Tawny manages to wrangle the band’s punch, melodicism and dynamic songwriting.

A rock record that feels equal part hopeful and solemnly exposed

The record’s warm yet scathing disposition leaves its mark accordingly and demonstrates that Elizabeth Colour Wheel can only go up from here.

If getting the Albini seal of approval doesn’t tell you a festival is worth the punt, nothing does.

The band have defined themselves beyond the unrelenting heaviness to reveal they can deliver in full force, but also flush out tracks with brilliantly executed misery. This may be my favourite album of theirs thus far, which only leaves the band’s future to eagerly wait for.

‘The Barn’ is raw and alert; well worth multiple listens to wrap your head around its intricacies.

All I have to give is praise to this record, not only is it an expertly crafted showcase for the musicianship of the people behind it, but it also manages to remain unstoppably heavy and avoid being totally serious in themes, as is the case with a lot of modern metal. I can’t recommend it enough.

Not only does it present a band to watch out for, it also instills pride and hope for UK DIY hardcore considering bands of this style are continuing to put out worthwhile material.

It’s multifaceted and memorable, but above all completely absorbing.

Overall, this new offering sounds like the record the band wanted to make in all aspects; the success of which shows through the blistering and ethereal doom tracks crafted for optimal impact.

Quite simply, this is my death metal record of the year, and I’m more than anticipating this project’s future.

It’s Immaterial, overall, expertly creates the sense of melancholy and an underlying sense of despair.

This latest record is as beautiful as a record so thematically soaked in death and depression can be, thus making ‘Choke’ a pinnacle for the band and a highlight for the year’s music as a whole.

Their music is a unique attack unparalleled by anyone else, with ‘Crown Feral’ they seek to obliterate and leave you bleeding out, fulfilled and anticipating an incredible band’s future releases. – By Sam Robinson

‘Stage Four’ is the band at the most direct they have ever been, there aren’t many albums within the genre that cut so deep with lyrical themes, but also place you within the pain and conflicting thoughts of the person who wrote the songs. – By Sam Robinson

Harm Wülf has managed to create a vast and gloomy piece that is excellently written and tied together yet spacious enough to keep returning to and appreciating the depth of each track. – By Sam Robinson

Metal fans who dabble in the realms of dark wave, new wave and post-punk will certainly find strong points to come away from experiencing this record. – By Sam Robinson

Anicon have achieved a level of intensity and unyielding rage on ‘Exegeses’ that in parts morphs into sheer beauty. This is not only another addition to Gilead Media’s shining roster, but also a project that will undoubtedly make a name for itself in black metal’s ever-mutating state. – By Sam Robinson

Frameworks have perfected the sound they were going for in their early releases, and as a result have produced a collection of tight, incredibly well written tracks that honour the genre of melodic hardcore, post-hardcore and wherever else they draw influence. – By Sam Robinson

At the end of the day, this record is bone crushing and brutal and so satisfying because of it; let it lay waste to your senses and become your favourite metal record of 2016. – By Sam Robinson

It will be difficult to return to anything other than this for a good neck breaking and beer swigging in the coming years- Kvelertak have for sure outdone themselves. – By Sam Robinson