Showing posts with label Reviews. Show all posts
Showing posts with label Reviews. Show all posts

8 Oct 2024

Album review: Battlestorm - Summon Decimation (2022)


  Battlestorm - Summon Decimation

Singapore

Trauma Records
 

"Summon Decimation" is the second album from Singapore's Battlestorm and their first proper full-length since 2010's "Demonic Incursion." Although it took the band a while to record a new album, Hades has been busy with a number of other projects, such as Nocturnized, Lycanthropic, Devouror and more recently, Tartarean Vengeance.
 
From the get-go, the music violently erupts with nine tracks of incendiary death/thrash that never lets up. The songs on this album show serious compositional depth, as each track features a series of stabbing riffs, bellowing vocals and a barrage of offensive drums that incessantly pummel the listener with unrelenting fury. The hulky riffs give the songs an intense feel, while the drums are comparable to a machine gun, firing continuously for forty minutes straight.
 
Battlestorm draws some similarities to compatriots Infernal Execrator, but while the former is stylistically closer to black metal, Battlestorm leans more towards death/thrash. References to be made include ‘80s Sepultura, Angelcorpse and of course the mighty Impiety. Essentially, they play a militant mix of black, death and thrash that’s more lethal than mustard gas. They also incorporate melodies which emphasize the hellish feel of the music, including razor-sharp leads that add significant depth to the compositions. I believe the artwork by Jenglot Hitam perfectly captures the essence of the music and gives an excellent visual representation of what to expect from this album.
 
In addition to the explosion of speedy drums and scorching guitar riffs, the music sporadically switches to thrashy mid-tempo parts before the intensity kicks into full gear again. There are enough tempo variations in the songs to keep things interesting, as each transition feels natural and masterfully executed. In my opinion, the production is a little thin, although it does manage to give the guitars a sharp, biting sound. I think with a more powerful production and a better mix, the band could be destined for greatness. The whole release is brutal as hell, and I think the influence of fellow countrymen Abhorer and Impiety shows. I’m starting to think that maybe there’s an extremity contest in Singapore and that to play softer would be considered an act of treason among their peers. Ha!
 
Overall, “Summon Decimation” is a solid piece of work that slaps just as hard as anything the band has done in the past, and I simply can't recommend it enough if you’re a fan of the Southeast Asian scene with bands like Infernal Execrator, Impiety, Zygoatsis and the like. Stand-out tracks: “Exaltation of the Fallen”, “Qhagan”, “Subterranean Titan: The Cataclysmic Abhorer" (Jim)

30 Sept 2024

Album review: Infernal Execrator - Obsolete Ordinance (2018)

Infernal Execrator - Obsolete Ordinance 

Singapore

Pulverised Records (CD/LP) / InCoffin Productions (Cassette)
 

Infernal Execrator is a band that lives up to its name, because their music is certainly infernal in the truest sense of the word. “Obsolete Ordinance” is their second album and the follow-up to 2014’s killer “Ad Infinitum Satanic Adherent.” It took the band four years to record a new album and they clearly did not disappoint, as the whole release is total war from start to finish. The band has kept the same style employed on the previous album, playing militant black metal with a dash of melody.
 
There is no other band that sounds like Infernal Execrator, as they have a style all their own, even though the influence of bands like Immortal, Marduk and Impiety can clearly be heard in their music. The riffing is wild, frenetic tremolo pickings, intensified by hard-hitting drumming that ranges from blazing blasts to muscular thrash beats, but mostly fast, as the drummer unleashes hell on the kit. Seriously, the drummer is fucking good and super capable. The eponymous opener “Infernal Execrator (True Blasphemous Conquest)" opens this record with furious intensity, while the follow-up track “Incinerate Halakhah Theorem” only adds insult to injury with a series of surgical riffs and machine-gun drumming. I swear the band has some of the coolest song titles. They really go out of their way to outdo every other band in terms of extremity, and I’m all for it, but I digress.
 
Many people would use adjectives like “brutal” and “extreme” when describing a band like Infernal Execrator, and while that's certainly true, there's definitely more to their arsenal than simply being heavy. The musicians in the band can play their instruments exceptionally well and it's obvious that the arrangements are well thought out, especially the way the riffs are played, which I have to say is one of the album’s high points. Every fiery riff and guitar part is spot on, backed by vicious shrieks reminiscent of Abbath from Immortal. The vocals are delivered with maximum ferocity on every track throughout the album. In addition, the guitar solos on this album will melt your face off with its power and brutal execution.
 
It’s amazing how the melody on this album offsets the brutality and yet the music never lets up in intensity. A good visual depiction of their sound is to imagine a grenade exploding in your face, followed by a scene of being mauled by a horde of demons as you enter hell. Infernal Execrator is a top-notch act from Singapore and this album solidifies their position as one of the best black metal bands from Southeast Asia. Stand-out tracks: “Incinerate Halakhah Theorem”, “Northern Superiority”, "Obsolete Ordinance" (Jim) 

Album review: Muert - Ye Canariae Abezan (2017)

 

Muert - Ye Canariae Abezan

Italy

Hammerheart Records
 

“Ye Canariae Abezan” is the third album by Canarian warmongers Muert and was released in 2017 by Hammerheart Records on both CD and 12" vinyl. For those who don’t know, the Canary Islands is an autonomous region of Spain (politically, not geographically) near the coast of northwest Africa, with the easternmost island (Lanzarote) being only 80 kilometres from Morocco and the closest part to Spain being 2000 kilometres. Apparently, the artwork of this album is a historical reference and depicts the battle of La Matanza de Acentejo, in which the indigenous people repelled the Spanish troops in 1494.
 
One of the pros of this album is that the music is anything but formulaic, as each song offers a different listening experience with various tempos and arrangements that keep the listener interested until the last note. In fact, I was constantly curious as to what the band would pull out of the bag next. That being said, try not to misconstrue what I said by thinking that this is some kind of weird “prog” album. On the contrary, this is bestial black/death conceived in the murky landscapes of its environment, adding their own unique flavour to the subgenre with indigenous elements and influences. The title, for example, translates to "The Canarian Darkness," with "Abezan" meaning "darkness" in the language of the Canarian natives.
 
The band mixes it up nicely, as can be heard in the track “Acentejo 1494”, which perfectly alternates between a face-stomping thrash riff to a morbid black metal riff with absolute finesse. The thrash influence in the compositions is undeniable and a testament to their old-school roots. On tracks like “Crueldad desde islas Canarias,” the band clearly shows their penchant for traditional metal, as the song begins with a lead that oozes epic heavy metal and lasts only a few seconds before being obliterated by the cryptic onslaught of death. There are plenty of headbanging moments on this album, even bordering on “fun” (depending on how you look at it), but make no mistake, this is dark and aggressive music of the highest calibre, made by maniacs for maniacs. I mean, you have songs like “Of Corpses, Evil & Drinks...” which is an obvious ode to metal and may even have been inspired by the great Sarcofago (“Sex, Drinks and Metal”). Apparently, the song is about a night at the graveyard that involves profanation, alcohol, and vice. It doesn’t get more black metal than that if you ask me.
 
The umbrella term “war metal” refers to bands that play filthy and bestial metal rooted in bands like Sepultura, Holocausto, Sarcofago, etc. That being said, I can definitely see it applying to the sound of Muert, especially in the way the vocals are performed and in the general antagonism behind the music. The vocalist definitely does one helluva job, as his deep yowls are full of hate, pain and violence, unleashing his cursed lines in every track. The guitar sound also has a slight Swedish undercurrent, reminiscent of early Carnage and Entombed, which once again shows how varied and nuanced the whole album is. On “Ye Canariae Abezan” the band have delivered the perfect blend of black, death and thrash, or “Guanche Black/Death” as they call their music. I highly recommend this masterpiece to fans of bands like Teitanblood, Ascended Dead, and Black Curse. Stand-out tracks: “Of Corpses, Evil & Drinks...”, “and 1.000 momias ”, “Leprocity” (Jim) 

Album review: Maleficarum - Across the Heavens (1995)


 Maleficarum - Across the Heavens

Italy

Defiled Records
 

Maleficarum is a death metal quartet from Molise (southern Italy) that was founded in 1993. After releasing a well-received demo (“Unblessed”) the same year, the band followed it with their excellent debut “Across the Heavens” two years later. Any self-proclaimed death metal enthusiast with a penchant for cult and obscure gems should give this album a listen, as it is absolutely worth your time and has a high replay value. The band also featured former members of Excidium, who are also worth checking out.
 
Apparently, the drum sound on this album is universally maligned by production snobs, however, I personally have no major qualms with it. The drums have a certain crispness that makes them stand out that gives this album a unique quality. They are by no means too extravagant, but rather rhythmically varied and switch between various tempos with relative ease and skill. By alternating between tempos, the band creates an atmosphere that slowly builds through the constant repetition of melodic riffs. The lead work that accompanies this oeuvre evokes a somber mood and is cleverly interspersed throughout, showing their flair for neoclassical ideas. The vocals, while not terribly varied, are masterfully integrated (throaty growls reminiscent of Ross Dolan) and are in cadence with the rest of the instruments. The bass presence is quite noticeable and well-played, adding the necessary lower frequencies to each track and synchronizing perfectly.
 
The guitars have a huge impact playing into the emotion of Maleficarum’s sound, enriching the music with morbid melodies, and dispensing a salvo of chromatic riffs, along with the energetic and tightly played drums. This isn’t quite Atheist-level tech-death, but there’s no denying the methodical approach and detail that went into each song. A more simplified version of Immolation, but with a flavor of melody that borrows from the likes of Sentenced and At the Gates. “Across The Heavens” is like the Italian cousin of “Dawn of Possession”, infused with European melodicism. And while these two albums may be musically aligned, their moods are disparate. While the former conjures images of fire and brimstone, the latter has a kind of gothic undercurrent that paints a picture of a morose and autumnal landscape. 
 
This isn’t exactly boundary-pushing, but it encapsulates all the qualities of the genre into a collective of eleven tracks and forty-three minutes, as “Across the Heavens” is a straight-up death metal banger that I have revisited continuously over the years. Italy has produced a number of noteworthy gems throughout the ‘90s and you can certainly count this masterpiece among them. Stand-out tracks: “Season of Black”, “Time I Am”, “Spirit Magnified” (Jim)

22 Sept 2024

Album review: Vicissitude - Neolithic Necrocannibals (2022)

 

Vicissitude - Neolithic Necrocannibals

New Zealand

Gutter Prince Cabal 
 

The debut album by New Zealand’s Vicissitude flew under many people’s radar when it came out in 2022. That’s a resounding shame, because the album in question packs a serious punch and should be right up the alley for anyone with an affinity for the bestial and extreme, as this is some unequivocally barbaric black/death reminiscent of bands like Pseudogod, Archgoat and Heresiarch.

One of the things that instantly stood out for me about Vicissitude is their usage of abrasive dual vocals and how heavily amplified they are. The amalgamation of hateful snarls with deep, cavernous growls is on full display in every track, giving the music an utterly inhuman feel, coupled with a series of lacerating riffs that often border on black metal. A truly dark atmosphere permeates this recording, largely due to the dense production and evil-sounding guitars that recall bands like Demoncy and Incantation.

From beginning to end, there is no respite from the visceral violence that Vicissitude offers. The eight tracks and forty-eight minutes that encompasses this disc feels complete and satisfying, as each track is comprised of gut-wrenching vocals, pulverizing drums, and stygian riffs. The length may be exhausting for some due to the continuous onslaught; however, I personally enjoyed every second of it. A good visual depiction would be to imagine a clan of ravenous, bloodthirsty cannibals in a cave, feasting on raw human flesh, hungrily ripping the skin and meat from the bones with their crooked teeth. I also believe the band took inspiration from Caveman Cult in the way the themes and aesthetics are presented; however, Vicissitude is stylistically a little different, but still belongs to the same pantheon of bestial metal.

I will not analyze each track in explicit detail, but I will point out that there is enough tempo variation in the songs to prevent the music from being formulaic, as opposed to mindless blasting all the time. I like the slower sections and how the belligerent vocals never let up, even during the more doomy parts. The album gets even better with repeated spins, as the overwhelmingly brutish nature of the music leaves you wanting more. The music definitely manages to evoke a sense of dread in the listener.

In retrospect, “Neolithic Necrocannibals” is a decidedly enjoyable debut album from these Kiwis, offering a satisfying listening experience for any fan of cacophonous and cavernous black/death metal à la Corpse Molestation, Caveman Cult, Antichrist Siege Machine, etc. Vicissitude is a promising prospect from New Zealand that I would like to hear more of in the future. (Jim) 

16 Sept 2024

Album review: Kill - Horned Holocaust (2004)


Kill – Horned Holocaust

Sweden

Worship Him Records (LP) / Invictus Productions  (CD) / Death Propaganda Records (Cassette)
 
 
Gothenburg’s Kill emerged in the late ‘90s as a raw black metal act that quickly cemented a name for themselves within the underground with various demos leading up to their debut album, “Horned Holocaust”. The style employed on this album is very much a product of its time with its demonic vocals, primitive riffs and old-school approach, and yet there is so much charm behind these songs that it is simply hard to resist if you’re a diehard fan of the genre.
 
With a running time of 29 minutes, the band succeeds in delivering a straightforward, sinister black metal album seething with evil that takes us back in time to the glory days of bands like Darkthrone, Gorgoroth and Bathory, and while those influences are quite evident, there is certainly more to the band’s arsenal than simply “worshipping” their influences.
 
There is a certain element of chaos emanating from these compositions that is a trademark of the band and inextricably woven into their sound. You can put on any album by Kill and instantly recognize their sound. It’s that simple.
 
The energetic riffs often emit a sort of “groove” (albeit in the most hellish way imaginable) that brings to mind classic bands like Discharge and Celtic Frost. The whole sound consists of bass, guitar, drums and vocals. It’s a simple approach, but extremely well-executed and effective. The music is far from technically proficient, but when it comes to old-school black metal, the most important aspect is the intensity behind the execution, and in this case, there is no single instrument that stands out more than the other, as the performance is about as flawless as it gets for this style.
 
The rhythmic interplay of drums, bass and guitars is absolutely excellent and bolstered by the scathing vocals of Carl Warslaughter. Drummer Getaz pounds the kit like a drunken hillbilly beating his mistress on a Saturday night, while guitarist Black Curse metes out some truly disgusting riffs that would make even Jeffrey Dahmer vomit. The bass is audible and has been a staple of their sound since their formation. There are certainly some punk sensibilities interweaved into their sound, whether it was intentional or not, the energetic and simplistic nature of the music draws parallels to hardcore punk.
 
Every song on this album kills (pun intended), but some personal favorites include “Virgin Sacrificed”, “The Devil” and “Fields of Devastation”, as these tracks give off an eerie atmosphere that elevates them above the other tracks. The band would go on to release more excellent albums, evolving their sound and taking a slightly different approach with each album, but always staying within the framework of their crude sound. (Jim)

10 Sept 2024

Album review: Deconsekrated - Ascension in the Altar of Condemned (2024)

 

Deconsekrated - Ascension in the Altar of Condemned

Chile

Iron, Blood and Death Corporation (CD) / Alkolik Holocaust Records (CD) / Ancient Sounds of Madness Productions (Cassette)
 

“Ascension in the Altar of Condemned” is an absolutely scorching debut by Deconsekrated, a quartet from Chile playing blasphemous death metal. The band has been active since 2020, and previously released an impressive two-track demo, the material of which was later re-released as a three-way split, including a stand-alone single. “Ascension…” is their strongest material to date by all means, as the members gained a wealth of experience playing in other black/death/thrash bands, such as Cryptic, Abhorior, and Profanación Sepulcral, among others. All of this experience contributed to the quality of their latest outing.
 
The strong, but detailed production on this release adds a layer of venomous potency to the music and makes all the parts shine forth, without each overpowering the other. Musically, there are some similarities to bands like Morbid Angel, Dead Congregation, Mortem; and even though the style is somewhat familiar, Deconsekrated does a good job at elevating the experience with a display of utmost ferocity and well-crafted arrangements.
 
The brute force of the compositions pounds you like a sledgehammer to the skull, as each track is executed with vigor. Songs like “Ancestral Voice” and “Spectral Rites” are instant bangers, and convey a feeling of absolute darkness by beating the listener into submission. The aggressive vocals are perfectly employed, and are backed by intense drumming and hellish riffs that leaves the listener gasping for air by the end of the record. Everything is well-orchestrated and delivered with conviction. And even though some of the songs are quite lengthy, the music maintains depth and engages the listener.
 
Their style is relatively straight-forward, but the dense production gives the whole experience a very crushing and heavy sound. The drums were given particular attention during the mixing process and is certainly a highlight of the album; ranging from rapid blast-beats, to galloping, mid-tempo beats, they give this album a strong backbone. The precision of the double-bass ties the drumming and all of the instrumentation together.
 
Overall, this is a solid offering from the Chileans that I found myself going back to over and over again. The only minor gripe I have with this release is its length. With today’s storage technology, an “album” of 28 minutes in length is almost inexcusable; however, it is better to produce a quality short album than a mediocre album with filler songs. Aside from this one minor complaint, there are no real flaws to speak of. Deconsekrated is a promising up-and-comer that I look forward to hearing more from in the future. Fans of dark and heavy-hitting death metal should check it out. (Jim)

8 Sept 2024

Album review: Ancient Malignity - Dehumanization Dawn (2024)

 

Ancient Malignity - Dehumanization Dawn
 
USA
 
Inhuman Assault Productions (CD/Cassette/LP)

Reno-based militia Ancient Malignity is one of those exemplary bands that meet every little criteria in order to be labelled “war metal,” mastering the style down to the last detail. The group also features members of black/death acts like Ritual Genocide, Triumph and Blasphemous Creation, all of whom are respectable in their own right. “Dehumanization Dawn” is the trio’s second album since 2020’s self-titled and was released via Thailand's Inhuman Assault Productions.

When you listen to this band and look at their imagery, it’s not too hard to spot the Revenge influence, although I give the band credit for not being a complete carbon-copy and for crafting a style that sets them apart from the legion of Revenge-inspired bands. Aside from the all-too-obvious reference mentioned above, there are also trace elements of bands like Goatpenis and Abhorer, including a good dose of death metal influence running in their veins. This is a winning formula for the band, coupled with a raw production that only adds to the hellish feel of the music. The music is mainly mid-paced, although they do slow it down from time to time, with some gritty grind tempos in between.

Despite the relatively straight-forward nature of the music, the band's themes are decidedly thought-provoking and profound. A good example of this is the track “Indoctrination Terror Offense,” which is about the media terrorizing the populace with propaganda in order to indoctrinate them; and the aptly titled “Pedoswine Obsolescence” is self-explanatory of their stance regarding dicier transgressions.

The military-style drumming is on point and offers a variety of inventive fills and tempo changes, while the morbid vocals are venomously spewed over a series of slashing guitars and repulsive bass riffs. Despite all the instruments being comprehensible, there's a certain rawness to their sound that is all-too-fitting for this style, and honestly, I do not think an overly polished production would have had the same effect and taken away many of its qualities. This album succeeds in conveying an atmosphere of hate and blasphemy, and the more I listen to it, the more I like it, including the fact that the length of this release feels complete and satisfying at 36 minutes.

I recommend all maniacs who are into underground and blasphemous, bestial black/death to check this band out, as it has everything that you could possibly look for in this style. Stand-out tracks: “Indoctrination Terror Offense”, “Abomination Experiment, “Algorithmic Brainwash Entity” (Jim)

21 May 2024

Album review: Abyssal Rift - Extirpation Dirge (2023)

Abyssal Rift - Extirpation Dirge

USA

Sentient Ruin Laboratories
 

The cover art (by Jesse Nihil) beguiles and perfectly complements the music therein; a charred blackened being emerging from the darkness with vengeance in its eyes and an open mouth dribbling with hatred and curses.
 
“Extirpation Dirge” is a musical journey for falling into a hole in the ground; careening through a winding network of tunnels before you are released into the Abyss. As you fall freely you feel the hands of the damned reaching out to touch and grab you, the weeping choir resounding. You hear, from beneath, the echoing roar of the beast which signifies your impending end……wwwwuuuuuurrrrggghhhhhh!!!!!
 
Helmed by multi-instrumentalist/vocalist Max Auxier with drums by David Mahoney and mixing/mastering from Will Killingsworth, Abyssal Rift’s innovation is to seamlessly fuse cavernous pounding black/death with death doom and progressive/space rock plus a sprinkling of post-metal. Reads like a confused musical clusterfuck but I assure you it is not (also assure you that I am not confused hahah); I marvel at how many musical styles I am experiencing almost simultaneously, while nonetheless encountering the same dark being as depicted on the cover art.
 
This journey is six tracks long with a running time of less than 37 mins; it twists & turns, pummels, and pulls you apart, leaving you broken and bloodied, wanting to get back on that rollercoaster to Hell…………a must! (Unkle Superion)
 

EP review: Eskhaton - Horracle (2022)


Eskhaton - Horracle
 
Australia
 
Hells Headbangers
 

“Horracle” is a mini-album by Australian death metal juggernauts, Eskhaton, which was released in 2022 via Hells Headbangers. It contains five tracks of some of the most punishing shit you’ll ever hear. This is the band’s fifth release, and they have not lowered the intensity or quality. This consistency cements them as one of the best extreme metal acts from down under.
 
Eskhaton plays death metal, and it is some of the heaviest and most chaotic the genre has to offer. Of course, there is also a hint of black metal with the nightmarish atmosphere that the dissonant guitars evoke. They share a number of similarities with countrymen Impetuous Ritual and Portal in terms of the all-out chaos, though they have enough unique traits in their arsenal to set them apart. Simply put, they sound like a cross between Dead Congregation and Impetuous Ritual. A thick dissonance encompasses the songs along with an abundance of frenzied leads and riffs to compliment the carnage.
 
"Horracle" consists of only five tracks totaling 29 minutes; however, while this short run time would normally be a deficit, it is actually one of the album’s strengths due to how straight-forward it is – no interludes, just pure mayhem and violence. Additionally, the band displays a level of craftsmanship that is above average and verges on technical, while still retaining a barbaric element. In fact, listening to the riffs on this record, their complexity only serves to accentuate the overall insanity that the music seeks to convey – truly order within chaos. To the average newcomer, this is “noise,” but for those with an appreciation for this style of metal, it shows forth unparalleled genius.
 
The roaring vocals and surging lava riffs on “Omnicidol” open the record hellishly, making your head spin before “Khaossuary” picks up the aural bazooka, and blasts everything in its path with unyielding ferocity. There is no letting up once this disc starts; this powerhouse of a release will pound you mercilessly with murderous execution. Clocking in at over eight minutes, “Nethereal,” the closing track, is the lengthiest track; it devastatingly drives this release to a violent end.
 
Horracle’s five tracks feel complete, and I definitely recommend this album to fans of bands like Blasphemy, Portal, Heresiarch, Impetuous Ritual, etc. I strongly urge the reader to check out their other albums, as this is not even their best release. Regardless, this is an excellent album through and through, and one of the highlights from 2022. (Jim)

15 May 2024

Demo review: Purulency - Transcendent Unveiling of Dimensions (2024)


Purulency - Transcendent Unveiling of Dimensions
 
USA
 
Caligari Records / Pulverised Records / Morbid Cellar Records
 
 
My first actual 2024 review, and this is a serious stunner of a debut demo from a band formed in 2018 in Tennessee, USA. But it looks like things only took off when 3 new members came onboard in 2022. These days, with all the advances in recording tech and the number of small-scale artist-run studios, it really is harder now to record a demo on a beat-up 4-track cassette recorder in the toilet and then mix it on a shoddy system in the wardrobe.
 
“Transcendent Unveiling of Dimensions” is filthy, rotten, knuckle-dragging death metal in widescreen; like the album artwork, the swarming mass of wwuuurrrrggghhhhhh comes straight at you, through a portal that tears through our space-time fabric. Thankfully, things are still in lovely monochrome; the sound is big, expansive and solidly defined, but rounded and organic enough to feel the sludgy flesh n’ effluent mass encapsulate and absorb you with its loving wwwurrrrghhhhhh embrace! There are definitely (Stockholm) Swedish and Finnish death metal influences that permeate throughout, but successfully merged and blended into a new entity.
 
The fact that this got picked up by 3 different labels (in 3 different countries) should convince any OSDM fan of the quality of the filth contained here; if there's any "hype", it's certainly justified! (Unkle Superion)

Album review: Heresiarch - Edifice (2024)


Heresiarch - Edifice
 
New Zealand
 
Iron Bonehead Productions
 

The second album by New Zealand’s Heresiarch titled “Edifice” is a continuation of their relentless and uncompromising black/death metal that they’ve been belching out since their formation in 2008.
 
Seven years is a quite a lengthy gap between two albums, which begs the question: was it worth the wait? A resounding YES. The latest album is an all-out barrage of apocalyptic violence, featuring ten tracks of caustic black/death metal cut from the same cloth as compatriots Vesicant, Diocletian and Witchrist, but also featuring trace elements of bands like Conqueror and Angelcorpse.
 
From the music to the themes to the art, Heresiarch casts a dark shadow over the listener, offering no relief from its ferocious and unrestrained sonic assault that makes the earth tremble and the sky turn black. The emphatically aggressive vocals that lead the charge are utterly scornful, adding a crucial facet to their sound that is part of the reason the music is so relentless. A strong vocal presence is important if you want to pull off this style properly. The rapid execution of the instruments and pulverizing drums send the listener into a state of shell-shock as the music blasts over you in blitzkrieg fashion with uninterrupted hostility and maximum force.
 
“Forged Doctrine” inaugurates the madness and wastes no time laying down the law with a maelstrom of chaos and savage rhythms, while the following (and shorter) “Manifest Odium” has an Incantation-esque twang before “Noose Upon The Abyss” completely blusters you into submission with its resolute discharge of mayhem and blunt-force heaviness.
 
Not only is "Edifice" profoundly crushing but it also flawlessly performed, which is complemented by a production that I might add is perfect for this style; it has a natural sound but also enhances the performance as a whole and gives it an audible quality. As for the artwork, I’m not going to lie, I absolutely adore the cover. It has a sort of totalitarian, post-apocalyptic setting and fits the music well. Tempo-wise, the album ranges from pounding mid-tempo rhythms to faster sections, but also slows down at the appropriate moments, showing their penchant for doomier nuances.
 
"Edifice" is one of the most punishing albums of the year, so there’s no doubt in my mind that the seven years since their last album have been absolutely worth the wait as this is easily the best release they’ve put out until date. (Jim) 

3 May 2024

Album review: Helgrind - Fides Celtiberia (2024)

 

Helgrind - Fides Celtiberia
 
Cuba
 
Independent / Self-released
 
 
The pagan metallers from Cuba are back with their epic third album, entitled “Fides Celtiberia.” The album was independently released, although I’m pretty sure it won’t be long before a label picks it up, as it is a masterpiece through and through.
 
If memory serves, Helgrind is one of the first bands I heard from Cuba. Their previous album “Return to Motherland” was a truly memorable experience of triumphant black/viking metal, and the new album is no less impressive with its discharge of fierce melodies, epic choruses and all-around excellent songwriting.
 
“Fides Celtiberia” strikes a seamless balance between all-out aggression and more sombre moments – which are quite captivating to say the least – although when it gets heavy, it gets HEAVY. So that’s definitely an aspect I appreciate about this album.
 
The leads and guitar work are one of the focal points of the album and convey so much emotion that you almost feel like you are embarking on a journey to medieval times, and that’s exactly what the album manages to do: it exudes an ancient atmosphere, and the clean choruses add another dimension of depth to the whole experience.
 
The black metal vocals are well done and stand out in the mix, reminding me of Werewolf of Satanic Warmaster. Sure, there are obvious black metal elements, and there’s no denying that fans of the genre might even find this appealing, although given the rather clear production and folk elements in the music, I feel that blackened viking metal or pagan metal are probably more apt descriptors.
 
The band doesn’t forget to show off their old-school side, as there are some thrash elements thrown in as well, but these guys definitely have experience when it comes to composing metal with compositional depth, as I was fully immersed for the entire duration of “Fides Celtiberia”, whether I was raising my fist to the sing-along choruses or banging my head to the heavier, more brutal moments – everything you need in a metal album is here.
 
Truth be told, I've never really been a big fan of folk-infused black metal, but Helgrind have made me a fan. “Fides Celtiberia” is a truly unforgettable experience and one of those albums you should definitely own a physical copy of. One of the greatest metal albums the underground has to offer in 2024. Stand-out tracks: “A Spanish Son” “Pride, Blood and Honor” “Great Kingdom of Ancient Land” (Jim)

1 May 2024

DEMO REVIEW: Käptör - Thräshättäkk (2024)


Käptör – Thräshättäkk

Estonia

Gatekeeper Records
 

There’s no denying the quality of the Estonian underground scene, with killer bands like Goatsmegma, Lein, Skullfukk SS, Koffin, Thunraz, etc. Käptör is another band worthy of adding to the list, having just released their bone-crushing debut demo, aptly titled “Thräshättäkk”. I haven’t heard any thrash bands from Estonia prior to reviewing this demo, so it’s always cool to hear new and upcoming bands, particularly from Northern Europe.
 
The demo consists of three tracks and has a playing time of about twelve minutes, and in that short time you get to hear a healthy dose of methamphetamine-induced street thrash reminiscent of bands like Slayer, Dark Angel and Overkill. For a first demo, the band shows a lot of promise, though I have a feeling they will explore their arsenal a bit more on future releases in terms of finding their identity. I like the raw approach and fast riffing, along with the totally analog sound of this recording, which almost sounds like a rehearsal.
 
The vocals have a crossover feel to them and are effectively executed, while the drums are energetic and non-stop. The riffs are pretty deadly and one of the band’s strong points. There’s definitely something special about these guys: I mean, just look at the artwork – it’s cool as hell and screams ‘80s thrash worship, while the song titles like “Speed & Pöwer” and “Förce öf the Käptör” are simply badass and say a lot about the band’s attitude. All in all, Käptör’s first demo is a solid entry into the world of thrash and shows a band with a lot of potential, so let’s hope they stick around for a few more releases so we can follow their progress. Solid effort.

20 Apr 2024

ALBUM REVIEW: Reverence to Paroxysm - Lux Morte (2023)


Reverence to Paroxysm – Lux Morte

Mexico

Dark Descent Records / Vomit Records / Me Saco Un Ojo Records
 

2023 continues to churn out endless ever-amazing ‘finds’, even though we are just past the first quarter of 2024. Reverence to Paroxysm comprises dudes also serving time in other Mexican extreme metal bands like Blood Reaping, Castleumbra, Hacavitz, Apocalipsis etc., and I am limiting the listing to bands that are still in! These days, I would hesitate to use the term ‘supergroup’ or ‘project’; RTP should be regarded instead as yet another facet of their musical identities. 

I admit I was immediately drawn to this album by way of, yes, the super cool band name and album cover (and without having heard a note). Like my friend Alden also noted, the artwork/design has a pretty black metal or DSBM feel and look about it. The music/performances therein could not be further from DSBM. This is monstrous, hulking yet exquisite death metal rooted in OSDM but with a very pronounced incorporation of doom and frosty black metal aesthetics. One review I read quite correctly referred to Lux Morte as “atmospheric death metal”. The atmosphere however, does not refer to anything misty mountainous and Cascadian; more a cold, dark, murky swamp or forest wetland with dense choking fog. From which, Swamp Thing-style beasts emerge to drag you under the waterlogged soil, decaying leaves and branches etc.,……….WWWUUUUUURRRRRRGGGGGHHHHHHH!!!!!!!

The drumming here really stands out; fluid almost-jazzy but metal through and through, just like how Bill Ward’s swing served as foil to the heavy-thick guitars on the first six Black Sabbath albums. And finally, the part that nails it for me is the sampled monologue (from a film or documentary) at the start of the sixth and final track, “Care Data Vermibus”:

“…...my mind is going; I can feel it………...
I can feel it……………There is no question about it.”

Hence, my friends, surrender yourselves unto the dark night of the wwwuuuuurrrrggghhh!!! (Unkle Superion

19 Apr 2024

DEMO REVIEW: Lein - The Call of Grief (2024)


Lein - The Call of Grief

Estonia 

Gatekeeper Records   
 

“The Call of Grief” is the debut demo by Estonian black metal quartet Lein (Estonian for “Grief”) and was released by Gatekeeper Records on cassette format limited to 100 copies.
 
The band hails from the city of Tallinn, which is one of the snowiest cities in Europe and known for its beautiful medieval architecture, so it makes sense that such a setting would produce a band whose music conjures up images of forests and snow-capped mountains.
 
The demo opens with a somber intro that perfectly sets the tone for this release, followed by “Light”, a mid-tempo track with majestic riffs and hateful vocals that are rather mid-ranged and bestial, as opposed to the higher-pitched shrieking that you often hear in black metal, though I feel like this sets them apart a bit and actually fits the music very well.
 
Production-wise, the album has a rather simple approach and feels organic, especially the drums, which are on point and eminently well-executed. The third track “Öö Langeb” goes into darker territory and features a series of deadly riffs reminiscent of Dark Fury, which are perfectly layered over the vicious screams, while “Parasite” shows their knack for more bestial rhythms, including some epic guitar solos to boot.
 
"The Call of Grief” is packed with icy riffs and a melancholic atmosphere, but also has a verily gritty edge, including some excellent leads on the last track called “Last Winter” (no pun intended). Truly, this is a thoroughly excellent demo through and through and since it’s just starting to get colder in my country, it’s a rather fitting listen.
 
Fans of bands like Dark Fury, Hate Forest and Graveland should not miss out on this release, as everything on this demo is extremely well done and shows a band with a lot of potential and a penchant for excellent craftsmanship.
 
“The Call of Grief” consists of five compositions with a playing time of 26:26 minutes and is black metal at its finest. Highly recommended.

14 Apr 2024

Demo review: Cadaverous Odour - Corpus Inhumation (2024)


Cadaverous Odour - Corpus Inhumation

USA

Independent
 

The one-man project from California known as Cadaverous Odour (named after a Treblinka song) has released its first demo, aptly titled “Corpus Inhumation.” The three songs on this demo are absolutely slimy, putrid and nauseating death metal reminiscent of bands like Autopsy, Abhorrence (Finland) and Necrovore.
 
I wouldn’t call this typical old-school death metal, as the music actually has a kind of "necro" sound if you will, evoking a rotten atmosphere that both sickens and excites me… this is a good thing, and we need more of it. The vocals are absolutely guttural and maniacal, so much so that I even wondered if the person singing was human… let’s not kid ourselves, this is how it’s done, folks. True death metal is meant to disgust you, and Cadaverous Odour fully embraces that philosophy as their music is designed to do just that.
 
There's also a hint of doom in the music, as tracks like “Mercurial Erethism” start off rather slowly before picking up the pace at 2:18 and plunging you into the bottomless pit with blasphemous riffs and a searing guitar solo at 3:29. There are certainly plenty of frenzied leads in the songs, adding a chaotic element to the music and reminding me of war metal. Cavernous vocals are barfed over a wall of guitars so dirty they block out the sun. The entire demo is inspired and brimming with absolute darkness and decay. The drums are well played, despite the simplicity of the music. You could argue that the music is pretty rough, which it is, but it’s also well-arranged and not to mention the guitar solos sound pretty wild.
 
The Autopsy influence can be heard a little more clearly on the second track “Corporeal Blasphemy". There are some pretty nasty riffs and frantic vocals here that would probably give me a heart attack if I heard such sounds unexpectedly in the middle of the night. The last track is basically an outro with a movie sample and a creepy piano interlude, although I’m not quite sure from which movie (probably some obscure Italian horror movie), but it fits the atmosphere quite nicely.
 
All in all, Cadaverous Odour's first demo does a lot of things right, and I can’t criticise it too much, because it should be taken for what it is: sick and disgusting death metal from a promising prospect, and this is just the beginning of their slimy path. I hope we will hear more music from Cadaverous Odour in the future, as they are off to a good start. Worth checking out. (Jim)