc chasm and get a a taste of what it means to be a band with a defined legacy that can and does implement modern nuances and imaginative resources to keep the old formula fresh and exciting. Stop worrying about KVLT status for liking the “imposters” or “scabs” and let it sink in that one of the guys in Cronos' camp came from a Bon Jovi tribute band and Inc's Tony Dolan is from the mighty Atomkraft...I'll let that sink in for you.

There comes a time when you have to give up the ghost and go gently into that good night. It's a shame that more bands don't follow this advice.

Rating: 3.5 out of 10

Review by Lawrence Stillman on December 2, 2023.

There are very few bands that can instill a very powerful urge within a listener to drop everything they are doing and listen to the album they are listening to with full attention. It can be something as simple as an awe-inspiring and catchy riff, or it can be something more complex and emotional, like this album by Swallow the Sun. It was easily my AOTY for 2019. It managed to captivate me to such a degree that it cannot be replicated until a certain album by a certain band is released in June 2022 (I'll let you guess which album it is).

To say that this album is a masterpiece would be an understatement; it has a very unique atmosphere and feel to its music that can only come from a truly tragic and heartbreaking circumstance. But as Juha Raivio (the album's main composer) said, the reason behind this album's creation is not to give in to his grief over losing his lover to cancer but as a tool to lead him out of the cycle of emotional pain and despair, fighting back against the feelings of loss of a loved one.

The entire album's lyrics and music are about the death of Aleah Stanbridge and the five stages of grief that came with it, and thus it is the slowest piece of work STS has ever done, sometimes bordering on funeral doom (maybe that was their intention), but that does not mean it is bad by any means. It is still as crushing and heavy as it once was, but the extra layer of grief and sorrow permeating through the album gives it a special kind of pulverisation that most bands cannot replicate, thus making it stand out among the death/doom scene. The lyrics here are very existentialist, very DSBM-like; it feels more like a spiritual advisor trying his best to drag Juha out of his despair of losing his girlfriend. It reads like something Wrest would write for Leviathan or Lurker of Chalice since all three projects have an album that was motivated by the loss of a loved one.

For the instruments, it is the best STS has ever sounded up until this point; every instrument feels very powerful and rich. The clean vocals have a bigger presence within the album, while the harsh vocals take a backseat, making this album more doom-adjacent than death-adjacent. The guitar melodies do reflect this as well, as they are even more melody-centric, having a lot of clean passages instead of the more riff-centric songwriting that the heavier death/doom bands would do, like Druid Lord. The drums here, despite featuring absolutely zero blast beats within a death/doom album, still have a large presence here by virtue of the sounds and the drum fills, having a very rich sound that makes every impact sound crushing and oppressive, further drilling in the feeling of sorrow and grief this album presents. As for the bass, live strings, and keyboards, they are the best things that came out for this album. The keyboards here take a more atmospheric, backseat approach for this album, just like the bass, but occasionally the guitars stop playing and just let the keyboard, strings, and bass take over as the lead melodies while Juha sings in the background. These passages are often the most memorable part of the album for me, as they are the ones that bring out the message and feelings of the album the best.

For the production, it is also the best album to listen to within STS' whole discography; everything here sounds pristine and clear; no instruments are too forward in the mix to the point of overpowering other instruments; and some instruments retreat within the mix to make way for other instruments in order to put extra emphasis on certain parts to make the passage sound more complete. It is the logical conclusion of most melodic death/doom albums that want to sound clean; everything is here in full display, with nothing hidden away.

This 52-minute masterpiece has to be heard by everyone who loves death metal and doom metal, despite the album being mostly doom metal and death metal making an uncommon appearance here and there. It has a very raw and primal energy that can only manifest through the death of a loved one. As long as this album exists, the memory of Aleah Stanbridge will always live on, just as Juha wanted all along.

Highlights: All songs

Rating: 10 out of 10

Review by George on March 2, 2020.

There's a certain emotion that very, very few bands are able to instill in me - a sense of pure wonder so powerful that I'm forced to drop everything I'm doing and just listen to the music in awe. It's the same profound fascination I get from staring at the stars in a night sky, a oneness with nature and the world around me. It makes me ponder existentialism in the best way possible, filling me with determination and reinforcing my goal to make as much of my life as possible. Since we're so insignificant in the grand scheme of things, we can forge our own purpose and get as much fulfillment out of our short time on Earth as we can. Ultimately, it makes me grateful to be alive.

Paradoxically, the only record to come out of 2019 that's evoked that feeling in me is probably the darkest of them all. At its core, the album is a harrowing expression of the emotions which followed the death of main songwriter Juha Raivio's wife. However, that's not all there is to it. Abounding despair shrouded every moment of the conception of When a Shadow is Forced into the Light, but rather than embrace the hopelessness as so many other doom acts would, Juha created the album as, in his own words, "a weapon for myself, a burning torch, victorious and proud." So that's what this is really about. It's fighting back against the shadows that surround you, it's finding the hope in despair and the wonder in bleakness.

As personal of a concept as that is, though, it wouldn't have meant anything if it hadn't been executed well. Luckily, 'well' doesn't even begin to cut it here. The instruments create an otherworldly atmosphere unlike any other I've heard before while the lyrics create emotions ranging from despair and resignation in the brutal title track to the aforementioned existentialist wonder in 'The Crimson Crown'. The vocals are brilliant all around - Mikko's blackened screams convey pain perfectly while his more mellow cleans can express a range of feelings, from solace to acceptance to longing. The guitars provide a strong foundation, a constant source of melody but also impactful heaviness. They control the pace of the album, either driving it forward or slowing down to allow moments of introspection.

Additionally, the lower end is really given room to breathe and shine. There are several sections where the guitars completely drop away and allow the subtle synths and bass to take the lead. As seems to be a theme on the album, this element is used in incredibly varied ways. The quiet sections in 'The Crimson Crown' immerse you in a strange fantasy world; it feels expansive and makes me ponder the infinite reaches of our cosmos and what wonders there are to be discovered out there (an effect added to by the lyrics which tell a fantastical creation story - in fact the chorus of this song is where I first felt that profound, enlightened awe I mentioned in the introduction). This couldn't be more different from the quieter parts in 'Firelights'. These are flawlessly designed to invoke unease, combining distorted bass, whispered vocals and the subtle integration of a bell tolling. It's once again completely unworldly, but this time you're not entering an oasis of wonder, you're trapped on an island in an ocean of nightmares. This world has only ever known bleakness and death, and it's up to you to fight back. To find the firelights.

Ultimately, I could sing this album's praises all day. I could dissect the meanings and subtleties woven into every track, but that'd make the review too long. There are highlights everywhere, too many to list, and the experience is in equal parts intensely heartfelt and painfully harrowing. The style stays consistent throughout, but new elements are added just often enough to keep it varied, my favourite examples being the cellos and violins that come in on 'Stone Wings' and the uplifting narration that ends 'Clouds on your Side'. I'll be honest, the latter track had me in tears by the end. A softly spoken passage in the language of romance, a reassuring message of perseverance written by Juha's wife... it's beautiful. Here Aleah Starbridge's soul is living on through her words, shining radiantly to give her lover the courage he needs to face a world without her. Death may be stronger than life, but love is stronger than death.

Before now there were eight metal albums I'd ever deemed worthy of a perfect score. I've just found the ninth.

Rating: 10 out of 10

Review by Alex on March 2, 2020.

Rotting Kingdom independently put out a 3 track EP self-titled Rotting Kingdom in 2017, that once heard, felt as though one was being caped by the soundscapes the band produced. It sprouted a chapter of wonder and alarm though within the band's infant steps unto the massive fields of the genre. With just one listen you could tell Rotting Kingdom had been called to do justice unto the genre. Some years since the EP was released has gone-by, and on the winds of the past was rode the expectation of continuation. The foundation had already been laid by the quintet, thus said, it would only seem right they began the process of building upon such. Their sorrowful sirens rippling through the hemisphere of death/doom is now awoken again making landfall with the latest and easily the best output by Rotting Kingdom, A Deeper Shade of Sorrow. With a comforting improvement and transition towards multi-elemental songwriting, this harvest of rot is the bands most musically compelling yield. Two years spent gardening and putting the definitive touches and implementations to their music has been rewarding where A Deeper Shade of Sorrow is concerned. The impact of their debut EP has been magnified to such scale that the music here towers threateningly in demolishing pose above their past oeuvre.

Taken from the photographic angle of an American death metal manghir, then continuously remolded to situate itself within the Finnish death/doom metal demesne of bitter sadness, the transmogrified 'Barren Harvest' is what I'd say is the best song in Rotting Kingdom's discography. Possessing a range of grabbing emotional content in its 7-minute duration, this track alone is worth getting A Deeper Shade of Sorrow. You sense a band on the verge of evolution as you progress through the bold steps it takes towards landmark-esque branches within the genre of death/doom metal; the quintet makes it clear to all, they are not afraid to tackle the traditional regions of the genre. In-turn, this bravery and effectiveness of wrapping together melodic death/doom with the traditional fabric of death metal, mirrors a band certain of their identity and ability. It was indeed a well-received surprise considering A Deeper Shade of Sorrow appeared to be tracing the artistry of their debut judging by the album opener, 'Sculpted Into Life By The Hand Of Death' which keyed-in the compositional facets of Rotting Kingdom's music. Those burdensome, yet goring vocals of frontman Anton Escobar combined with the three way tag team of Chuck (bass), Clay (Guitars), Kyle (Guitars) and the heartfelt hammering of Brandon mapped out a detailed near perfect debut of a full length not only providing a clear musical temperature, but enforced but a road map of what other elements would soon become fundamentals of Rotting Kingdom's music.

The guitaring is something-else on A Deeper Shade of Sorrow, they represent the album title with engraved showings of despondency and despair heard on aforementioned 'Sculpted into Life by the Hand of Death' and the explosive 'Barren Harvest', but sustains the urbane motion through weeping to overpowering passages heard on the black metal fueled 'Absolute Ruin'. The string-work feel exacting and extract of the artwork thus bringing the atmosphere to life even on the mysteriously eerie yet progressively bluesy closing segment of 'The Antechambers of Eternity'. Rotting Kingdom dug deep within themselves to weave a profound album that many inquisitive ears will love once they get the chance to own and experience. A Deeper Shade of Sorrow is as the title suggests by means of improvements made to embolden and empower their music; however, proceeds to demonstrate diligent song writing development, whereby Rotting Kingdom as a band can breathe freely and not tie themselves to the limitations of a style or format. A Deeper Shade of Sorrow is the polishing of antiquity to glisten with crystalline reflection.

Rating: 9 out of 10

Review by Alex on March 2, 2020.

Rotting Kingdom independently put out a 3 track EP self-titled Rotting Kingdom in 2017, that once heard, felt as though one was being caped by the soundscapes the band produced. It sprouted a chapter of wonder and alarm though within the band's infant steps unto the massive fields of the genre. With just one listen you could tell Rotting Kingdom had been called to do justice unto the genre. Some years since the EP was released has gone-by, and on the winds of the past was rode the expectation of continuation. The foundation had already been laid by the quintet, thus said, it would only seem right they began the process of building upon such. Their sorrowful sirens rippling through the hemisphere of death/doom is now awoken again making landfall with the latest and easily the best output by Rotting Kingdom, A Deeper Shade of Sorrow. With a comforting improvement and transition towards multi-elemental songwriting, this harvest of rot is the bands most musically compelling yield. Two years spent gardening and putting the definitive touches and implementations to their music has been rewarding where A Deeper Shade of Sorrow is concerned. The impact of their debut EP has been magnified to such scale that the music here towers threateningly in demolishing pose above their past oeuvre.

Taken from the photographic angle of an American death metal manghir, then continuously remolded to situate itself within the Finnish death/doom metal demesne of bitter sadness, the transmogrified 'Barren Harvest' is what I'd say is the best song in Rotting Kingdom's discography. Possessing a range of grabbing emotional content in its 7-minute duration, this track alone is worth getting A Deeper Shade of Sorrow. You sense a band on the verge of evolution as you progress through the bold steps it takes towards landmark-esque branches within the genre of death/doom metal; the quintet makes it clear to all, they are not afraid to tackle the traditional regions of the genre. In-turn, this bravery and effectiveness of wrapping together melodic death/doom with the traditional fabric of death metal, mirrors a band certain of their identity and ability. It was indeed a well-received surprise considering A Deeper Shade of Sorrow appeared to be tracing the artistry of their debut judging by the album opener, 'Sculpted Into Life By The Hand Of Death' which keyed-in the compositional facets of Rotting Kingdom's music. Those burdensome, yet goring vocals of frontman Anton Escobar combined with the three way tag team of Chuck (bass), Clay (Guitars), Kyle (Guitars) and the heartfelt hammering of Brandon mapped out a detailed near perfect debut of a full length not only providing a clear musical temperature, but enforced but a road map of what other elements would soon become fundamentals of Rotting Kingdom's music.

The guitaring is something-else on A Deeper Shade of Sorrow, they represent the album title with engraved showings of despondency and despair heard on aforementioned 'Sculpted into Life by the Hand of Death' and the explosive 'Barren Harvest', but sustains the urbane motion through weeping to overpowering passages heard on the black metal fueled 'Absolute Ruin'. The string-work feel exacting and extract of the artwork thus bringing the atmosphere to life even on the mysteriously eerie yet progressively bluesy closing segment of 'The Antechambers of Eternity'. Rotting Kingdom dug deep within themselves to weave a profound album that many inquisitive ears will love once they get the chance to own and experience. A Deeper Shade of Sorrow is as the title suggests by means of improvements made to embolden and empower their music; however, proceeds to demonstrate diligent song writing development, whereby Rotting Kingdom as a band can breathe freely and not tie themselves to the limitations of a style or format. A Deeper Shade of Sorrow is the polishing of antiquity to glisten with crystalline reflection.

Rating: 9 out of 10

Review by Alex on March 6, 2020.

I had to take a few steps back and re-approach Temple of Void's newest album The World That Was, from an angle that would be fair to the band, because at first listen though enjoyable, a struggle to find its place in their discography seemed tedious. Some may have seen the updates members posted implying the sound and overall expression of The World That Was would take a different route contrast to their 2 previous records, which after seeing the statements were at the least worrying. How much of their identity would be sacrificed to make this new record lingered as a troubling thought, since knowing when bands get too ambitious, sometimes their aspirations backfire. Excessive change is not often well received, especially for someone that has kept up to date with a band and grown accustomed to their ways through the years. However, what may be easier said than done, remained a necessity for Temple of Void on The World That Was as to not alienate their supporters. Their music has always had some melody/rhythm, if you record their debut full length Of Terror and the Supernatural that under its heavy and brutal foundation there persisted some amount of hum. However, The World That Was, from the way it was described, implied a less routine and more experimental axis would assume governance over the powerful currents of the atmospheric death/doom metal plane.

Leaving behind some of the band’s prime characteristics in pursuit of this new chapter in their music would not sit too well with some listeners; however, Temple of Void understood just how much it meant that they did so cautiously as to retain the fundamentals of their identity but still achieve the goal of The World That Was. ‘A Beast Among Us’ and ‘Self Schism’ though only tiptoeing around the idea of an atmospheric approach still deliver a pragmatic combination of Temple of Void’s heaviness and some level of ambiance to signal where the material would be heading. And man does it arrive two-fold on one of, if not, the best track on The World That Was, ‘Leave the Light Behind’. Eerie, slightly poignant and bouncy; in some ways, even reminiscent Of Terror and the Supernatural era. While ‘A Beast Among Us’ and ‘Self Schism’ played with the idea, ‘Leave the Light Behind’ committed fully to the vision thus launching the album into new territory. The instrumental ‘A Single Oblous’ leading into ‘Leave the Light Behind’ was very effective if you think about the acoustic arrangement and how it bleeds into the entry even-so emphasizing the transition from a less atmospheric and ambient sector to one that is of a telling temperature in the bands temporary departure from their customs. The quirky, electronic, extraterrestrial-sound-effects at the beginning of ‘Leave the Light Behind’ create a gloomy feeling all the while wondrous which may be what Temple of Void were aiming for as a recurring theme. You stare at the artwork so vivid and colorful while hearing the music playing in your head comes as a gratifying and worthwhile experience on The World That Was effectively escorting the listener through the album.

Altogether the music offers a relaxing feel; that’s a quality somewhat ubiquitous on the record. Exceptionally amalgamated and handled, from the first to final notes played to the growling and clean vocals featured on 'Leave the Light Behind', The World That Was is courteous and considerate in having both seamless flow and positioning, with the latter being an aggregate of the former. While ‘Casket of Shame’ could be placed alongside ‘A Beast Among Us’ and ‘Self Schism’, judging by its eyeful formula, it does offer slightly more tune to end up on the atmospheric side of the album, the b side and the most convincing section of the record. Bringing me to the point of why The World That Was is so effective at what it does; you'll notice that with the progression of each new song, the atmospheric qualities heighten, they become more prominent in the music, therefore building the tone of the record. With 'Casket of Shame' positioned in the track-list as a medium between ‘Leave the Light Behind’ and title track ‘The World That Was’, thus it be said the album’s instrumental economy and variety keeps the songs moving whilst erasing any trace of nullity that could have potentially harmed the music. An excellent though experimental album in Temple of Void’s catalog; however, I would like to see them return to the past, write more of what was featured on Lords of Death, that chapter deserves to be explored more.

Rating: 8.8 out of 10

Review by Alex on March 6, 2020.

I had to take a few steps back and re-approach Temple of Void's newest album The World That Was, from an angle that would be fair to the band, because at first listen though enjoyable, a struggle to find its place in their discography seemed tedious. Some may have seen the updates members posted implying the sound and overall expression of The World That Was would take a different route contrast to their 2 previous records, which after seeing the statements were at the least worrying. How much of their identity would be sacrificed to make this new record lingered as a troubling thought, since knowing when bands get too ambitious, sometimes their aspirations backfire. Excessive change is not often well received, especially for someone that has kept up to date with a band and grown accustomed to their ways through the years. However, what may be easier said than done, remained a necessity for Temple of Void on The World That Was as to not alienate their supporters. Their music has always had some melody/rhythm, if you record their debut full length Of Terror and the Supernatural that under its heavy and brutal foundation there persisted some amount of hum. However, The World That Was, from the way it was described, implied a less routine and more experimental axis would assume governance over the powerful currents of the atmospheric death/doom metal plane.

Leaving behind some of the band’s prime characteristics in pursuit of this new chapter in their music would not sit too well with some listeners; however, Temple of Void understood just how much it meant that they did so cautiously as to retain the fundamentals of their identity but still achieve the goal of The World That Was. ‘A Beast Among Us’ and ‘Self Schism’ though only tiptoeing around the idea of an atmospheric approach still deliver a pragmatic combination of Temple of Void’s heaviness and some level of ambiance to signal where the material would be heading. And man does it arrive two-fold on one of, if not, the best track on The World That Was, ‘Leave the Light Behind’. Eerie, slightly poignant and bouncy; in some ways, even reminiscent Of Terror and the Supernatural era. While ‘A Beast Among Us’ and ‘Self Schism’ played with the idea, ‘Leave the Light Behind’ committed fully to the vision thus launching the album into new territory. The instrumental ‘A Single Oblous’ leading into ‘Leave the Light Behind’ was very effective if you think about the acoustic arrangement and how it bleeds into the entry even-so emphasizing the transition from a less atmospheric and ambient sector to one that is of a telling temperature in the bands temporary departure from their customs. The quirky, electronic, extraterrestrial-sound-effects at the beginning of ‘Leave the Light Behind’ create a gloomy feeling all the while wondrous which may be what Temple of Void were aiming for as a recurring theme. You stare at the artwork so vivid and colorful while hearing the music playing in your head comes as a gratifying and worthwhile experience on The World That Was effectively escorting the listener through the album.

Altogether the music offers a relaxing feel; that’s a quality somewhat ubiquitous on the record. Exceptionally amalgamated and handled, from the first to final notes played to the growling and clean vocals featured on 'Leave the Light Behind', The World That Was is courteous and considerate in having both seamless flow and positioning, with the latter being an aggregate of the former. While ‘Casket of Shame’ could be placed alongside ‘A Beast Among Us’ and ‘Self Schism’, judging by its eyeful formula, it does offer slightly more tune to end up on the atmospheric side of the album, the b side and the most convincing section of the record. Bringing me to the point of why The World That Was is so effective at what it does; you'll notice that with the progression of each new song, the atmospheric qualities heighten, they become more prominent in the music, therefore building the tone of the record. With 'Casket of Shame' positioned in the track-list as a medium between ‘Leave the Light Behind’ and title track ‘The World That Was’, thus it be said the album’s instrumental economy and variety keeps the songs moving whilst erasing any trace of nullity that could have potentially harmed the music. An excellent though experimental album in Temple of Void’s catalog; however, I would like to see them return to the past, write more of what was featured on Lords of Death, that chapter deserves to be explored more.

Rating: 8.8 out of 10