Album review: Sammath - Grebbeberg (2023)

Sammath - Grebbeberg

The Netherlands

Hammerheart Records

Dutch barbarians Sammath are back with their seventh album, aptly titled “Grebbeberg”, released in June 2023 via Hammerheart Records.

The sound on “Grebbeberg” is no less ferocious than their outstanding previous album “Across the Rhine Is Only Death” from 2019. It's taken the band four years to record a new album, and it's obviously been worth the wait. From the very first note, the music categorically annihilates everything in its path with a barrage of heavy-hitting, warlike black metal that overlaps between ‘90s Scandinavian black metal and bestial war metal.

One noticeable change on the new recording is that the sound seems heavier and denser this time around, while at the same time sounding clear but not too polished. The guitar work is great as always, interweaving classic black metal riffs with high-octane thrash. As punishing as the music is, the band isn’t afraid to incorporate epic leads and melodies, adding a great deal of depth to their assault. Jan Kruitwagen’s vocals are suitably belligerent, as each vocal line is delivered with maximum hatred.

Drummer Wim van der Valk is an absolute beast behind the kit, with experience in prominent Dutch acts like Inquisitor and Centurian; he shows a knack for both simplicity and technical prowess with relative ease. Definitely an underrated drummer. The lower registers, while not super audible, add a layer of megaton heaviness to the chaos courtesy of Ruud Nillesen, who has been with the band since 2002.

Tracks like “Murderous Artillery” show the band at their most chaotic, which brings to mind bands like Sadistik Exekution, but with more melody added. Another highlight is “Crushed, Shattered and Destroyed” featuring some pretty incredible dynamics. In spite of its brutality, there’s never a lack of atmosphere, as Jan mete’s out a salvo of punishing riffs that’s both melodic and hypnotic. A high note is reached with closer “Stahl Und Feuer” which captures all the qualities of the band summed up in one single track.

Overall, “Grebbeberg” is just as great and relentless as everything else the band has done and shows their diehard conviction to extreme metal, even at their age. I can honestly say that this is one of the best albums of 2023, so if you haven't heard it yet, make sure you do so soon. 

Album review: Infernal Execrator - Diabolatry (2023)

Infernal Execrator - Diabolatry 

Singapore

Pulverised Records

 

The black metal tyrants from Singapore Infernal Execrator are back with their third album “Diabolatry”, which was released on CD and vinyl by Pulverised Records in December 2023.

From start to finish, “Diabolatry” hits harder than a spiked ballista bullet fired at you from a trebuchet straight out of hell. Every track on this album is ruthlessly executed, precise and showcases the band's superb craftsmanship. I was definitely impressed by the level of ferocity and high-octane aggression that this album exhibits.

Frenzied tremolo riffs are executed with relentless precision while the band maintains the pace and intensity as each drum beat mercilessly pummels the listener to dust like a hellish hammer causing multiple broken bones. The music runs you over like a tank, while Ashir’s martial vocals are spat into the mic like a demonic entity denouncing everything that is holy.

Tracks like “Infernal Storm of Oblivion” show a more mid-paced side to their sound, introducing various dynamics and haunting melodies, while “Marauders Prayers of Profanation” opens with a terrifying scream and simply obliterates everything in its path with all-out viciousness. The riffs are both catchy and blistering, but ultimately very well crafted, which also happens to be one of the focal points of this album. The music strikes a seamless balance between brutality and melody, the way it was always meant to sound, while the album’s excellent production brings out the best of the performance.

After several listens, I can confirm with absolute certainty that “Diabolatry” is the heaviest and best album the band has released to date and another excellent addition to their epic discography. The whole record is packed with incendiary songs that once again show why countries like Singapore, in spite of its small size, are no underdogs when it comes to producing quality extreme metal. Highly recommended. 

Album review: Blood Serpent - Bestial Extermination (2023)

Blood Serpent - Bestial Extermination

Vietnam

House of Ygra

 
 
Vietnamese warlords Blood Serpent have released their excellent debut album “Bestial Extermination,” which is a decidedly vicious assault on all fronts, delivering nine tracks of blackened war metal that strikes harder than the iron fist of Satan.

I can’t say I’ve heard many bands from Vietnam, so I was pleasantly surprised when I got to hear this nasty slab of caustic metal madness. The sound seems focused, with hateful vocals laid atop a wall of annihilating riffs and skull-hammering drums, making you feel like you’re being stabbed repeatedly by some malevolent, otherworldly force.

Musically, the songs are kept quite simple, but executed with rapid conviction as each track pummels the listener with homicidal intent. Those with a penchant for ruthless war metal like Diocletian, Revenge and Black Witchery will absolutely love this release. They even do a cover version of “Unholy Vengeance of War” that closes the album on a high note.

This whole album is masterfully performed, with the band delivering a no-holds-barred assault of hellish extreme metal dead set on making a statement. The production and sound are well mixed and add power to the entire performance, not to mention that each member handles their instrument incredibly well, even the bass can be heard.

Every track is deadly, but some paradigmatic examples include “Blood Defilement” with the transition to a more sinister doom passage later on, adequately mixing the faster parts with more mid-paced sections, while “Infernal Rites” features some emphatically sick guitar solo that make you go “AAAARRRRRRGGGHHHH!”

The vocals are absolutely visceral and one of the highlights of this release. It ranges from demented growls to hellish, paint-stripping shrieks that echo like a cannon in your skull.

Overall, it’s an absolute bomb of a release, and one of my personal favorites from 2023. Do yourself a favor and check these guys out, especially if you're a fan of the bands mentioned earlier.

Interview: Trenchant

 

Trenchant hail from Texas and play blasphemous blackened death that bows to none and embodies the eternal spirit of extreme metal. Their "Commandoccult" album from 2022 was a masterpiece and characterized by its soul-crushing melodies, dark atmosphere and no-hold-barred savagery. I got in touch with bassist TND (Averse Sefira, Birth A.D., Imprecation) to get some insight into the dark psyche of Trenchant and what makes them tick.

1. Hails! Can you tell us about the recording process of “Commandoccult” and what kind of formula you were going for?

TND: The process was actually arduous as it was in the thick of the pre-vaccine pandemic, and a lot of the mixing and editing had to be done over the phone and by email. I had a very fixed idea of a sound that was lean and muscular, one that would properly capture the martial tone of our themes, and I think we managed to achieve it after a lot of pulling and pounding.

2. Which bands influenced the sound of Trenchant and how would you describe your style?

TND: The genesis of Trenchant was the shared admiration for the band Molested, which remains a critical touchstone. We also claim influences from Angelcorpse, Immortal, and Immolation. As for a description, Trenchant is World War Metal, or blackened death metal if that's not specific enough for you.

3. Could you elaborate a bit on the artwork and theme pertaining to “Commandoccult”?

TND: The art was a pre-existing piece by the talented Vladimir Chebakov, but we thought it captured the otherworldly nature of our content. It captures battle, death, and a vision of the other side in one ideal presentation, so it was the perfect choice.  We don't write about war or conflict in a literal way, everything is figurative, metaphysical, and tied to occult workings, hence the reference in the title.

4. Can you give us some background on how the band was conceived, including some info about your other/past bands?

TND: NRS and I had been friends for years, and his primary band was Morgengrau at the time. As that was winding down, he came to me with some demo material he had created on his own, already dubbed Trenchant. It started out a Molested worship, and right away I told him I wanted in. We started writing in earnest and building out the concept, and off we went. It was funny, because we decided right away that GRA was the only drummer for the job. He has been in a myriad of bands, including Sacrocurse, Morbosidad, Mortuary, and Abyss of Perdition, and he has a really specific style that we knew would fit our sound perfectly. We created all our drum patterns based on his sound, and then hoped like hell he would agree to join when we showed him the material. Fortunately, he agreed, and the core of the band was complete.

My main band from 1995 to 2010 was Averse Sefira, then I also had Birth AD for about a decade, and I also joined Imprecation in 2016. NRS is also a permanent member of Imprecation now, so we are making the most of our collaborations.

5. Do you pay attention to criticism relating to your music?

TND: I used to, but it has been a very long time since I cared. I'm on year 35 of being a metal musician, and you are right, the social sphere is clogged with endless uninformed opinions from people who may not be here a year from now. I know who I am and what I'm doing, and I'm pretty unshakable in that regard. I'm always glad to receive feedback or insight from a peer whose opinion I respect, however. This release has made it easy, because for the most part everyone has had a lot of positive things to say.

6. I think some of the more well-known labels are sometimes too eager to sign a band, which as a result spawns a plethora of mediocre releases. Your thoughts?
 
TND: Is that really the case? My impression is that well-known labels make no effort to take on an unknown band and develop them. They sit back and let the small labels do the work, then snap up whatever seems to be catching on. Usually, these are the bands that happen to be mediocre enough to have wider appeal, which is why we end up with all those bland releases. I suppose it doesn't help that a lot of the smaller labels tend to be less discerning with the bands they sign, along with the fact that there is now an endless supply of bands, most of which are middling at best.

7. What’s your opinion on the current state of metal from the US? Has it been a good year for metal in your opinion?
 
TND: Hipsters found their way into the US underground in a big way over the last decade, and we are seeing the damaging results. “OSDM” is now its own cottage industry full of sound-alike style hoax bands that the kids are eating up with a spoon. With a few exceptions, the bands are musically generic and have no themes, concepts, or presentation that isn't a complete lift from a superior band of yore. The whole situation is very much for the funderground, where you can enjoy death metal ironically in your “battle vest” and pink trucker hat while batting around beach balls at the show.

The silver lining is that elder statesmen like Immolation and Incantation are getting the attention they deserve right now, though the fact that so many newcomers hold 5-year old bands in equivalency with them is insulting and absurd.

In general, I'd say it has been a good year for metal, in that there are at least a dozen releases I've heard that are worthy. Back in the 90s, a dozen releases worth hearing was a big deal, so not much has changed aside from the level of background noise when seeking them out.
 
8. Will you be playing any shows in the near future or go on tour? Hypothetically-speaking, if some mainstream band invited you to tour with them, would you do it?
 
TND: Our first show back since 2020 will be at Mass Destruction Festival in Atlanta this November. That promises to be a good one, as the lineup is stacked. We won't ever really tour, at most I can see us playing a few dates in a region, but we'll mostly stick to special appearances. As for your second question, how would you define “mainstream”? Like King Diamond mainstream? Ozzy mainstream? Iron Maiden mainstream? I'd be up for it, because I really do enjoy touring, and if were actually getting paid to do it that would be win/win. There are bands that I detest that I'd never be caught dead with on a bill, so that would be the deciding factor.

9. 10 Albums you can’t live without.

Deicide S/T
Deicide - Legion
Morbid Angel – Altars of Madness
Slayer – South of Heaven
Pestilence – Consvming Impvlse
SOD – Speak English or Die
Immolation – Dawn of Possession
Immortal – Pure Holocaust
Voivod – Killing Technology
Cromags – The Age of Quarrel
 
10. Something I find funny is how some veterans aren’t into metal anymore, despite having played on classic albums, yet are still in metal bands. Do you find that somewhat contradictory, or is it more a matter of not really knowing how to play other forms of music?
 
TND: I think it is very much a product of having your passion become your job. I don't usually see musicians who don't make a living on their band start to lose touch with it. Nothing kills passion like money. Like I don't believe Mille from Kreator has wanted to do it since about 1995, for example. But there he is, still cranking them out in a cheerless fashion, because Kreator is a brand that sells and pays his rent. It's not really contradictory as much as it is insincere. I can think of a lot of veterans who remain very connected to metal, and I am proud to be counted among them. Sure, not everyone is listening to every new band that pops up, but the excitement about the music itself and the old classics remains, and that's more than enough.
 
11. Your thoughts on the following:

*Gatekeeping – Anyone who refers to maintaining standards as “gatekeeping” is exactly the kind of person who needs to be kept the fuck out. The fundamental problem is that music can be art and a product at the same time, and most people identify it as the latter. Thus, they don't see any importance in maintaining the art form, because “it's just music, bro”. Let's look at it this way – in painting, we have known styles and techniques that are widely accepted and agreed upon. There is realism, abstract, surrealism, and so on. One does not get to be counted as the other, any more than cubism is allowed to be pointillism. No curator or art museum would ever agree to that, nor would the fine art community in general. Why should music, particularly a specialized and well-established genre like metal, be any different? No, we did not establish death metal with My Little Pony shirts in mind. We did not create this movement for professional victims and social engineers. Metal was created out of a desire to get AWAY from the status quo, not reinforce it! If you want in, be prepared to truly embrace the underground and all of its violence, ugliness, and antisocial facets. You don't have to love it all, but you do have to accept it. And if you try to change it, expect resistance and abuse.
 
*Six Feet Under – And here's the other side of the gatekeeping coin with a legacy band that should be pruned posthaste. This band must make some kind of money, because there's no way they'd be tolerated by a label if they didn't. I think they are kept afloat by a core audience of absolute cretins with drug problems worse than Chris Barnes'. Way to corner that market, dude. You'll never run out of idiots to give you a buck! The one good thing about Six Feet Under is that it is a handy barometer. Their fans are easy to dismiss and ignore.
 
*Hedonism – I'm not an excessive person myself. I've never smoked or done drugs, and I drink very rarely, usually at the behest of others. I think we all need to cut loose and indulge (or even go overboard) now and again, but hedonism as a way of life gets disgusting pretty quickly, and I generally don't abide people who define themselves that way.
 
*Authoritarianism – As an overarching standard I think it's a bad model, though it's coming to a nation near you, get ready. Look at the policing of thought and language in the West. The hilarious part is this is the agenda of leftists, but they fail to appreciate that this was one of the first steps in establishing the Third Reich. Oh, but that would never happen under their watch because they're the “good guys”, right?
 
*Dissection – a notable band that squandered their true potential and met an unfortunate end.
 
12. Lastly, what does the future hold for Trenchant? And what would happen if the false ever entered your domain?
 
TND: We are starting to write material for our second album, so look forward to that in a year or two. Other than that, we plan to make more select live appearances in 2023. The false rarely enter our domain, but when they do, they are sent packing and then scream from the hilltops that I am a gatekeeping asshole and a terrible person. The joke's on them, because nobody cares!

Album review: Vastum - Inward to Gethsemane (2023)

Vastum - Inward To Gethsemane

USA

20 Buck Spin

 

It's not like I listen to all sorts of death metal all the time, but I daresay Vastum is my favourite post-2010s modern death metal outfit.  Their unique propositions aren’t just the twin vocal attack of Leila Abdul-Rauf (throaty witch rasp) and Daniel Butler (roaring demon), but also in the way the music is made and sounds; foundation is clearly OSDM, but they have found a way to keep the melodies, riffs and rhythms both progressive and avant-garde without veering off a ‘pure’ death metal course. Aesthetically and thematically, their lyrics/titles and artwork touch upon what I would call the dark night of the soul; inner demons, twisted thoughts, spiritual torment and all that, but most importantly, it all ends in wwwuuuuurrrrgghhh and waaarrrrggghhhhh………….

Compared to 2019’s “Orificial Purge,” the latest album feels like they've toned down the groove n’ churn and instead put more emphasis on a pounding, almost droning approach. I guess there wasn't any sexy going on at Gethesemane; Jesus’ absolute mental agony, suffering and sweating blood at the knowledge of what was to come with his arrest. That's what this album does: it picks up on the anguish and incorporates it into the riffs and textures. I read a review that said this album was boring, and while I agree it certainly isn’t as ‘immediate’ as “Orificial Purge,” “Inward to Gethsemane” is nonetheless another excellent work from Vastum that reveals its treasures (and dark pleasures) with a few more spins. (Unkle Superion) 

Album review: Evil Damn - Necronomicon (2021)

Evil Damn - Necronomicon

Peru

Hells Headbangers Records

 
Peruvian maniacs Evil Damn (comprised of members of Goat Semen and Disinter) released this beast of an album back in 2021, entitled “Necronomicon”. Musically, the band plays hellish and blasphemous black/death metal infused with thrash. From beginning to end, this album subjects you to a plethora of sweltering riffs and ripping guitar solos that are masterfully executed, paired with caustic screams and pounding, bestial drums, all back by an excellent production that provides clarity to the performance. Erick Neyra's vocals are top-notch. I loved his vocals in Goat Semen and I love his vocals here. The man sounds possessed, and those falsettos are insane. Every instrument is meticulously played and contributes to the performance. Hands down one of the best black/death albums from 2021. Recommended to fans of Sacrificio, Goat Semen and Sarcofago.

Interview: Thunraz

 

THUNRAZ from Estonia play hard-hitting, hellishly heavy Death Metal/sludge that hits you like a freight train at 1000 MPH. Their penchant for innovation and writing quality music full of emotion sets them apart from some of their peers. If you enjoy a somewhat original approach, like some of the bands mentioned in this interview (Immolation, Today is The Day, Godflesh, etc.), then I recommend you to check them out. I consider myself a fan and have enjoyed albums like “Revelation” and “Borderline” (both released in 2023). So without further ado, here is my interview with founder/mastermind Madis Jalakas.
 
1. Hello there! Can you tell us how Thunraz was conceived and what the band is all about?
 
Madis: Greetings. Thunraz was started in 2017, after a period of significant emotional struggles for which I needed an outlet. It's become a way for me to process certain realities by aggressively confronting them. To establish some freedom in what feels increasingly like a locked cage.
 
2. Can you elaborate a bit on your sound and influences?
 
M: The initial spiritual and musical impetus for the project was the band Bölzer from Switzerland. I liked how they were a two-piece that sounded huge, and tried in my own way to emulate that. You'll hear their influence mainly on Hinterland in the tracks Stronghold of Fire, Invocation and Dysgenesis. Other influences would quickly seep in from bands such as Immolation, Godflesh and Neurosis. Some lesser known names like Cattle Press and Starkweather would inspire the approach to slower tempos, and bands such as Kobong and Meshuggah, as well as chaotic hardcore/metalcore from the 90's, would inspire the angular riffs and rhythmic diversity.

To me it's just heavy, pissed off metal without boundaries. Past my initial attempts, there has scarcely been a moment where I consciously decided what to write.

3. Why isn’t your band signed? Do you think that geography and the fact that you are not gimmicky plays some sort of factor why some labels won't work with you? 

M: There actually was a signed contract for Hinterland, but beyond some other minor collaborations, it has been difficult to find interested parties. I would say that the nature of modern social media marketing plays a big part. There are algorithmic reasons why it's harder for original material to push through. Greater content saturation also means greater competition and a need for labels to hyper-specialize. Same applies to bands.
That said, it is a bit amusing to be told, "Yes, it's good, but I don't know how to sell this". At some point all the bands that everyone considers as genre classics were doing something new that nobody knew how to market. I wish more people took a chance. Not just labels, but music fans in general. There are many cool projects out there that deserve your attention.

4. Thunraz released two very solid albums in 2023, although we will dissect them one by one. First, Revelation: This album is pretty sick and I love the diverse influences that went into it, from old-school death to chaotic hardcore to some pure black metal riffs. What was the overall vision and approach to “Revelation”?
 
M: "Revelation" was born from a collaborative effort between me and creative madman Jared Moran (Acausal Intrusion, Speed Ritual Records, etc.). He created the drum tracks based on a few keywords from me (OSDM, technical sludge), which I then improvised on top of in a quite intuitive fashion. I'm glad you enjoy it!

5. The follow-up, entitled “Borderline”, is even more manic. I feel like this album is heavier, and I love those moody clean vocals. Where did the idea to utilize clean vocals come from? Are you by any chance a fan of Acid Bath? How do you feel “Borderline” compares to “Revelation”?

M: I am actually a huge fan of Acid Bath, although Dax has more of a blues influence to his singing. Some other bands that mixed vocal styles and inspired me are Today is the Day, Section 8, and Demanufacture-era Fear Factory. Honestly, even bands like Deftones and Helmet. How it compares? I think the noisecore/metalcore influence is more obvious. "Borderline" is much more musically diverse than anything I've done before.

 

6. What are some of the themes you explore with Thunraz and where do you draw inspiration from?
 
M: Usually there will be something I'm dealing with, whether it be a personal problem, a philosophical question, or some socio-political topic that is making me mad enough to write lyrics about. I'm interested and passionate about many things, so sticking to one or two themes could never sustain my interest and would stifle a project that's meant to be freeing. Quite a few of the songs deal with several subjects. The first lyrics I actually felt strongly enough to sing had to do with the death of a close friend and the perpetual misery of nearly everyone around me. If there is an overarching theme, it's my refusal to quietly tolerate the daily horrors of existence.

7. The track ‘You and Me’ from “Borderline” has some of the sickest riffs and is easily one of your best songs. A pure masterpiece. Can you give us some insight on what this song is about?
 
M: Thank you! "You and Me" details what can happen if two thoroughly traumatized people meet each other and try to build a life together, with way too many obstacles in their path. For me it forms the emotional and thematic centrepiece of the album.

 
8. The music of Thunraz is dark, chaotic, and depicts real emotion, whereas most extreme metal acts lack any sort of emotion or feeling. Would you describe your music as angry, misanthropic, and do you think original bands are in short supply these days?
 
M: I wouldn't say that most extreme metal acts lack feeling, but death metal in particular might not be seen as the most appropriate vehicle to deliver these super personal expressions of pain. Black metal is a bit better suited for it, but even in that context the expressions seem to fit a certain character that becomes predictable after a while (like in DSBM). I enjoy a lot of these bands nevertheless, but I want absolute creative freedom, no matter who it displeases.

How angry or misanthropic my music is relative to others is up for the listener to decide. I can only say that if I truly believed there were no solutions, I'd be dead. Within every cynic is a disappointed idealist and all that.

There are still original bands, but they are often lost in the sea of mediocrity and label-backed releases that follow an established pattern. Jump into the sea and try to find those lost treasures.
 
9. Would you mind telling us more about the band's current line- up and who does what? I believe Jared Moran played drums on “Revelation”, but what about “Borderline”? It's safe to say he's one of the most prolific musicians I've ever seen, and most of his bands are killer.
 
M: With the exception of Revelation, all the music of Thunraz has been written and performed by myself. I don't think this setup will ever change, but I might work with a different drummer at times. Working with a new drummer right now in fact. Very talented guy.
 
10. If I’m not mistaken, it is winter there right now – is the weather a good inspiration for songwriting and does it influence the psyche somehow?

M: It is winter, but not a particularly cold one. The coldness of the people is the greater inspiration. That and the legacies of the Soviet period which still litter the landscape.
 
11. In light of all this global instability - with the ongoing war in Europe, famines in Africa, and current situation in Israel - do you think we are heading for disaster?
 
M: I doubt I know any more than you, but things certainly don't look great. Anyone can see the massive divisions in society and what that is leading to, but few are willing to extend the olive branch. Too many are focused on the wrongs of "the other side" and unwilling to examine their own corruption. Total unity shouldn't be the goal. If an uneasy truce is all we can manage, it's still better than total chaos. How very un-metal of me.
 
12. What are 10 albums you can’t live without?
 
M: These are off the cuff and subject to change slightly, but right now, and in no particular order:
1. Bathory - Hammerheart
2. Today is the Day - Willpower
3. Immolation - Close to a World Below
4. Cattle Press - Hordes to Abolish the Divine
5. Godflesh - Pure
6. Swans - Children of God
7. Cocteau Twins - Head over heels
8. Jeff Buckley - Grace
9. Drive Like Jehu - Yank Crime
10. Agents of Oblivion - Self-titled
 
13. How do you envision Thunraz in 10 years? The fact that some serious labels haven't discovered your talent yet shouldn't discourage you from creating music. If I owned a record label, I would sign your band pronto! Hails to you!
 
M: I can't even envision myself in 10 years, but I hope I'll still be creative in some way. No one should be discouraged from making music due to outside factors. I know it still happens, but honestly, speaking as a listener, I don't want to hear from you if your motives are anything other than pure self-expression. I'm glad if people make money, but if you see your band primarily as a business, it's time to pack it in.

My most infernal hailz to you, bro. Thanks for the interview!

Album review: Morkera - Aggravations (2023)

 

Morkera – Aggravations

Croatia

Unsigned/independent

Morkera is unequivocally the best band from Croatia I’ve heard (not that I know many bands from there), and their second album “Aggravations” is a truly outstanding work. The music sounds raw and unpolished, and while this is probably intentional, it gives the compositions a gritty and unique feel. The band has a knack for crafting remarkably punishing (and sometimes weird) riffs, with nuances of death and apocalypse emanating from their music. The riffs can be quite intricate at times and feature some excellent harmonies, while the vocals are categorically vicious and have a war metal feel to them. I definitely recommend them to fans of (early) Necrodeath, Rites of Thy Degringolade, Axis of Advance as well as Deathspell Omega for the eerie atmosphere. The fact that they don't have a label is one of the most puzzling mysteries of the 21st century, although they seem to be a DIY band. Stop whatever you’re doing and check this band out.

Demo review: Nuclearhammer - Xaos Tenawas - Demo MMXXIII (2023)

Nuclearhammer - Xaos Tenawas - Demo MMXXIII

Canada

Nuclear War Now! Productions

 
 
Ten years have passed since the release of Nuclearhammer’s last album, with the members more or less contributing to a variety of other projects (namely Necropolissebeht, Nirriti, Azothyst, etc.). Fast forward to 2023, and Nuclearhammer unleash a surprise attack with this twenty-six minute beast called “Xaos Tenawas - Demo MMXXIII”, which features two lengthy compositions of hateful, bestial death/black metal that is characteristic of their sound. The guitars form an extremely grim backdrop, backed by vengeful vocals and hard-hitting drums that viciously pound the listener into submission as the suffocating darkness grips you tighter and tighter. It is the band's ability to create an oppressive atmosphere full of nightmarish soundscapes that leaves a feeling of disorientation and dread within the listener. If you liked “Serpentine Hermetic Lucifer”, then you will undoubtedly love this demo as well, as it more or less follows the same sadistic formula. The overlords of Canadian black/death filth are back to give us a taste of the future. For fans of Antediluvian, Impetuous Ritual, and Teitanblood. 

EP review: Irillion – Mélamar (2023)

Irillion – Mélamar

 

Mexico

 

Nocta Producciones

 

"Mélamar" is the third EP from Mexico’s Irillion, featuring five tracks of harrowing black/death metal. A totally raw and blasphemous sound permeates this release, which reminds me of ancient cults like Treblinka, Beherit, and Belial. Apparently, “Irillion” means conjuring up pungent atmospheres of brimstone and venomous flames, which is exactly how I would describe the overall mood of this release. Pure mystical black/death that radiates darkness and emphasizes atmosphere with its use of gloomy riffs, varied tempos and robust drumming. The vocals are a highlight and extremely raw, reminiscent of Necrovore. This EP starts with a sombre guitar interlude, and just when you think you’re about to indulge in some immersive atmospheric black metal, your world is suddenly set ablaze with vivid images of blood, fire and death, as the music pummels you straight into the burning abyss. The guitars have a buzzlike quality characteristic of raw black metal, yet the death metal influence resonates strongly in their veins, especially when they unleash those sharp, stabbing riffs. Overall, this well-crafted EP brims with promise and demonstrates depth. A full-length release would be highly anticipated. Stand-out tracks: “Oukranos” “Velo De Lo Profundo”

Album review: Thunraz - Revelation (2023)

Thunraz - Revelation

Estonia

Independent

Thunraz is the musical entity by sole mastermind Madis Jalakas, and “Revelation” is the second full-length (and fourth release if you include the two EPs) released under this wholesome project. I find it interesting that this is labelled as “Industrial death metal” since to my ears, it follows a distinctly traditional approach, although by no means cookie-cutter in any shape or form; in fact, Madis Jalakas seems to show a penchant for some extremely juicy hooks and ideas, something I don't typically hear in death metal, giving off the impression of outsider influences. I suppose the hint of industrial comes from the riffs, since the guitars have a knack to be overwhelmingly chaotic and dissonant at times. The compositions are drenched in nihilism and show a great deal of depth. A range of excellent vocals - from hoarse howls to savage growls - complements the music along with an organic production, a feature I always appreciate in metal. I’m actually dumbfounded as to why this project isn’t signed to a credible label, as it rightly should be. Overall, “Revelation” is a wholly enjoyable album with a myriad of interesting ideas. Highly recommended.

Album review: Misanthropy Apotheosis - Crush the Mask of Virtue (2023)

Misanthropy Apotheosis - Crush the Mask of Virtue 

Greece

Repulsive Echo Records 

Greek miscreants Misanthropy Apotheosis return with their second album “Crush the Mask of Virtue” and deliver a vicious display of brutish death metal informed by bands like Krisiun, Morbid Angel and Bolt Thrower. Each track is characterized by bestial vocals, hammering drums and sick tremolo riffs steeped in darkness. Guitar solos have a neo-classical feel and are executed with sheer precision, just like everything else. The band shows great skill at playing their instruments and the excellent musicianship is noticeable in every track. The compositions definitely have a blackened touch, although this is pure death metal to the marrow rooted in old-school traditions. Their sound also draws parallels to other Greek death metal bands like Dead Congregation and Resurgency, without actually sounding like any of these bands. The comparisons are based more on the darkness and emblematic Greek elements present in their music, just like how you can easily recognize a Swedish or Polish metal band. All in all, “Crush the Mask of Virtue” contains enough depth to warrant repeated spins and should not be overlooked if you’re looking for some hard-hitting, bestial and well-executed Metal of Death.

Interview: Aeon Void

AEON VOID from Turkey play deadly, possessed death/black metal that evokes a sinister atmosphere reminiscent of the ominous black metal sound associated with labels like Norma Evangelium Diaboli. The music on their debut EP “Fragments of Illusion” is incredibly well-honed, and one of the best releases of 2023. I had the opportunity to speak with the main maniac behind this terror incursion. Read on as we unveil some dark insights.

Hails. Can you tell us how Aeon Void was conceived and what bands inspired your unholy craft?
 
Infernal Hails!
 
We started our activities in Istanbul with Horrida Vultum. The compositions of the songs actually took shape spontaneously after we decided to get together to practice regularly with the instruments. In fact, we created it by restoring the ideas which emerged during the jam sessions. Rather than the idea of "let's do it like the way this or that band does", we wanted to reflect our own RABID approach and aesthetic ideas in a chaotic context. We thought about this together and these 5 songs emerged. I can mention a few of the main bands whose philosophy we have absorbed as sources of inspiration: Katharsis, Deathspell Omega, Thunderbolt, VI, Teitanblood, Azarath, Dead Congregation, Mayhem, Marduk...
 
Are there certain environmental factors that contribute to the darkness of your sound?
 
Everything, especially the human being and its population, becomes more intolerable with every passing day, so life continually fills us up with more hatred.
 
I really enjoyed your debut EP, “Fragments of Illusion.” How long were you working on the songs and are you satisfied with the outcome? I think you nailed the production and that it compliments your sound very well, so congratulations.
 
The writing and recording phase of the guitars was completed from 2018 to 2019. Drums have been recorded in 2020. We took the process slowly so that some things could become stable and mature. At the same time, we tried many new things during the recording sessions. Reamping of the guitars; also bass & vocals recordings were done in 2022. Let me summarize the messy process as follows:
 
We were looking for members to play the other instruments, and we had some auditions related to this. After not being able to pick the right person to get the result we wanted, I took over the vocal and bass parts, and this required a preparation phase on its own. I don't see it as something negative because it was an opportunity to improve myself in every aspect. We are also happy with the result because our goal was to release this EP the way we wanted it to sound. Now we are striving for better. Thank you.
 
The artwork of your debut EP is so sick! I love it. Who is the evil genius responsible for this profane image and what exactly does it depict?

It's done by the Russian artist Alex Shadrin. The cover design of the EP directly reflects the chemistry of the EP: DEATH.

Starting from this point; we wanted it to be drawn in accordance with the image in our minds. A dead baby on the cover indicates what should have happened at the beginning of all humanity, but unfortunately it was not like that and it came to this situation. The dead baby figure actually expresses the feelings we desire, such as the extinction of humanity and the end of everything without any differentiation. So the baby in the middle reflects the only "remedy" of the sinful humanity.

Have you had any other musical experience prior to Aeon Void or is this your first band?
 
Yes we had. For me it was nothing more than rehearsing processes. But Horrida Vultum had played in Godslaying Hellblast and is now playing in Nex Carnis, also he has another project which is about see the light of the day soon and I am dying to listen to it.
 
What are some of your current favorite bands? Are there any releases from this year that have grabbed you?
 
I want to mention my favourites from this year:
1-The Devouring Void & Atrate split
2-Somniate- We Have Proved Death
3-Spirit Possession- Of the Sign...
4-RUIM- Black Royal Spiritism -I- O Sino de Igraja
5-Necrovation- Storm the Void
6-Ascended Dead- Even Fall Apocalypse
7-Blut Aus Nord- Disharmonium- Nahab
8-Horda- Form
9-Marduk- Memento Mori
10-Tetragrammacide- Typo Tantric Aphorisms from the Aracheophidian Quran
11-CH'AHOM - Ts'ono'ot
12-Acausal Intrusion- Panpsychism
13-Voidescent- Dust and Embers
 
I understand Aeon Void is currently a duo. Do you plan to recruit more members in the future or do you prefer the line-up as it is? How many instruments are you playing?
 
Actually we have new members currently, and we've already started working together. As you will appreciate, it is very difficult for two people to hit the stage. I played the guitar and the bass and on top of that I recorded the vocals for this EP. I prefer to shift my focus more on the guitars and the vocals.
 
Thank you for your time! I hope to hear more sick tunes from your band in the future, especially a full-length. Any last words before we close this interview?
 
You're welcome! I am always working on for the better.