A few bars, the vocalists first utterance and the fingers are crossed that this is how it will continue. And, thankfully it does. But wait… It gets better. Evocative leads, wicked rhythms and jaw dropping drums as well a throat to get excited about (wait, that sounds “dirty”) And that’s just the opening track! The excellent caliber continues to offer rhythms in both the string and skin department to whet the senses and alight the spirit of mosh; the flailing arm beast within us all. Shit, this even offers slower moments in which to reflect (and take a breather). Closer to blackened death than, what one might call, traditional and emblazoned with Grindcoresque sensibilities this showcases talent and creative excellence. A must to start the year!
Driving rhythms and European stylings, although these guys are from Down Under, coupled with gymnastic triumphant vocals and excitable shredding guitar attributes. There’s no denying these guys their influence and they have both the talent and know how to make an initial impact. I’m honestly not that knowledgeable about this genre though I’m of the mind enough to appreciate quality audio and this is just that!
Upon a foundation of raunchy Old School riffs and chuggery which feels like a million strong swarm of angry hornets this serves to perk up the interest of any fan whose diet of DM includes a pinch of diabolical nature, heavily accented vocals and swirling dervish rhythms. A style which is oddly both European and Floridian in nature this hardly opens up any fresh avenues in the scene though still boasts the ingredients to warrant becoming part of any DM fan’s collection.
Score – 85
The Risen Dread (Ireland)- Night Hag
in lieu of a BC link here’s a track to tease the album
Release – January 22
Genre – Death Metal/Groove/Hardcore
Thoughts –
It’s both the production and the audio’s energy here which widens the eyes and makes one want to drop what they might be, or about to be, doing. Of the ingredients on offer are vicious larynx scorching vocals and rhythms likely to incite a riot in a hospice. Admittedly a few tracks work better than others but overall, this is sure to alight attention as it somewhat bridges the gap between Pantera (in their angriest of hour) Hardcore (which surprises me as I’m not usually a fan) and Death Metal, but also because it’s rather impressive and that its most probably not from a location one might assume
Angry, vicious, heavy yet full of surprises, chock full of groove and sure to leave the digit itching to hit replay.
Sometimes one happens upon an album whereupon one has their fingers crossed, the entire duration, with hopes that a passage, a note, an interlude or a vocal isn’t out of place in order that the whole thing might be ruined. This. Is. One. Of. Those. Albums!
Brutal, but not inaccessibly so that those whose tastes don’t run to Slam aren’t turned off and with just enough note of the Old School to garner a wider net of attention this delivers. Did I mention the crunchy tone, the spot-on vocals and this album’s insane ability to make one wanna get up and destroy everything in sight? No? We, I should have. What a way to start the New Year!
It’s difficult knowing what to assume based on this album’s artwork. One might predict an album drenched in melancholy, melody and an overall aura somewhat as if Paradise Lost and Mourning Beloveth had decided to combine their stylistic efforts. This soon fades however, abruptly, as the second track drops considerably more aggression than its predecessor. The album changes textures again, then introduces other elements to shatter most preconceptions. Blast beats and blackened vocals join the fray, an already dense outing with tendrils stretching into various realms, now made all the more malevolent. Doom layered with ritualistic qualities, blackened sensibilities, a foggy dissonant aura, a touch of “pull-you-under-to-steal-your-last-breath” Sludge and a Lovecraftian theme. There’s a great deal to unwrap here, content which several spins will help to unravel.
Score – 82
Tom McKay (Canada) – Call to the Dæmon Sultan (EP)
Cinematic landscapes collide with atmosphere in this opus. Rather than commence a track with symphonic textures Tom has instead choose to keep the elements throughout the track both as a foundation and a co-starring lead. Strings are somewhat classical in tone veering from territories what one might expect though still maintaining a dense, often bludgeoning nature coupled with melodies one might associate with output ala Power or Heavy Metal. Overall, this boasts a presence and a ‘safe’ vocal approach (two tiered, both clean and growled with a guest appearance from Lindsay Schoolcraft) to appeal to fans of Black Guard and the like, listeners who have yet to take the complete plunge into darker waters; depths stirred by the likes of Behemoth, Dimmu Borgir and Cradle of Filth.
And, yet another album cover that’s part dystopian, part fantasy and part ‘this probably appears as a scene in a book’ someplace. But no complaints here, I like it, it has my attention enough that my ears are eagerly anticipating the audio within.
And… I’m pleasantly surprised. The track lengths hint at an epicness, and it’s here, as well a competantness (which probably isn’t a word?) to keep the listeners attention (way past the initial “well the art is pretty”). Varied arrangements (which are both traditional of the DM arena and infinitely more complex) hint at a plethora of influence displayed in such a way that each track bears its own identity. Technical Thrash cavorts with Progressive passages and Dissonant landscapes are dotted with interludes to heighten the albums narrative (a themed, concept album of sorts, I’d put a few pennies on it). Surprising however is the fact that this flows so damn well, riffs are infectious, rhythms are of the kind which stick and the stylistic amorphic nature (Venom, Venom – sorry can you tell I’ve recently seen this film?) never wonders into wizardry realms one might need a musical theory degree in order to unravel. In short, this is a fantastic discovery sure to incite smiles, smirks and widening eyes upon a great many fans visage who might be of the mind that most everything released nowadays is plagiarized crap. It isn’t and this band proves there’s plentiful life left in the genre.
Classical and intricate melodies add another layer to this listening experience. Building upon a foundation of Tech and Deathcore elements delicate touches heighten the enjoyment of a release which bears undeniable similarities to Black Dahlia Murder, Carrion Vael and other acts plucked from the twin-pronged vocal assault extreme audio collective. Musicianship shines throughout; carefully controlled chaos, excellent melodic passages and a classical nature often draped in devastating fury culminating in a surprisingly remarkable flow helping to keep predictability at a minimum.
Although a few tracks are arguably mellower than one might assume (more easily consumable Deathcore) this still presents an outstanding destination for those willing to discover fresh talent with little to no hype behind their moniker. Be one of the first to praise these guys!
Genre – Grinding Death/Grindcore/D-beat/DeathDoom/Death Metal
Thoughts –
Shortly before hitting Play, I was lost in my own thoughts as to whether the accompanying art was a product of the Bisley camp (it certainly has elements of such). This revelry however abruptly ceased when the album’s introduction finished, and the second track began. The heightened “oh-my-goddamn” excitement carries over into the third track, and on. Notes of Terrorizer and Morgoth are detectable as well a definite 90’s European influence, but it doesn’t stop there (and why should it?) A pulverizing approach hints at OSDM penchants, whilst exquisite accompanying atmosphere lends the album definite archaic ‘underworld’ qualities. All this, throaty vocals and skin-bashing rhythms likely to incite emergency room bills. This is my introduction to Deathcult (not surprisingly it’s a moniker which is used quite often, the world over), I went in blind, with only the art to ponder upon, and left smiling, sweaty and ready for more. You can’t afford to miss this! This is currently perched on the throne for my fave album of 22′ (yes, I know it’s early). This is damn fine, raunchy, (toe-tapping) metal.
Hankering for melodic Heavy Metal with attitude? Rhythms which bring to mind Iron Maiden in their finest hour? Add a splash of Groove, a sprinkle of Stoner Rock, instances where the listener believes the album might traipse into familiar Thrash territories and you have a winning combination. This is perilously close to Church helmed (Haunt, Beastmaker) metal, which is never a bad thing, though with vocals which could well accompany a Sludge/Doom and or Thrash/Crossover affair and not feel out of place.
I would be remiss not to mention the art which, to me, gives off Slayer “Live Undead” vibes. A fantastic introduction to the band and their talent, which is not to be missed!
Score – 94
The Corner of Rogga
Stygian Dark (International) – The Gorelords of War
Release – December 21
Genre – OSDM/Death/Dirge
Thoughts –
When one encounters an act comprised of members from Benediction, Paganizer, Wombath, Hail of Bullets, Bolt Thrower and Massacre the mind starts to tremble in excitement and one might even drool a tiny bit in anticipation. Those familiar with the artists mentioned might also jump to conclusions regarding the nature of the music. And… they wouldn’t be far wrong. Although this isn’t far from what comprises the foundation of the aforementioned style (chuggery, mid paced riffs and low tuned dirge) it still manages to hold the attention throughout. And if I’m to be brutally honest the Ingram/Rogga combination is one of my faves within the plethora of “Rogga partnerships” as of late. If groove and mid-tempo familiarity is your thing – this delivers! A second spin will be prompted faster than your brain can register the digits excitable reflex.
Score – 86
And, because no one asked for it, a list of my fave albums from 21′
(In no particular order; my absolute, most-listened to, faves are listed last & marked with a *)
Burial – Inner Gateways…
Hands of Despair – The Crimson Boughs
Grand Cadaver – Maw of Death
Mortal Visions – Mind Manipulation
First Fragment – Glorie Eternelle
Fear Connection – Progeny of a…
Rhine -Ausland
Rise to the Sky – Per Aspera Ad Astra
Autokrator – Persecution
Cerberus Attack – Abyss of Lost Souls
Worm – Foreverglade
Marras – Endtime Sermon
Netherbird – Exeter
Black Sites – Untrue
Lutharo- Hiraeth
Aborted – Maniacult
Vaelmyst – Secrypts of the Egochasm
Virial – Transhumamism
Moral Collapse- s/t
Stortregn- Impermanence
The Day of the Beast – Indisputably Carnivorous
Night Resident – Darkness is my Home
Demiser – Through the Gate Eternal
Summoning the Lich – United in Chaos
The Generals – To Hell
Betrayal- Disorder Remains
Saile – V
Cathartic Demise – In Absence
Malist – Karst Relic
Thorium – Empires in the Sun
Crummer- Deathwards
Thurnin- Menhir
Altered Dead – Returned to Life
Ephemerald – Between the Glimpses of Hope
Aversed- Impermanent
Malice Divine- s/t
Tragedy in Hope – Sleep Paralysis
Yoth Irae – As the Flame Withers
The Fallen Prophets – No End in Sight
Werewolves – What a Time to be Alive
Scarred – s/t
Miasmic – Uroboricidal Undoctrination
Organic – Where Graves Abound
Brand of Sacrifice – Lifeblood
Lorna Shore – And I Return…
Hate Monger – The Vile Maxim
Carcass – Torn Arteries
Folterkammer – Die Lederpredigt (from December of last year but demands inclusion & discovery nevertheless)
Ominous Ruin – Amidst Voices…*
Subterranean Masquerade -Mountain Fever *
Astrophobus- Corpus *
Archspire – Bleed the Future *
1914 – Where Fear and Weapons Meet *
Wingless – Non Conform *
Eternal Evil – The Warriors Awakening *
Ergholae Somptator – Mille Vertiges *
Creeping Death – The Edge of Existence *
Eternity’s End – Embers of War *
Hideous Death – Remnants of Archaic Evil *
200 Stab Wounds – Slave to the Scalpel *
Hate – Rugia *
Zornheym – Zornheym Sleep Experiment *
Bohemyst – ÄŒerÅ A Smrt *
Burial in the Sky – The Consumed Self *
Kraken – Tales of Terror *
Djevel – Tanker Som Rir Natten*
General Surgery- Lay Down and Be Counted*
Ænigmatum – Deconsecrate *
Prayers of Sanity – Prayers of Misantrophy *
Musk Ox – Inheritance *
Throne – Pestilent Dawn *
Dead World Reclamation – Aura of Iniquity *
Sarkrista – Sworn to Profound Heresy *
Seraph in Travail – A Black Death Incense *
Crystal Coffin – The Starway Eternal *
Necrofier – Prophecies of Eternal Darkness *
Black Soul Horde – Horrors from the Void *
Boneyard – Return to a Zombie Planet*
Cognizance – Upheaval *
And, obviously, some of my most recently discovered faves are noted above with a few thoughts upon them.
It’s been a wild year (insert most hilarious and dumb-founding moments here) and I’m sure 2022 will bring more of the same draped in schiite and reeking of political innuendo (whatever that means). It goes without mentioning that I wish all my readers (and even those with more sense, who don’t bother with my inane scribbles) a Happy New Year. May it burst at the seams with sensorial-shattering audio and good omens.
Please continue to support the scene and one day, and perhaps it might return to relative normalcy (?)
I’ll expect a few of the readers to be cradling their last vestiges of 21′; a persistent, partied too hard to bring in yet another year, hangover. Hopefully it dissipates soon enough and life returns to relative normalcy. But most importantly, for all, that the New Year brings prosperity and hope that the damnable plague and the authorities handling of it transforms from that of a carnival freakshow to something resembling common sense (which which has transformed into more of a superpower as of late). But enough about current events and associated bollocks, what say we talk metal?
I’ll attempt to keep this short, a solitary listen, and a few words (ha! As if), in order that I can cover more (though not all, that’s a Herculean task to be sure), of the albums I see floating around which I’ve somehow neglected to place in my sound catchers. A few have quite a buzz surrounding them (I won’t mention which), others are albums I’ve tripped upon whilst tumbling down either the YouTube or BC rabbit hole. And all this instead of a “Year End List”, as seriously there are just too many of these floating around for mine to even garner a glimpse (as is honestly traditional for most scribbles on this site). As usual I’ve included related links, so one may enjoy the audio whilst perusing my horrific grammar and nonsensical musings. There are a few “Metal releases to Look Forward to” (aka Metal Future) a visit to Rogga’s Corner (for it’s been a while) and a surprise ending (which I never thought I’d actually get around to scribbling).
Although this is barely this side of the utter 90’s European DM worship altar (think Unleashed and Sinister in their prime more so than others) it still holds its own with dives into melodic BM territory and wicked leadville, there’s even atmosphere to boot. Chuggery aplenty here, even a nod to the more chilling Slayer output, and rhythms which are difficult not to like as well a throat which matches perfectly and which would also fit into cavernous realms with zero difficulty. My only complaint is that this is perhaps a little long.
I’ll admit I’ve yet to jump on the Witherfall train. This then is my first experience of what they offer the listener. Truthfully it took all of ten seconds to see what all the fuss is about. A Riff to elevate even the grumpiest of arsehole, and a pace to rival the speed of a Japanese train. Surprisingly, this isn’t Speed or even Thrash metal (and nowhere even close to extreme arenas) it develops, within no time, into a combination which the whole family can enjoy featuring a prowess in the vocal department that is difficult not to appreciate. Thankfully this feeling lasts throughout the album, even the fifteen-minute plus track, and it offers all that one could ask for in somewhat of a ‘cleansing one’s senses of the Extreme’ way. There’s plentiful emotion here, styles ranging from familiar Progressive, Power Metal sans falsetto (nails on a chalkboard) vocals, through audio similar to the mellowest of Metal Church moments, and even a few surprisingly NSFW video clips to support. I’ll be visiting this again. And soon.
Score – 89
Malignant Altar (USA) – Realms of Exquisite Morbidity
Most artists pour their every last ounce of talent into all that they do. Blood, sweat, tears and sacrifice. Not surprisingly each album connects with each person differently. This is an album which has somehow taken me back to my formative metal youth, the instant in which I first discovered such albums as “Blessed are the Sick” and “Cruelty and the Beast” (obviously these examples won’t resonate with all, tastes vary dramatically, but they do me) and the impression they had upon me. And, I got sidetracked. I’ll attempt to revisit the track upon which I started. With this album one instantly comes to the conclusion that the band gave it their “all”. The style harkens to something familiar, yet not altogether ‘meat and potatoes’ and most certainly not mere chuggery realms. This audio bears an aura which seethes with genre-defining influence yet burns with a wickedness all its own. This is dense, unhurried, basted in flesh-melting sludge qualities and instances which yank viciously at the nostalgic sensors but better yet it’s crafted with a diabolical essence and talent which is timeless.
And to think I nearly forgot these guys. Their last was an EoY fave (and not just on account of the risqué art which surprised many by not being accompanied with a Scratch n Sniff feature). This is on the same level, undoubtedly BM with a more easily accessible tone though strangely with the same harshness and biting rhythms. Creative composition and riffs with an impeccable, infectious, jaw-dropping edge make this shine as well sharp vocals and a melodic aura many might liken to vintage Dissection. Top of the heap audio right here, which only makes me ponder on why I haven’t visited since it first dropped.
I’m honestly rather picky when it comes to music of this variety. However, I’m pleased to say that, somehow, this kept my attention throughout. Eerily familiar (yet not to an act which I can currently place, though somewhere between vintage Exodus, Death Angel and Flotsam and Jetsom is what I’m currently leaning toward) this attaches to the pleasure/reminiscent sensors immediately. Delicious riffs, superb leads, solos and a vocal approach with energy make this pop although in all honesty the cover gives office a Black/Speed affair this is decidedly Thrash and damn impressive at that! Just a pity that it was released so late in the year as to avoid EoY inclusion, it would’ve placed on mine (if I could have been bothered enough to compile one).
Energetic Thrash which reeks of the finest way of the “Golden Years” of the scene, though still manages to have an aura all its own.
With only a two-track demo to their name this act unleashes the veritable “hell on earth resulting from a city swallowing fissure in the earth’s crust” every DM fan was hoping for though from an act whose moniker only a select few actually know of. Well, that is about to change! So, why’s this so special? Well. There are many reasons, not the least of which being the fact that that this incorporates abysmal audioscapes and Incantation esque chaotic arrangements of a quality which is staggering to experience. Need I mention that every note fits, the top tier vocals, vertebrae contortion rhythm changes and groove enough to lose several school busses within? I seriously could dissect the ungodliness here track by track and then even more on top of that.
Seriously, there’s a reason why this resides on many a YearEnd list. Naturally, one might ponder…if this is a debut, what comes next? The best answer, in lieu of a Time Machine… only time will tell.
Barely a smidgen over nine minutes in length this smashes all the checkmarks I demand from the genre. The tone is delicious, the production isn’t crystal clear (this would sound strange if it was), the skin-bashing antics have me twitching like a loon, energetic rhythms put me in mind of Disrupt and Terrorizer without having either reach for a lawyer’s # to debate terms of relinquishment and the vocal approach is just different enough to garner the interest.
The genre is undeniably packed; however, this manages to stand out. I’m eager for more!
Score – 92
Dormant Ordeal (Poland) – The Grand Scheme of Things
One could well be confused as to the direction of this, what with track titles like “At the Garden Gates”, “Let the Light in” and “Letters to Mr. Smith”. It’s not until one encounters the title “Poetry Doesn’t Work on Whores” that the veil of confusion clears; this isn’t a lost/B-sides album by The Beatles (I believe that’s the first I’ve mentioned them here?) or even an insanely popular alternate acts recent release, not by a long-shot. Seconds in and one comes to the conclusion this is undeniably Death Metal and quite listenable at that! The audio bears a denseness and rhythms associated with those whose style borders on Grindcore and Death and these fellows pull it off well. Not wholly Death, not wholly Grind though somewhere nestled undeniably enjoyable in-between.
Add this album to others created by talented Polish musicians, and the act in the same ranks alongside Vader, Hate and Kingdom.
To be brutally honest I’m not all too familiar with the Mastodon library. So when faced with the opportunity to drop thoughts on their newest I leapt at the chance. Bearing the art in mind one might assume Post Metal or slightly experimental Black. And this is neither! It does however, much like a handful of standout Post affairs have a certain hypnotic quality to it, a flow which is difficult not to appreciate. The style is a wicked melding of alternate (at times I hear Soundgarden, and in others Therapy?) and Doom. But hardly of the traditional variety. And let’s not forget the fluid Stoner aura. It all mixes wonderfully (and is rather easy to listen to) although it isn’t until the albums final track that the jaw drops and the attention is yanked away from whatever else the listener might be doing.
A fantastic introduction to the band, their style (within this album anyway) and a genre which is a break, far, from (in my case anyway) the usual extreme.
Just when I thought all corners of the Doom arena were fit to bursting, this comes along. Slow in tempo with unhurried vocals this bears a haunting, yet smoky, vibe coupled with an occult nature (I’m digging that cover). Somewhat akin to both Alice in Chains and Type O Negative though far removed enough from both to not be too obvious this is certainly ‘different’ enough to stand out and intriguing enough to want to preach, praise and play on numerous occasions.
This is everything I wanted/desired/yearned for in a Speed/Thrash album when I was a teenaged, though never received even though I spent a great deal of time searching (although to be fair there wasn’t much of an accessible internet back then). Now as an adult I’m happy I’ve finally located that which my youth failed to locate (although a few releases came close). This has attitude, infectious riffs aplenty, a vocalist who tackles his duties 1000% and delivers from start to finish. Needless to say this has found its way on many a Year End list for warranted reason, more impressive yet is that this is the bands first full-length.
Score – 94
Knife (Finland) – The Eye of Infernal Wisdom
Release – June 21
Genre – Atmospheric/Raw BM
Thoughts –
Both raw and primal, this is sure to sate the urges of those whose tastes aren’t diluted by the injection of sub-genres. The style here is unapologetic in its stiff, unyielding Northern wind approach and frost delivery with undeniable reverence given to the roots of the genre rather than adopting that which can be easily embraced by those who tentatively traipse into ‘traditional’ BM arenas.
Be’lakor are one of those bands which might occasionally fall to the wayside though upon rediscovery incite a swift self-inflicted kick in the arse. There are many ways to describe the audio on offer and I’m sure many gave tried to ‘para-phrase’ it. I’ll merely use two words; Hypnotic and unique. For somehow the band with each and every album the band still deliver a tone, an epic nature and an audio landscape which are rather difficult not to fall under the alluring spell of. And, silly me, I’ve just learned that they’re Australian. Regardless they show the rest of the world how it’s done!
Much like when watching a movie time, flying by is a fantastic indication of quality (in other words, if whilst experiencing the movie or album you spend a great deal of time doing other things, checking social media, etc. Odds are either the movie or the audio in question isn’t all that entertaining). In this instance I’m glad to report I was wholly entertained. The carefully balanced melding of melodies (heavily hinting at both icy Black and atmospheric Death [occasionally Tech] influence), presence (a delicious mixture of both Gothic with the Arcane), grandiose production (ala Behemoth, Cradle of Filth, Dimmu Borgir and Septic Flesh) and the undeniable fact that these fellas know how to create/play and peddle a style which yanks at the pleasure sensors with ferocious intent all combine to make a wicked whole which any fan of a style which frolics on the boundaries of Black and Death is sure to fall ass over tits for.
Energetic rhythms herein tell of multi-genre influence likely plucked from the early nineties. Vintage Cannibal Corpse (in part) Demolition Hammer and even Exhorder, in certain instances, spring to mind. Depending on the track Thrash and Death battle for supremacy though frequently playoff each others leads in a way that only experience brings. In short, if your tastes run to a style which includes bestial vocals, head snapping rhythms, nostalgia and energy shrouded in a veil of brutality this is likely where you’ll want to park the ears next.
Rare than an act can balance an album with three factors; synth, brutality and cult homage, obviously Lucio Fulci inspired, (in this instance) with such precision as this. Admittedly the album is divided into two parts; one decidedly more brutal than the other. Although the first half showcases the equations latter two nicely without resorting to Slam and Blast Beat silliness. Overall, a fantastic follow up to “Tropical Sun”. The future is bright indeed, and better yet Fulci has a huge filmography which to play off of.
If ever there were an award offered to a band who boasted the finest “flow”, I believe Khemmis would hoist the trophy high. There’s is a style which sports a supreme fluidity, even though the audio traipses frequently across the terrain of a multitude of mountainous ranges of emotion. Melodic yet coursing with fury (in all of its intricately crafted departments) this transports the listener to realms rarely experienced, a fantastic landscape with a narration which demands further exploration and perhaps even further (format/alternate medium) accompaniment to expand upon that which the band have created (although with the imagery on offer I wonder if many thoughts don’t immediately veer toward “Witcher” lore). On display here is yet another stunning audio window into the universe which Khemmis continue to peddle, a narration showcased with a gloss, haze and bewonderment that the band manage only to perfect with each and every installment within their catalog.
Score – 95
Cadaveric Fumes (France) – Echoing Chambers of Soul
Not since Disincarnate have an act left such an impression with a single solitary (full-length) release (should I mention within this genre?) Naturally, this was years in the making, and it shows! Murky textures and a palpable swirling mist suffocates the listener as well a stylistic approach which bears to bear acts who helped shape and define the (earliest roots of the) genre and those who currently serve to propel it into the eager ears of fans. As of late this arena appears overcrowded, if truth be uttered, with new additions wherever one chooses to turn. I’m glad to state however, that this is an example which will continue to shine on account of a variety of factors, not least of which the audios undeniable attention to detail, the impact it has upon a first listen and the way in which it exquisitely melds devastation, diabolical essence and cavernous elements in a whole that’s far and above that which any debut should bear.
This is outstanding, and quite the way to start and conclude a career in one fell swoop.
Silly me, I always thought this read “overtime”. Onward.
And…
Holy F-balls!
There’s been a storm of buzz surrounding this. And for warranted reason! Imagine Dissection (what – again!?) within their vintage years complete with remarkable instrumental interludes and atmospheric medieval vapors so thick one is likely to choke, add a sprinkling of folk, a dash of Tatgren’s Abyss (The only album which should come to mind is “The Other Side”) peppered with influence spanning several waves of raw, melodic and atmospheric BM arenas and you’ll have, most likely, a bloody mess. But somehow, someway, Stormkeep manage to pull it off without sounding pompous, repetitive or even once giving off an “It’s all been done before, and better” vibe. Some have commented that the album is available in Target and Wal Mart (stores). I’m not so sure. However, if that is in fact the case, I’ll say it’s most probably the finest decision the acquisition teams have had since allowing Marmite’s trespass upon the shelves (and there’s a reference most are likely scratching their heads at). In short, this is fantastic, certainly a stepping stone album for most to gain entry into a largely misunderstood genre and oddly a side project (boasting members from Wayfarer and Blood Incantation) which could well take precedence given its popularity and appearance on so many EoY lists that it’s really quite staggering to fathom.
Expect traditional cresting rhythms and “clawing at the heavens in disgust” vocal antics here though also a surprising additional, that of HM rhythms as well an intricate Folk accompaniment. This is hardly easily categorized (nor neither is it wildly experimental, in the slightest) the overall effect is a diverse affair with the allure to reach those whose are open-minded with tastes which are equally varied.
Certainly not the run of the mill BM affair and well worth a visit.
Looking upon the cover art one might ponder upon this album’s style. And for good reason – it depicts both beauty and brutality; a maiden at rest amidst skulls and flowers (akin to cherry blossoms) with a colorful backdrop that sports a honey mustard and mud motif. The music is a fantastic mixture of drum-heavy pulverizing BM (with a slight Industrial edge), cinematic atmosphere and dissonant rhythms, there’s even instances of a Progressive nature which oddly brings to mind Pink Floyd and/or The Devon Townsend Project (imagine that!) In short, this album has a great deal to offer over and above what one might assume; a BM style which is a little off the beaten path (Panzerfaust come to mind) though still true to what many demand and often delightful forays into other arenas which serve to add presence and evocative landscapes. This may be that one album that’s slipped through undetected. Give this a listen and prepare to lose yourself in dramatic realms.
Truly an opus of an offering this provides the listener with a great deal more than merely Progressive or even traditional Death audio. Clean and growled vocals add depth to an already intricate and multi-textured composition with a delicately composed narrative. Several listens are required to allow this to fully blossom, though even on initial entry one has an understanding that Cognos carefully toe the line dividing diverse, experimental, Avant Garde and audio which manages to balance numerous genres without spending too much time within just the one.
I’ve heard this compared to Acid Bath (though slightly more punk infused). I agree, this is partially accurate, based on the opening, even though, admittedly, it reeks more of the swamps than AB ever has. Undeniably dense, and Southern in tone, this is sludge at its most feral and disgusting. However, the vibe continues to transform, rarely comfortable enough to rest, to take on a harsher tone (feedback and all) that of an EyeHateGod aura. One might be sated enough with just this. But the amorphic qualities persist, soon to even incorporate “Western” influence and then a Heavy Blues foundation. I could go on and on, suffice it to say this sports more gears than a Combine Harvester (Google it kiddies) and considerable temperament moreso than an excitable five year old (trust me on this one folks). But I forgot to mention the albums longer tracks bolstering considerably more than merely a splash of Hawkwind and psychedelia. This is deeper than different though not nearly experimental strange, in fact it’s a fantastic change of pace for those with definite Sludge, Stoner and Doom tastes. Give this a moment of your time.
Score – 88
Gates of Mourning – Of Ravens Wings and a Blood Moon
A little research informs me that this act is comprised of only the one person. Amazingly enough his is also the (sole) mind and talent behind Impious Throne, besides that his talent is also showcases within a slew of other acts which makes the fact that this is so stellar all the more jaw-dropping. Seriously, this is BM but with a Tech edge or some might assume based on its merits. The god-tier talented octopus drumming is what immediately pops, further exploration however sheds light on the genius string arrangements, the overall composition and the strange way in which this manages to hold one in thrall. This boasts atmosphere, an oomph many albums within the same category could do with and occasions of dizzying hyper speed. Not to mention the drums (again), a stunning dual vocal approach and it delivers from start to finish. Seriously, this is making me drool, it’s that good! Needless to mention it demands recognition throughout the year, not just when its finale looms.
Is this a mash up of Septic Flesh and Obscura? It’s likely, there’s cinematic/palpable atmosphere married with a hyperspeed only a rare few acts can pull off without sounding silly. Although this is largely without Progressive passages it still maintains a nightmarish foundation, in essence a soundtrack an invading force of weapon masters (who can twirl assorted sharp things faster than the eye can see) could utilize as they decimate organized societies to a landscape of chunky claret. In conclusion, if you’re looking for a fresh act who play at a blinding pace (with a tightness that would make a ducks arse jelly) draped in a malevolent tone and backed by a definite blackened essence this is a location you cannot afford not to visit. Why not stay awhile? I guarantee the replay button will get a work out with this finding conquest over the stereo.
Thunderous drums, unhurried gruff vocals and a mid-tempo which is difficult not to entirely lose your self-control to. This is my first experience of the band and their output and I’m pleasantly surprised. An exploration of their discography awaits with plentiful groove and an overall take-no-prisoners quality like this on offer. I’m sure you’ll agree.
Score – 85
Morlhex (Columbia) – Made in Hell
Release – September 21
Genre – Black Speed/Thrash
Thoughts –
I’d be lying if I said that the image had nothing to do with this album’s inclusion. A Conan-esque barbarian with a demon’s face swinging a giant ax, and all in BnW art. I’m pleased to report that the accompanying audio doesn’t disappoint. Vintage speed sensibilities with an occasional familiar riff tossed in, seething vocals and rhythms to garner the attention of both Heavy Metal and aggressive Thrash fans. There’s alot to like here especially for those who lean toward South American Metal arenas. This has bite, viciousness and a level of nostalgia which is hard to ignore, although there is an argument that it’s all been done before. It’s true, this breaks no new ground though still holds its own. A fantastic example of what the Columbians are getting up to in the Metal arena.
Ah, the good ole days of chuggery and accented growls. Asphyx, Morgoth. Vomitory and the like dragged me into this and I’m still exploring the vast world of extreme audio with a smirk upon my chops. And now the brutal gents from The Netherlands are back. And, it’s been a while. So… how does this fare? Obviously, this isn’t “The Rack” but… it is damn impressive! Chuggery and mid-tempo rhythms are still front and center, then there’s a familiar dense nature and tone. What isn’t so familiar however is the bands eerie similarity to another influential act from around the same time; Bolt Thrower. Dirge has found its way into the band’s newest incarnation, and it works! Another element which leaves an impression are the leads and the bands ability and willingness to take their style into melodic realms. This is undeniably still the bands trademark style but reinvigorated some, in short, a fantastic introduction to an act whose discography demands discovery and who are still surprisingly killing it!
Not wholly original, and not mind shatteringly technical, this however matters not in the slightest. From the very first the infectiousness of this gets under the skin causing twitching limbs and a spark of the thought that it might be time to break out the denim jacket (with all those patches) again. But this isn’t just “holy shit this Thrash is evil and I love it” nostalgic. Honestly, it appears this guys cannot do any wrong. Their first was God tier audio, their split with Bastardizer was great and this is EoY list material. As if all this needed mentioning, I’m likely the last to listen to give this the time it demands. Do not be like me!
It’s no secret that any realms other than Death/Black and the like are not those I frequently explore. Imagine my surprise then when I hit play on this (for SnG’s) and found myself falling under its spell. Strange. To be enjoying every track when each is different in feel is even more perplexing still. And, for this to be a one- person act only makes it that much more impressive (though at this juncture I’m left wondering if it’s not the easiest way to approach creating ‘anything’…?) Undeniably mellower than most everything I grace my ear holes with this has a certain allure, a soundtrack for downtime, a score for the whole family to enjoy which isn’t so distracting as to cause irreparable rifts. Toe- tapping in nature, diverse but not so much as to be annoyingly experimental, and smile inducing this is a fantastic stepping stone to explore that which exists outside of growling, grunting, blast beat and corpse shredding territories.
The music here is stellar; neck snapping speeds with just enough breakdowns to be able to steal a breather before jumping back into the pit. There’s a definite late 80’s vibe going on. And then the vocalist joins in (*insert pregnant pause) and most likely divides the love it, hate it camp right down the middle. His (at least I think it’s a male, but let’s not start that silliness here) is an approach which brings to mind Tom Warrior (not the “Ultimate” for all those old school WWF wrestling fans out there), a heavily accented accompaniment which, in this instance, is barely this side of spoken word. However, I’m slowly warming to this affair, in all honesty I wasn’t really sure what to think at first; the music (itself) had me in thrall which helped ease the transition a great deal. Again, this is a you either like it, or not, album. And at this juncture I’m of the ‘this is rather intriguing’ “its gonna grow on me over time” camp.
My apologies to those who might have been waiting. Knee deep in boxes, moving trucks, curses and a quest to find a new career (which edges, won’t drive me insane) I’ve been, understandably, busy. Though with the light at the end of the (proverbial) tunnel in sight I’ve decided once again to endeavor upon this thing I refer to as “scribbling”, or in this instance my attempt to lay words (usually in nonsensical order) upon that which I’ve greedily devoured.
What say we begin? In no particular order here are a few releases (scattered across the extreme audio realm) I’ve enjoyed in recent weeks/months.
A determined and confident mash up of Tool, Helmet, Alice in Chains and Therapy. Surprisingly addictive and a welcome break for those whose usual audio habits consist of Bludgeoning, Gloom, Doom, Eviscerations and Dismemberments.
The introduction gives off a rebellious vibe making one perhaps think audio of a Hardcore leaning, whereas the studio itself delivers melody and movement aplenty. In short, a wicked mix of Dark Tranquility, In Flames, Linkin Park, Meshuggah and As I Lay Dying. The album offers a great deal to enjoy especially for those whose penchants lie a little short of grunting/growling/brutality arenas.
Forget the name, actually don’t. It grabs the attention! Then it doesn’t take long for the hooks. Fast, furious, melodic (yet not in a ‘melodic mellow kind of everyone is gonna love this’ way) and groove laden. This hits the spot. With vocal which veer towards the Crust side of things the infectious nature transforms into dangerous addiction, and fast. This is not a release you should ignore, obviously the moniker is one you can’t forget. I’m only left pondering is it consensual copulation with the Grim Reaper or acts of a slightly more nefarious and messy nature?
An energized new line up, a reinvigorated sound and a driving energy which is hard to deny. These four ‘ladies’ have somehow managed to deliver fluid rhythms, enough hooks to make a fleet of fishermen jelly, drum salvos to incite torso tiring spastic movement and a vocal assault which is a wickedly delicious snarl I just cannot get enough of. Oddly, the style herein reminds me of vintage Witchery (which isn’t horrid in the slightest) showcasing galloping riffs and aggressive melodies draped in malevolent evil barely this side of the BM fence. If you have yet to discover Nervosa this is a fantastic jumping on point! But also, a stunning surprise for those already ‘in the know’.
Fave Track – Guided by Evil (Rebel Soul in the deluxe, expanded, version)
What happens when a label top dog (in this case the ‘head’ of Subcontinent Records), Sudarshan Mankad (an Indian guitarist with notable chops), Hannes Grossmann (he who needs no introduction) and a few guests, draped in pedigree, put together an album? Well in this instance, ten tracks (the tenth being an exclusive CD track) of extreme audio to delight the senses of both long-time fan of the genre and those who only occasionally dip their senses though know all too well quality when they hear it. Comprised part Old School, part Progressive showcasing occasional nods to a variety of other genres this doesn’t take long to leave an impression. And all this with a surprising addition; that of a saxophone (the violin inclusion is admittedly easier to comprehend). There’s little to worry about however as the nostalgic elements on offer will soothe the senses leaving one open for a little composition experimentation. Obviously, Hanne’s involvement and skill is a level above mesmeric, a factor which heightens the enjoyment of a virgin listen, but that’s not to say that’s all which is on offer, it most certainly isn’t. The guitar work is exemplary (be it from the skilled fingers of a guest musician, Arun Natarajan or Sudarshan Mankad, there are rhythms to spare, amorphic passages to make the senses spin and moments which evoke both the Old and the New School Tech approach. Even intervals which effectively conjure a swirling descent into chaos. The bass is springy enough to sate those with such penchants and the vocal accompaniment… well, it doesn’t disappoint. I understand I’m not the only listener who demand the quality be on the same level as the percussion, hoping with fingers crossed before the element kicks in that it hits the mark and doesn’t ruin an otherwise remarkable listening experience.
In short, for I’ve near-completed the exact opposite, this is exactly that which an album that contains the genius of Mr. Grossmann is assumed to be, it provides diverse qualities, hypnotic arrangements, tornado brutality and an exquisite cavalcade of riffs to keep the listener on their toes. Sure, this isn’t Necrophagist Mk II or even that which could be deemed traditional Tech death, but its good enough to yank the attention away from whatever else is on the multi-tasking to do list. I’m more than intrigued as to what might follow, I’ve found this to grown on me with an appetite more ferocious than a soul-devouring lichen (yes, this sounds like something plucked from the ‘Rick and Morty’ universe. Would you rather me insert another “Bad Taste” reference? I thought not)
Fast, chaotic, furious riffs with rhythms packed with filthy groove to incite bodily harm and all accompanied with vocals you can’t understand? It’s all here! Only four tracks on offer though at this quality I demand more. This is the type of extreme audio fans of the old school DM will eagerly lap up. Forget the 42 score on E.M (those in the know will be able to decipher the abbreviations) this is top-notch ear candy guaranteed to get those appendages flailing.
Side note; I’m curious if the band’s moniker is in some way decipherable as an act of horrific flatulence?
Raw and seething with a primitive nature this provides a style drenched in Old School values. With diabolical essence sprinkled throughout this lies somewhere between cavernous DM and DeathDoom providing slightly more movement than one might expect given those parameters. No frills or experimentation here, this sees a band stick to their guns and the genres roots.
Genre – Melodic/Tech/Progressive/Black/Death Metal
Seamless, flawless and multifaceted. Stortregn have again proven they’re the most deserved yet not-so-much talked about act in current rotation. With a style influenced by a slew of genres, and talent to back up the ingenious creativity and stunning composition the act has proven their past releases to be far from one-off flukes. They can deliver and have done so, yet again. Another amazing signing by The Artisan Era.
Fave Track – Multilayered Chaos
Score – 93
Grave Miasma (United Kingdom) – Abyss of Wrathful Deities
I’m not sure what it is about this act? It’s taken me a few listens to become accustomed to their style. Unpredictable melodies accompanied by a vocal style leaning toward Grindcore sensibilities (mid Napalm Death era comes to mind) with an echo edge.
However, now that I’m comfortable, I’m pleased to say that the album only makes a larger impression each and every time I visit. One might say it has “blossomed”. Cavernesque qualities are front and center followed by a swirling technicality in the composition department, this is in no way ‘meat and potatoes’ or even ‘paint by numbers’ DM. A style drenched in dissonant qualities with veins of groove throughout. This deserves further exploration over and above a solitary listen and demands such.
Hitting play on this I honestly didn’t know what to expect. It certainly wasn’t an audio experience which borders on religious. It’s truly as if an entity (I’d say human, though with the skill shown here I’m of the mind this is superhuman) took the finest parts of Amorphis, Opeth, Devin Townsend and David Bowie and lovingly curated them in a seamless manner. Nostalgia is sparked by way of the exquisite vocal stylings (this is where the Bowie [RIP] element comes in). However, this isn’t all this offers. Rhythms are fluid and amorphous yet don’t appear at all out of place. In certain instances, the audio’s presence reaches an ecstatic plateau, a location whereupon gooseflesh is raised and everything but the audio falls to the wayside. Amazingly enough the album is wonderfully diverse yet somehow manages to corral the interest throughout. Better yet this isn’t of a ‘heaviness’ to turn likely interested parties away (in other words spouses who normally don’t dwell within HM realms might like this). In short, go into this with an open mind and leave satisfied. This has #EOY written all over it (I say this without reservation).
Fave Track – The whole album is of the highest quality, it’s difficult to pick a single standout.
Score – 98
Vrykolakas (Singapore) – And Vrykolakas Brings Chaos and Destruction
Dark Blasphemies Records, Sadist Records, Evil Damnation Records
Genre – DeathThrash/Death/Brutal Death
Pulverizing audio! Think Vomitory ramped up to 11, add maniacal qualities and steer the vehicle on a collision course with Brutal Death arenas. The tone here is fantastic, think Bolt Thrower mid-era dirge, as well the movement of the rhythm overall, there’s a lack of instrumental interludes and slowing down which depending on the mood is a great thing. Be warned though, if you’re thinking of taking this to the gym be prepared to burst a blood vessel or three.
As the music and the influence hits the listener. There’s no secret (and I’m sure upwards of 90% of reviewers have noted the obvious) that Frozen Soul have captured the tone, style and nostalgia related of an act I will refrain from mentioning. However, there’s more than enough movement and groove on offer here to sate those with a lust for the Old School with a decidedly European slant accompanied by Dirge sensibilities which bear Grindcore teasing qualities.
Fave Track – Beaten to Dust
Score – 91
The Day of the Beast (USA) – Indisputably Carnivorous
Sporting sharp riffage alongside whirling tight speed passages this bears unquestionable Carcass (mid- era) qualities. The vocal style, inflection even the tone, compounds this belief. Add an ominous vein of darkness and you have an album which is especially easy to appreciate. It doesn’t hurt that the compositions boast a flow which lean toward frenetic Thrash territories albeit soaked in Arch Enemy/Amott melodies. Overall if, like me, the wait for the new release from the British God’s of Grind/Death has extended past comfortable realms you’ll want to give this a listen. Familiar enough to be easily consumed yet not so much as to labeled clones. The Day of the Beast (the band and this album) is a surprisingly entertaining discovery amidst a market oversaturated, as of late, with entries burdened with the Blackened Death moniker.
Recc for fans of early Arch Enemy, Arsis but especially later era Carcass.
Fave Track – Indisputably Carnivorous
Score – 92
Exorcizphobia (Czech Republic) – Friend of Lunacy EP
If Nuclear Assaults “Handle with Care”, Anthrax’s “Spreading the Disease” and Metallica’s “Kill em’ All” had an illegitimate offspring this would likely be the result! Energetic, infectious and dangerously addictive. I need use no other words, just jump on this pronto, it’s damn impressive. Why aren’t Exorcizphobia better known? After this they should be!
Fave Track – Friend of Lunacy
Score – 92
Djevel (Norway) Tanker Som Rir Natten
Release- May 2021
Aftermath Music
Genre – Atmospheric/Melodic/Old School Black Metal
If you can get over the stupendously long track titles (which isn’t at all difficult) this is a criminally easy album to enjoy. Beauty cavorts with frigid riffs and suitably chilling vocals and there’s atmosphere to spare. To keep this short (unlike… yea I’ve mentioned it before) this is mesmerizing BM with just the right amount of that which might be considered traditional (all depending upon the “wave” naturally) to keep the purists as well the newcomers sated. Epic track lengths and rhythms which enthrall throughout. I’ll be surprised if I don’t hear mention of this come Year’s End.
Fave Track – …Vinger Og Torniglorier (the track titles here are infuriatingly long, so I shortened this to the last three words)
Score – 93
Prayers of Sanity (Portugal) – Doctrine of Misanthropy
When the music starts the fingers are crossed that the vocals are as good and that they fit, making the sound complete. And boy, do they!
Hyper-addictive rhythms, riffs which will make your joints scream in agony and a flow that’ll make you wish your house had no walls, and your vehicle no ceiling. Prepare to headbang like one possessed, this is the type of Thrash your parents warned you about! Score one for Portugal, zero ballads, unfiltered aggression and a feeling that rhus might well live out the remainder of its life stuck in the stereo. Fans of aggressive Exodus, Overkill and early Anthrax are likely to sweat copiously as these tracks ravage the senses.
Apocalyptic, yet melodious and bearing a drum style which pulls this slightly from traditional Black realms this is an album which is wholly not entirely ‘anything’ yet is so utterly consumable as to be praised from on high. Vicious vocals and galloping rhythms serve to make the head spin, as well enough diversity (prog passages, atmosphere and melody to aggression in the blink of an eye) to please those who demand it.
Fave Track – Wisdom of Suffering
Score – 87
Mortuary Spawn (UK) – Spawned from the Mortuary EP
And this came outta nowhere! Sporting a myriad of wicked rhythms to send a Pit into a rabid frenzy and enough nods to the Old School to alight grins aplenty the fifteen minutes on offer here are more than enough to spark both fan and major label interest. Criminally infectious in instances with a vocal style which fits like a glove (designed especially for arcane rituals) this is an EP which deserves attention.
It’s always pleasing to see an act slowly rise from their earliest stance. Such was the case here. I was lucky enough to state this is a huge step up. It appears the bands style has matured somewhat and has begun to find its niche. The EP showcases varied compositions displaying wicked movement and rhythms which are more than likely to stick after this release is through ranging from aggressive Thrash through Tuetonic and a style basted in Blackened tar. The production is raw, but it works and serves to bolster the vocal style; drenched in Crust sensibilities. If all that isn’t enough, Joel Grind has a hand in this, which is an obvious indication that it’s worth a listen, and it is! I’ll gladly state that Corey and the gang are on the right track. If this doesn’t turn the same heads which listen to Wraith, Hellripper, Midnight and Bastardizer I don’t know what to say. Give this a chance and keep the ears to the ground for future developments within the Graveripper camp.
Fave Track – All Life Decays
Score – 85
Plucked Screamin’ from Metal Past
Hideous Divinity (Italy) – Sinful Star Necrolatry (Demo)
Insert “melting your flesh”, “raping your ears” cliches here. Only two tracks on here, a whopping nine minutes. But it’s enough, in fact the first five seconds trip the brain into OMFG this is impressive audio delight. Admittedly this is one of the finest Demos I’ve heard, period, and there’s little wonder the bands moniker is known the world over. Discover that which started it all! For this truly is a fantastic milestone, an entry point from which the act only, somehow, got better.
A refreshing change from the usual this sees a collection of stoopidly active musicians getting together to release an album which is quite simply stunning. Various elements bring me to this conclusion; the musical talent on offer, the composition; which conjures a wide variety of strong emotions and the album’s overall ability to remove the listener from their normal environment into another which is cinematically themed. A landscape which is startlingly vivid, and rife with scenarios which run the gamut of grief, joy and reflective reminiscence. Remove yourself from the everyday by allowing the senses to explore this.
Fave Track – Inheritance (Part One)
Score – 92
Rogga’s Corner
(For his unwavering dedication to the scene deserves more than a mere mention, right?)
Surprise, surprise. Rogga is at it again! And many might ponder – does this gent ever sleep?
This is Revolting’s seventh full-length (this is obviously one of Rogga’s main acts alongside Pagaizer) and shows the band (a three-piece currently) in top form blending a Hm2 Buzzsaw approach with Dirge and just enough brutality to set it slightly apart from those plainly visible when one mentions the same arena. Hypnotic in its groove and addictive in its overall demeanor this is an album which warrants discovery (and purchase, especially since Transcending Obscurity does such an amazing job of making the finished product look so damn appealing) and stands tall as a fantastic example of why Rogga is such a relevant ever- evolving (though thankfully not to the extreme) presence within the extreme audio spectrum.
Fave Track – Carnage Will Come
Score – 91
And…I’m done!
And that’s it, my apologies again for those who might have been waiting (all two of you). Feel free to comment, suggest, share, and it goes without mentioning support the scene.
Don’t fear discovery of that which is normally foreign to the sense (unless it’s Brussel Sprouts, those little green bastids can go to hell).
I’ll try to get one out faster next time. I blame moving (but doesn’t everyone?)
What say we dive into Bookmarked realms, yet again? As is most often the case there’s just too much audio to keep up with. Here’s to a solitary listen upon a diverse array of releases (both new and some not so much) followed by a few brief words to fully convey my thoughts. Onward…
Aschenvater (Germany) – Landungsfeldmassaker
Release – April 2021
Dead Center Productions
Genre – Dirge/DM
Thoughts – Simply put this is Bolt Thrower mixed with an Asphyx style complemented by German vocals, and… (drumroll please) it’s bloody good. Just don’t ask the surly looking dwarf on the cover for directions as he looks more likely to want to head butt you in the groin.
Thoughts – This could well be the one which gets away/slides under the radar. Don’t allow that to happen! Surprisingly complex and ominous this offers exquisite atmosphere as well enough unpredictability and frenetic fury to keep listeners on their toes. Equal parts grandiose presence and maniacal rhythms and criminally infectious riffage this is sure to ruffle a few feathers and upset the pecking order of many a playlist.
Militia (Hungary) – Nightmares in the Church (Reissue EP)
Release – February 2021
Grotesque Sounds
Genre – Old School/Aggressive/Blackened Thrash
Thoughts – Who knew I needed Old School Thrash with a Baroque touch in my life? I certainly didn’t! A church organ adds the weight of originality to this as well rhythms to incite movement and a vocal edge seething with evil (I couldn’t quite place them so I reached out to Void, yes, the one and only, and he nailed it by saying it sounds like …” a black metal Exciter”). Suffice it to say this won’t be forgotten in a hurry. All the must have ingredients are here folks making this a must listen especially for those with a penchant for late 80’s aggressive Thrash with bite.
Thoughts – There’s little doubt who influences this diabolical trio; Vendetta, Whiplash and a host of Tuetonic Thrash standouts come to mind, they even cover a track by Violent Force to reiterate the fact. Lively and caked in a style one will find difficult to not appreciate theirs is a fast-paced assault sprinkled with Heavy Metal doused with ill intent. I’ll even go so far as to forgive the obvious “borrowing” of an image known for its immediate representation. This is surprisingly good, the cover fantastic.
In light of the album not being on BC yet I’ve added my favorite track instead
Genre – HM2/Dirge/DeathDoom
Thoughts – Mid-paced and overflowing with groove this is high quality HM2 worship in a similar style to Grave and Vomitory. Audio which delivers throughout though really adds nothing to carve new ground within a scene which is already bursting at the seams.
Fave Track- Gluttony
Score – 86
Lucifuge (Germany) – Infernal Power
Release- April 2021
Dying Victims Productions
Genre – Blackened Speed/Heavy Metal/Crust
Thoughts – Although the cover hints at plodding, powerful, Doom this is emblazoned with attitude and raunchiness and seethes with an air which could well have originated from the early 80’s. Brisk in pace and channeling Exciter, Venom and a slew of acts bordering on the pitch BM fence this embodies everything you’d hope from an act bearing studded wristbands, bullet belts and shredded denim jackets. Add haunting melodies which a shrieking edge (which for some reason bring to mind Giallo classics) and you have a release which is a pleasant surprise and begs for further exploration.
Thoughts – This commences on a Within Temptation/Trans Siberia Orchestra footing and slowly shows its vast array of colors. Melodic Death passages against a tranquil Synth Folk backdrop, a delicate balance for sure which these guys somehow manage to pull off without issue. In fact, I’d even go so far as to say this is damn good, an excellent example of when Classical sensibilities frolic with the menace of Dark Metal boasting soaring melodies and an aura which evokes otherworldly, fantastical, environments tainted by drama and conflict. Recc for fans of Black Guard, Therion and Wintersun.
Thoughts – Toss away those assumptions of placing the ears upon just another slab of chuggery-laden death. As this provides so much more. Channeling Old School tendencies, an aura Abysmal Dawn would be proud of, the guitar bend antics of vintage Gorguts, the ferocity and boisterous nature of Cannibal Corpse as well gymnastic rhythms ala Misery Index, this showcasing a stellar assortment of riffs upon riffs and a thick blanketing atmosphere of dread. SoC have somehow forged a release bearing a quality which puts releases by many journeyman acts to shame. It doesn’t end there however, passages of melody heighten the audio experience, topped off by intricacies and frenetic movements, exciting arrangements (the sort the local medical practitioner would deem damaging to the vertebrae) slathered in a quality and seamless fluidity which separates this from the clamoring hordes. Top-notch compositions and exemplary execution more than hints at grueling dedication to the craft which has paid off. And there’s little doubt this will carve a smile upon many a face as digits happily pounce for the replay icon again and again.
The album isn’t up on BC so here’s a YouTube link instead
El Puerto Records
Genre – Thrash/Heavy Metal
Thoughts – A likely mash up of Sodom (harsh heavily accented vocals), Judas Priest (by way of rhythms; part Thrash, part traditional HM) and Exodus (on account of there’s a little ‘bounce’, gang vocals and plenty of faster pace switches). Overall, this is great on a first listen basis though largely uninventive (see “Spilling Blood” with arrangements uncannily close to “Mother Russia”, even down to vocal stylings, by Iron Maiden”).
Fave Track – I Am the Violence
Score – 74
Endseeker (Germany) -Mount Carcass
Release- April 2021
Metal Blade Records
Genre – OSDM/Hm2
Thoughts – Obviously with the above-mentioned HM2 style in mind this is somewhat reminiscent of Dismember (in fact the first track makes one think it could well be Dismember Mk#2) Entombed, Grave, Entrails and the like. However, this has an uncanny knack of sounding fresh. There are melodies aplenty (think “Massive Killing Capacity”) eye-opening variation in pace and fantastic vocals. All in all, a fantastic package to liven up the HM2 arena. Drop the assumptions that you’ve heard all the arena offers and set the ears upon this! Shit, as an added incentive there’s even a John Carpenter cover (“Escape From New York”).
Thoughts – A storm, wailing guitars and a mumbled warning. Fingers crossed that this delivers. (The Intro is certainly ominous enough). And… it does indeed.
Think Tuetonic German Thrash in a similar vein to Violent Force (complete with somewhat raw production) with vintage Kreator leanings, South American attitude and veins of melody (yes melody) add rushed vocals dipped in seething wickedness and the concoction is complete, thus is quality Blackened Speed to please even those with a hankering for the type plucked from the early 90’s. Is it wrong of me to say this is damn good audio based on my assumptions of it originating from Indonesia? It probably is, however, this about face steers me more toward the area and the music I’m most likely missing out on (as it should you). Did I mention this is damn good?
And here’s another album which either isn’t, or I can’t find it, on, BC. So here’s a YouTube link
AFM Records
Genre – Heavy Metal/Stoner/Southern Rock
Thoughts – You guessed it. It was the darkly humorous, vivid, weekend cowboy comic book art which pulled me in. Seconds in, however, I realized this was quite unlike that which normally caresses the senses. Against my better judgement I couldn’t move. This is damnable infectious, undeniably radio friendly but most of all ‘fun’. The vocalist has a fantastic set of pipes and the style is that which could easily accompany a 90’s genre film at just the right moment, the instant when shit hits the fan and people start to flee and panic. Somewhere between Stoner Rock and traditional HM is where this album resides, an area I admittedly don’t frequent all too often, usually only when the mood permits. With that in mind I’m extremely happy with this is in the ears (shit, there’s even a track about Judge Dredd why wouldn’t I be?) as I’m sure a great many will be also. It’s just a pity the act and the label don’t utilize Bandcamp, fingers crossed that’ll change as I’m sure there’s a large audience waiting.
Fave Track – Lawgiver
Score – 87
Stoned Karma (France) – Secret Prayer
Release – October 2018
Independent
Genre – Acoustic/Stoner Rock/Doom/Psychedelia/Hard Rock
Thoughts – Occasionally I’ll click on a random album, in other words an album I’ve not heard of or have been pointed into the direction of, in this case it was this (I’m an adventurous type of fellow). And I’ll admit I was hooked from the very first passage. Acoustic albums often wear out their welcome rather quickly (as are my tastes) however for some reason this kept my interest. A quite brilliant mix of exciting rhythms (some with definite “Western” flavor) accompanied by a stellar knowledge of how to manipulate the Wah-wah pedal. Naturally, drums are in the mix and add extra oomph when needed. Surprisingly, the whole bears the capacity to whisk the listener away, to dissipate the days stresses. A narrative fueled by emotion, action and ominous qualities conjured by the skill of the composers responsible evokes tangible images and scenarios. In short, exquisite escapism any doctor worth his salt should prescribe on a regular basis.
Thoughts – Quite the odd piece of art as an enveloping accompaniment here. A frightened midstride hare (or a rabbit, take your pick) against a geometric pattern of sorts. The image obviously gives zero away as to the music within but I’m nevertheless intrigued.
And. This is quite different. The term “Post” doesn’t really encapsulate what’s on offer, neither does Synth though there’s a vast amount of it in the music’s construction. There’s also a fair bit of angst, a grinding “Crustiness”, coupled with dusting of Folk provides a sudden about face in the albums first track. And what a way to start an album. Thirteen-plus minutes which has me hooked, curious as a dizzy cat, and still not sure fully what to call this. And the brilliance continues, no two tracks are alike though the magnificence continues. A certain hypnotic quality has managed to take ahold, it’s obvious at this point that Alkerdeel have no desire to stick to a premeditated, predictable formula. This is different yet so satisfyingly familiar it’s damn eerie. Pitch Black sensibilities and a nostalgic tone engulf the listener in a vise grip as an assortment of menacing types (in this instance extreme audio styles) take their turn to pummel the senses. The main culprit however is the remarkable “skins man” (although it could also be a lady manipulating the sticks) and their ability to insert an unmerciful drive and backbone to this whole affair. There’s all manner of words and phrases one could use to describe this. Admittedly, most of which escape my senses at present as the last vestiges of the album remarkable nature slips away and my ability to concentrate returns. Albeit sluggishly.
Fave Track – I couldn’t answer with a gun to my head.
Score – 94
Terminalist (Denmark) – The Great Acceleration
Indisciplinarian
Release- May 2021
Genre – Aggressive/Technical Thrash/Death
Thoughts – Don’t let the opening salvo fool you, this album is deliciously varied in its approach. Sure, at times this is blistering fast, but whilst being intricate within the pleasingly infectious riff structures it also boasts atmosphere and an aura which is perilously close to dissonant realms. The vocals are the main element (although there are rhythms which hint at the exploration of Blackened realms) which gives this a Death edge and boy, do they fit! The total package is one which is sure to entice a great many extreme audio fan to turn their head. A fantastic debut full length which could well bring much needed attention to the scene within a locale which isn’t mentioned all too often.
Upcoming Releases to Keep the Ears Pinned to the Ground in Anticipation
Killing Addiction (USA) Mind of a New God
Release- June 2021
Xtreem Music
Genre – Death Metal
Thoughts – These guys have been at it for a while (in an area known for churning out quality DM) though have a sparse discography to their name. It’s been more than a decade since their last. So, how does this fare? Mid-tempo and choppy is the style on offer here as well the occasional foray into frenetic rhythms packed with groove. Similar artists which come to mind are Cannibal Corpse, albeit minus at times the technical aspect, and Jungle Rot. The overall style, although nothing too far from the norm, will not disappoint those with a hankering for Floridian Death circa the 90’s.
Genre – Thrash/Progressive/Power/Epic/Heavy Metal/Melodic Death
Thoughts – Starting out on an eye-opening footing this EP shows fantastic promise and definite talent in both the composition and talent arenas. Rhythms are melodious yet driving. Leads are plentiful, exciting, and hint at a myriad of influence from across the metal spectrum. Hard to categorize, this is easier to appreciate and will definitely appeal to those who prefer clean (on offer here bordering in instances upon Glam/Hair metal territories) singing albeit with their Thrash or audio which teases melodic Death realms. Keep the ears peeled for this Father/Son duo has a great deal to offer.
Fave Track – Beast of Fire
Score – 83
Pharaoh (USA) – The Powers That Be
Release- June 2021
Cruz Del Sur
Genre – Power/Speed/Epic//Doom/Heavy Metal
Thoughts – Energetic rhythms worshipping at the altar of gymnastic and intricate fretboard manipulation hold the attention as this caresses the senses. Riffs, both nostalgic and fresh, are plentiful within arrangements which are likely to appeal to a wide swath of the metal community. This is not what I expected to hear with the term Power Metal in mind. The vocals are far from falsetto realms and the overall style, a melodic Rollercoaster (minus the queasy feeling) hints at Speed realms though remains firmly upon a tradition Metal foundation. In instances I’m put in mind of the brilliance of Haunt, “Thundersteel” era Riot, others more melodic, swifter, Dokken and in others still Halloween even “Powerslave” Iron Maiden. In short, if melodic, traditional, Heavy Metal is your thing you’d be remiss not to lay ears upon this.
Gates of Hell, Nameless Grave, Crystal Blade, Armee de la Mort Records
Genre – Heavy Metal/Hard Rock/NWOBHM
Thoughts – Channeling vintage Maiden, Diamond Head and Blitzkrieg this also bears a vintage tone. The lyrics are in French, with vocals reaching falsetto heights, but it matters not (I’m sure there’s a translation available online someplace?) the rhythms are predictably of the galloping variety, the arrangements infectious, the drum sound of the like to make the limbs twitch and the vibe one which conjures denim jackets and rifling through record stores stacked with vinyl. This is a tad obscure though sure to perk interest in the vintage HM fan camps, possibly also in the adventurous Stoner Rock encampment.
Thoughts – Mid-paced and menacing this bears a hypnotic quality and a blanket of dread, an atmosphere, one can sink into. Melancholic and haunting and thick in molasses heaviness, deadly infectious groove pulsing riffs incite the limbs to twitchin’. For a debut the quality here is astounding. Jump on this pronto!
As this isn’t on BC, Here’s a YouTube Link instead
Dark Symphonies
Genre – Thrash/Death/OSDM
Thoughts – With a slew of acts boasting the same moniker it’s a wonder I ever stumbled upon this. But I’m glad I did. Fans of Benediction, Asphyx, (vintage) Sinister and (older) Pestilence are guaranteed to eagerly lap this up. The album bears a similar mid paced, groove-laden style and vocals somewhere between Barney (Subconscious Terror era) and Dave Ingram. It’s just a pity the act broke up and never reached the same level of quality as heard here again. The reissue (the link which I’ve provided) contains the “Dying Alone” 1992 demo; the vocals are a little rougher/OS in tone here, but the percussion is similar, if a tad more straight-forward.
Fave Track – The Indoctrinated Ones
Score – 86
(Recc by @PapaDooms and a multitude of others on Twitter)
Planet of the Dead (New Zealand)- Fear of a Dead Planet
Release – February 2020
Independent
Genre – Doom/Stoner Rock/Fuzz/Hard Rock/Sludge
Thoughts – Just when one might have started to believe that the arena of Doom had little to offer along comes an act like PotD. Bursting with movement and groove aplenty this isn’t the Doom your parents blasted when you were young (I only wish my parents were that cool) this has an aura about it which spits immediate recognition. Huge riffs coupled with an undercurrent of mesmerizing dirge, a vocal accompaniment which makes one ponder upon the (most probably imposing) bearded monolith from which said sounds issue and an overall style which is surprisingly easy to appreciate even though it’s a slight step away from the traditional (the albums final track seethes with nostalgia for those wanting it). Recc for fans of Olde, Monster Magnet and Conan.
Thoughts – When I was in High School, I discovered “In Search of Sanity”. I believe I wore the tape out! For some reason I haven’t kept up with bands antics, I honestly didn’t know they were still around, so imagine my surprise when I hit play on this (some 30 years later) only to discover I like it even more than the previously mentioned album. How can it be? Is it witchcraft, Avon, Protein Supplements? I have no clue. But if you like Thrash in a similar vein to Overkill. later Exodus and early Annihilator, be prepared for this is godly, must listen to material indeedy!
Fave Track – Reliousuicide
Score – 92
(Recc by @DrMakChu on Twitter)
Aeon (Sweden) – Aeons Black
Release – November 2012
Metal Blade Records
Genre – Blackened Death/OSDM
Thoughts – Have you ever wondered what an act might sound like if it were comprised of several audio elements you might already be familiar with? Aeon appears as such. Somewhat a wicked amalgamation (although these aren’t ‘companies’ per se) of Morbid Angel, Vital Remains, Abysmal Dawn and Deicide. Draped in malevolence, menace, and an archaic diabolical nature, theirs is a style which is grandiose, atmosphere laden and somewhat stabbing, or better still, ferociously blunt, rather than traditionally melodic in the riff and rhythm department. A commanding vocal accompaniment delivers lyrics in a fashion one can understand (admittedly a rarity in the genre) upon all manner of topic which isn’t altogether rare. Occasional groove finds its way into the fold as well occasional teasing passages hinting that Aeon might at any instance plunge into Slam territories. Broken up by instrumental interludes (bearing a classical cinematic nature) the album isn’t by any means traditional of a realm in which brutality unmercifully reigns but rather an arena in which there’s a delicate shifting balance of intricacy and fury.
Thoughts – It takes but a second for those with any doubts that this is strictly Power Metal for the thought to dissipate. Melodious singing, an intro which screams EPIC and rhythms considered safe enough (by foundations specializing in such things) for the whole family. With that in mind however, I must admit this is difficult not to like. Naturally, it will depend on the mood especially if, like me, your typical audio diet consists of Brutality, palpable atmosphere, and lyrical material sure to send Granma into seizure. Melodies for days, riffs to get the head a nodding and all backed by arrangements which bring to mind a slew of nostalgic HM acts as well, on occasion, passages from more recent Thrasterpieces (see what I did there?) I’m of the mind I could easily return to this, mood willing, and that what’s on offer here obviously won’t ‘resonate’ with all. For fans of Iron Maiden, Rhapsody, Riot and Halloween this will make a fantastic addition to an otherwise impressive audio collection.
Fave Track – Eagle
Score – 91
(Reccd by @MetalIrishMan666 on Twitter)
Soilwork (Sweden) – A Predator’s Portrait
Release – 2001
Here’s a YouTube link – I can’t find this on BC
Nuclear Blast
Genre – Melodic Death
Thoughts – Melodic and atmosphere laden this could well be called “Death Light” (if it were ever to be packaged in a bottle). Hardly controversial or offensive, based on the lyrical content on offer (this album strays from traditional grotesque DM subject matter) this is more ‘material’ for those who prefer to slower slip into Extreme Audio realms, as opposed to plunging, without a care, straight into murky depths. Though with that in mind the albums art (even the variant version) somehow reminds me of a Carcass album cover. Although this is excellently crafted, sports a great deal of talent, a fantastic variety of pace and fretboard manipulations which most can marvel at, it’s strange that for some reason I just can’t seem to fall under that which the album offers. This is far from horrid; it just isn’t for me!
How’s that for an honest review?
Fave Track –
Score – n/a
Which brings us to…
Rogga’s Corner
(Because he deserves more than merely a mention for his dedication and contributions)
House by the Cemetery (Sweden/USA) – Rise of the Rotten
Release- April/May 2021 (CD/LP)
As this isn’t on BC here’s a YouTube link
Pulverized Records
Genre – HM2/OSDM
Thoughts – Does this fella ever sleep? This collection of tracks starts as one might expect and makes an immediate impression for those feverish for HM2 antics in a vein like early Entombed, Dismember and Carnage. As well the menacing vocal attributes of Rogga this also sports surprising groove nestled among pleasing length bursts of audio which never outstay their welcome. But it doesn’t stop there. I’m pleased to report this delivers all a fan could hope. The hype raised by the, dripping in putrescence, art is valid, this is the real deal and Rogga has done it again! Just try not to move, as this crawls with vile ravenous intent across the senses.
Fave Track – Into the Murky Depths
Score- 86
Ding, ding, its time for new tunes
And there it is, another Abrasive Audio in the books. Apologies for the lateness with this one, life often has a knack for placing rather interesting and often quite frustrating obstacles in an otherwise clear path. Here’s hoping this entry has provided sufficient candy for the ears to warrant excitement and a widening of entryways into audio realms one might not normally visit. As always, a huge thanks to the patient PR firms who send me such enticing material, I only wish I had more time to scribble upon more of it. You’ll notice I haven’t touched upon the newest Cannibal Corpse (… yet).
Feel free to comment, suggest and share that which I’ve scribbled upon. It’s always a pleasure to promote that which, in my opinion (yours will most definitely differ), is worthy of such.
Back again! Cult is still waist deep in procrastination. Although I have witnessed him scribble on occasion, I believe life events, his age and most everything else on an adult’s agenda is wearing upon his psyche. Poor fellow, if only there were Goblins to take out his frustrations upon. If there was one thing I miss about my former position (it’s easier to call it that lest I drag one into boring debates with details which would raise the eyebrows to comical levels) it is the ability to randomly smack an unfortunate green fellow. And before you @ me it’s not as if they mind. In fact, they’d beg for the attention, any attention (those whimpering fools) Ah, life was so much simpler there. I miss it, and the maniacal hordes, if I’m to be totally honest, but in the other hand there is plenty to keep me occupied here; my adoration of the chase, the catch and the munching upon of tender feline flesh (though the fur does offer quite the frustrating obstacle at times), teasing Cult and laying my thoughts upon this medium. Though, let’s not forget Metal. Who can? You shouldn’t. And here are my thoughts on a few discoveries to further emphasize that exact point.
Genre – Atmospheric/Melodic/Progressive Black Metal
Artwork-
“Got no head, don’t come runnin-” nah, that doesn’t fit here. I’m not really sure what to say about this other than…damn! I need this on a shirt, or upon a wall. Honestly one of the most exciting album art pieces I’ve seen in recent memory; puts me in mind of grandiose extreme audio. But I could be wrong, it has happened before (admittedly I can’t recall in fact when).
Thoughts –
One person acts. It boggles the mind. I can hardly chew gum and stumble around let alone formulate compositions comprised of the interactions of several instruments. And to be able to play all of these at a competent level – just wow. In this instance, honestly, I would be rather frustrated if the audio was naff as the art suggests and even (somewhat) promises a certain caliber to caress the senses. I’m pleased to report that “naff” doesn’t even fall into equation. Although this is touted as merely Black Metal it boasts more! Dissonant passages, Progressive elements as well an aura which one might expect. A vocal style which occasionally switches from “clawing at the cosmos” traditional to spoken complements the percussion which in instances puts one in mind of the diversity shown by acts such Amorphis and Opeth. Acoustic interludes add to the drama and depth weaving in, around and amongst cascading riffs one might usually associate with the genre. Hardly traditional (is there even still such a thing?) this is an often-soothing sojourn into atmospheric realms sporting depths which demand floaties lest one find themselves pulled under or into as the word cosmos comes to mind often rather than oceanic arenas. Stunning is that this is conceived performed and composed by just one person. Shocking in fact.
Final Score – 91
Angel Martyr (Italy) – Nothing Louder than Silence
Well, what have we here? A looming Cathedral against a sky seething in turmoil. Is that a winged King Kong about to scratch an itch? I’ll bet this is Blackened Thrash, though with a logo like that, which appears more Thrash, who knows?
Thoughts –
Whoa! Just whoa. Distractingly infectious riffs, nostalgic rhythms topped by a throat which is somewhat a mixture of early Halloween and Riot. Even the inclusion of a narration passage courtesy of someone who sounds eerily similar to Doug (Pinhead) Bradley. And that’s just the first track (following the Intro).
Further similarities come by way of early Iron Maiden as the album progresses, although there’s a great deal more to tickle those “golden years” memories. Sure, this isn’t usually what whets my whistle, the vocal gymnastics might take a little getting accustomed to, the lyrical content is tad on the Biblical side, but for some reason this is caressing (in the finest possible way) all the nostalgia sensors. Let’s call this a cleanser of sorts. Who doesn’t like a slab of fluid Power/Epic Metal from time to time? I’m guessing it all depends on the presentation. Well, there’s no complaints here. In fact, this is damn impressive indeedy and will most probably leave and fan of melodic vintage HM grinning like a lunatic.
Anyone got any 2×4’s laying about, spare masonry, perchance a duster or two? Oh, and a snowblower. Damn white stuff everywhere. This is gonna be a bitch to set up for Friday’s scheduled Rave.
Thoughts –
It’s in no time whatsoever that this album leaves an impression. It chugs along at a fair pace dropping groove, sore necks and menace in its wake and a feeling that although it doesn’t break new ground the players involved are more than competent and passionate about their craft. An audio which is highly accessible hinting at a laundry list of varied geographical and well- aged stylistic influence. It’s taken some thirty years for this act to forge this their first full length and the quality shows. Hopefully this is but the mere bottom rung of a larger discography and a promising career.
Keep tabs on these fellas.
Final Score – 83
Fossilization (Brazil) – He Whose Name was Long Forgotten (EP)
Suffocating audio which effectively evokes Underworld scenarios and nightmarish tableaus. Flashes of a diabolical nature add to the unfathomable weight and depth. Recc for fans of Nile, Chtheili’st and those who prefer their audio to conjure hidden caverns, archaic rituals and age-old practices.
Traditional HM with a touch of Thrash, plenty of passion, riffs-appaloosa (whatever that means?) and vocals with a crazy range. This is yet another example of the awesomeness I’m missing out on by not stepping outside of Extreme Audio realms nearly often enough. Fans of early Wolfsbane and other acts who aren’t afraid to traipse across a multitude of HM genres to get their point and talent across will fall ass over tit for this. Plenty to get excited about here especially pleasing for fans of rhythms, clean singing and energetic arrangements which will jog the familiarity; have no fear however Thorium are their own beast not a stitched together sum of parts. And those exquisite baroque acoustic passages, just sublime.
I’m thinking the “mask” would make a great deal more sense if I knew what the band’s name meant? But perhaps not?… And it has zero relation. Is it likely a lost ‘extra’ from the newest Godzilla movie? Onward.
Thoughts –
Four tracks making up fifty minutes. The mind whirls and immediately pounces upon a likely genre. But that assumption be wrong. Partially. Ischemic like to mix things up. There’s is a style which is many things; ponderous, ominous and infrequently frenetic come to mind as well melodious and emotional. A plethora of acts flash across the cortex as this plays out ranging from Paradise Lost, Novembers Doom, Mourning Beloveth and Anathema as well My Dying Bride though that’s not to say theirs, combined, completely illustrate the aura here. Although OSDM makes an appearance so too do dissonant and ambient soundscapes, even arrangements which lean towards Avant Garde realms. Admittedly, having three tracks over eleven minutes is a huge gamble (one is over twenty-two!) and an undertaking which is ambitious though shows the acts determination, drive and confidence and undeniable strengths. Oftentimes this throwing caution to the wind mentality pays off, though passages exist which appear to drag somewhat.
Overall, this is a fantastic debut that showcases an act who aren’t afraid to take risks, an act who undoubtedly don’t adhere to rigid genre parameters but most importantly one whose future is wide open, based on the caliber displayed here. Give this a spin, but allow its qualities ample time to breathe as the initial listen might well appear slightly foreign.
These huge beasts would feed me for weeks. I can’t help but think that they’re lost? And if they are on foreign soil how did they get there? Their ship must be huge.
Thoughts –
Plodding riffs, ominous melodies and an overall feeling that I’d enjoy this better if I’d just smoked a little (it’s not hard to pinpoint exactly what), but that’s not to say this isn’t horrid. It isn’t, it’s soothing. In fact this is audio I could find myself dissolving into, depending on (of course) the mood and the current situation. Naturally the influence, and the overall tone captured here, has the potential to take the listener back a few decades (is that such a bad thing?) Although Acid Mammoth gave an uncanny, eerie talent; that if being able to add to the already familiar their own touch, dust from the tusk of the ‘Acid Mammoth? Who knows for sure? But it works and this is a fantastic jumping on point, for those like me, who have yet to leap upon the back of a beast whose presence is undeniable yet whose form can only be viewed within dusty old structures with an accompanied narration courtesy of a plaid-jacketed professor.
Too many damn labels to mention (which only leads me to believe this might be worth my while?)
Genre – Crust/Stenchcore/Death
Artwork –
A pile of corpses gazed upon by a single eye. I’m sure there’s more to this, unfortunately I’m not in the mood to write a dissertation.
Thoughts –
Holy poop sticks! For a debut this yanks one by the short and curlies immediately and drags them directly (do not pass Go, do not collect $200) to moshville central. There’s a raunchy vibe here which captivates and vocals of an Old School leaning which fit perfectly. The style complements the raunchiness and offers riffs any Crust fan will instantly drool like an idiot for. Naturally the drums add oomph and the resulting effect is that the torso starts to twitch. It’s been a while since something has touched me like this (no mention of sexually frustrated priests here – Whoops!)
This lands on the X, obliterates it and leaves a blast radius. A refreshing mash- up of Crust, Stenchcore (whatever that is), Death and even Thrash to leave a ton of disoriented, sweaty, joker-faced listeners in its wake. Jump on this but stretch first lest your family practitioner be forced to give you the lecture you expect (again). Play this at speaker- torturing volume!
One robed acolyte to another; “So, uh… how do you propose we control this scaled monster once it materializes?”
The reply; “No Fn’ Idea. I knew I should have worn my thermal undergarments”.
Another reply; “Where is the Queen of Dragons when you need her skills?”
Genre – Black Metal/Epic/Folk/OSBM/Melodic/Satanic BM
Thoughts –
Although “Summoners of the Serpents Wrath” introduced me to the many delights of Sarkrista I have no qualms in admitting it is this instalment (in their audio catalogue) which has made me a fervent fan. A combination of elements results in this being a must have BM album; the wicked rasped vocal delivery, the heavy drum mix, not to mention the infectious, to the Nth degree, rhythms. Admittedly at times this makes my form want to contort and sway in an interpretive manner rather than bang my skull till it departs from its roots. Before you tilt your head in a quizzical (he’s lost his Fn’ mind) manner let me explain. This bears classical qualities, a fluid nature which is beyond the furthest realms of where hypnotic should extend and an overall cadence which demands the utmost attention. All this as well an evil which is damn near palpable. In short, before I exhaust the dictionary I have apparently just consumed, this is sure to reign over my playlists for some time to come. It’s BM as if ordered specifically by fans of the melodic loving masses. Whatcha waiting for?
One zombie to another; “I heard there’s tea and crumpets being served at the palace”.
The other zombie; “Huh. I’m here for the big screen Romero marathon.”
Genre – Death Metal/OSDM/Dirge
Thoughts –
Just.
How.
Fukn’.
Good.
Is.
This?
Think Pestilence jammin’ with Grave under the tutelage of Bolt Thrower.
It’s rare an album, a debut in this instance, makes such an instant impression. This has, it hits all the nostalgic notes (I’m sure Roadracer and Century Media are scrambling for signed contracts for the next album) whilst also providing all the ingredients rabid (dare I say traditional) DM fans crave (ominous auras, frenetic changes of pace, a slight presence of doom and a vocal cadence which is sure to leave Van Drunen fans foaming at the mouth) and is sure to be discussed comes years end! Need I mention the merch is also top-notch? #Supporttheseguysandwatchthemgoplaces
Final Score – 94
Ghostbound (USA) – Extended Play for My Sweet Mary Thyme
The album title grabs the attention on account of its deviation from the run of the mill. Based on the art one might immediately think Doom, perhaps doused with liberal helpings of atmospheric ‘something or other’. Well, the assumption is partially correct; there’s certainly atmosphere to spare here. Coupled with a vocal style which is somewhat traditional (yet straddles more the Folk fence than what one might expect) and undeniably passionate the effect is wholly eye-opening. Arrangements and a definite poetic weight to the lyrics put one in mind of ingenious Doom outfits who care not for genre restraints (NY’s Witnesses come to mind, as well King Gorm and Old Man Wizard) also those who dared to experiment, rip the proverbial envelope to shreds within the 70’s rock scene. Although not totally within wizard strange realms this strangely soothes, mesmerizes and raises the eyebrows with its diverse nature, opening wide the gates for curiosity to leap upon a genre which remains largely uncovered and ignored by most. I’m of the mind that the complexity and foreign nature of this will go either one of two ways; it’ll dissipate into more easily to embrace audio as the second spin climaxes (what is it with the 70’s porn term?) Or, it will remain an album which will demand a certain mood to revisit. Either way, give this a cursory spin.
Final Score – 80
And here’s to the revival of a subheading which isn’t utilized nearly enough;
Well, it appears that fellow is lost again, and it’s started to rain. Silly bugga has forgotten his brolly, he’s gonna get wet.
Thoughts –
Thirteen tracks in under thirty- five minutes. This isn’t Grindcore, or even close, surely the above description points to such? What’s on offer here is emotion- laden masterfull guitar. Oozing with darkness, melancholy and passionate rhythms which evoke both varied landscapes and a smorgasbord (I love that word!) of internal reactions. Audio of this quality could well be heard within movie soundtracks and not feel even the slightest out of place. An excellent accompaniment to those instances when you wish to compose, relax or decompress. This is only one of many works the artist boasts, all released within the period of a year, it appears I have a little time to set aside and exploring to do.
The name of the album is apparently the term which encompasses the large (Prehistoric) stone in the center of the picture. A limb seems to be embracing the construct, perhaps yearning for an era when times were less volatile and uncertain? (hold me mummy, I’m scared).
Thoughts –
It’s not often that acoustic guitar melodies whisk me away to docile Ville. But this has somehow managed to attain those heights. Although this isn’t metal it still yields undeniable power through its beauty, epic nature and the ease with which it places one in a meditative trance-like state. Synth accompaniment aids rhythms making this more than merely a palette cleanser but rather an audio collective one can return to as a fantastic soundtrack to many of life’s mundane activities, laundry, dishes, playing DnD (I’m sure that offended some one?) you name it. Shit, I’d even allow this entry into my senses within a road trip, but keep those eyes on the road, this has qualities which only make one want to close their eyes in order to bathe in its exquisite ethereal qualities.
Final Score – 94
Introducing a new segment;
The Corner of Rogga
(Seriously the guy’s a legend he needs at least a corner, an altar, something?)
This sounds somewhat like if you took Carnage (yes, and vintage Entombed), “Massive Killing Capacity” Dismember and Eucharist and squeezed them on Ducati with the Carnage influence at the controls.
Add a landscape dotted with atmosphere, the occasional tranquil vista and Rogga vocal direction, and voila! More melodic than fans of his are usually accustomed, however just try to sit still to this. The groove is damnable infectious!
Final Score – 85
Plucked Screaming from Metal Past
(because “old metal” shouldn’t collect dust)
Puteraeon (Sweden) – The Cthulhian Pulse; Call from the Dead City
Another Juanjo created masterpiece which effortlessly conjures a spellbinding arcane narrative.
Genre – OSDM/HM2/Blackened Death
Thoughts-
I swear Lovecraftian texts are one of the most saturated themes in DM. Rare however that the quality is as high as heard here. Borrowing from early Entombed, Puteraeon inject both a HM2 aura and chilling atmosphere into their sound, add a concept narrative, exciting movement and rhythms which lean precariously towards OSDM realms whilst still rooted in traditional DM foundations and you have an album that demands ears upon it. This isn’t another (Swedish, or any other country for that matter) slab of HM2 homage, the audio here is chock full of depth, presence and composition values which are far and above that of the competition. FFO Grotesquery, (early) Entombed, Grave, Dismember.
I’m left wondering who makes this fellows footwear. And who might pick him up in the draft. (Why isn’t there an Underworld based BB game yet for either the PS or the XBox?)
Thoughts –
I believe I’ve said it before (?) Just what is in the water in Greece? The lands metal output is phenomenal and this is no different. Sinister, haunting, yet thrashy (with an intense technical edge) with the occasional grunt/growl tossed in to perch this album perilously close to DM realms. Energetic stuff with injected diabolical intricacies. An album sure to incite frenetic movement, whether one wishes it, or not.
Final Score – 90
And here’s one from 2020 Reccd by Cult’s pal @Gatesmorning
A regal looking Maiden, a cathedral backdrop and a foreground sporting a variety of skulls. Color me intrigued.
Thoughts –
Who would ever think that the genres listed above would play so well together? Not me! But they do and apparently without too much squabbling about sharing toys (huh, what-?) The operatic side of things adds a dramatic element I didn’t know I could stomach, surprisingly I can and I don’t even need ketchup in order to greedily devour that which is on offer. And the way the atmosphere and guitars interact is just sublime. A grandiose soundscape results, a tremendous backdrop to vocals spat, shrieked and sang in German. Yet again another factor I had reservations about. But it works, and how. Odds are if you like your extreme audio off kilter, a step away from the norm, if Akercocke feature in your frequent playlists you’ll go silly for this. In fact, I’m about to spin it again to cement the spiritual experience I believe I was perilously close to attaining upon the very first listen.
Final Score – 93
Recc by @MetalGuippi (Twitter)
Candlemass (Sweden) – Death Magic Doom
Released – 2009
Nuclear Blast
Candlemass looking oddly like Akercocke
Genre – Doom/Heavy Metal/NWOBHM
Artwork-
A mustard-colored cover draped in an archaic blanket showcasing an angel of sorts (with a skull replacing the otherwise putting one at ease features) wielding a sword. I am intrigued.
Thoughts –
First track – wow!
Second track – jaw is still on the floor.
Robert Lowe and Candlemass
And it continues. How is it that I didn’t know I needed this in my life up until now? Obviously, Messiah’s departure left a gaping hole in both the band and the genre but I’m pleased to report that Robert Lowe (write that name down as he has numerous other projects which deserve exploring) fills the aforementioned shoes with a vocal range which fits the bands tone and arrangements to a tee (why the golf reference. I don’t know?) Although this is often a tad swifter than fans might be accustomed it soothes the senses more effectively than a fantastic night’s undisturbed sleep. If only I had the words to express my appreciation of this. I don’t, I doubt I would even if I rabidly consumed a library bursting at the seams with thesauruses.
Strangely, this reminds of early Dio fronted Rainbow, vintage Candlemass (quite the accomplishment that, without Messiah in the ranks) and the finest moments of melodic traditional HM that comes to mind when I think upon why I enjoy the genre so much. Forty-eight minutes of sheer doom bliss, in my opinion it doesn’t get much better than this! Where’s the purchase button?
Final Score – 98
Lastly a Recc from none other than ‘Site favorite’ Void
Ceremonial Bloodbath (Canada) – The Tides of Blood
Insert the sickest, most vomit inducing quip about menstrual blood, gaping vaginas and eyeballs here (because I refuse to stoop to such levels. Today anyway.)
Thoughts –
Sentient Ruin (and Void) deliver yet again!
Only in this instance they (he) introduce an album which is primed to rape the earholes. Chaotic, brutal and unpredictable are only a few words one could use to describe this aural assault. Rhyme and reason are out the window as this bludgeons the senses. Noise cavorts and frolics with Death phrases whilst a raw Black Metal nature battles for supremacy (there’s a definite militaristic vibe on offer here) utilizing a myriad of diabolical weapons at its disposal. Sure, this isn’t for everyone (it’s no secret that most of which Void tosses into the direction of this site is). However, this bears a vibe basted in filth, homages to a myriad of Dark Overlords (from audio and visual realms) and nostalgia from the rawest, most primitive of, arenas which is hard to ignore/appreciate. If you aren’t afraid of delving into a pitch wall of sound/cacophony of aural hellish attributes by all means give this a listen. If you are, well… “man (or women, whatever!) up” and shove this into those delicate, soft, virgin earholes anyway. It’ll grow hair on yer tits at the very least!
Final Score- 82
That brings us to the close of another edition. Feel free to nod off, laugh at the horrid grammar or alternatively lose yourself in the audio on offer. But please don’t forget to support the scene by generously distributing ‘green’ in the direction of the artists herein. I’m out, that Sarkrista album beckons for more sure-to-be-sore-in-the-morning torso movements.
CultMetalFlix 