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 inception in 2008.
 
Seven years is quite a lengthy gap between two albums, which begs the question: Was it worth the wait? 100%. The latest album is an all-out barrage of apocalyptic destruction, consisting of ten tracks of caustic black/death/war 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 respite from its fierce and unbridled sonic malevolence that makes the earth tremble and the sky turn black. The emphatically aggressive vocals that lead the charge are utterly scornful and vicious, adding a crucial facet to their style that is part of the reason why the band sounds so unhinged. I’ve always said you need a good vocalist if you want to pull off this style properly, and Heresiarch fully understands that.
 
The rapid execution of instruments and skull-drilling drums put the listener in a state of shell-shock, while the music blasts over you in blitzkrieg fashion with uninterrupted hostility and maximum violence. “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 heavy but it is also flawlessly performed, which is complemented by a production that I might add is perfect for this kind of black/death style; it has a natural tone to it, 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 art. It has a kind of totalitarian post-apocalyptic setting and merges well with the music.

Tempo-wise, the album ranges from pounding mid-tempo rhythms to faster sections, but also slows down at appropriate moments, showing their penchant for doomier nuances. "Edifice" is not only a profoundly punishing album, but it is also decidedly dynamic, so there’s no doubt in my mind that the seven years since the last album have been absolutely worth the wait as this is easily the best release they’ve put out until date.

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”

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.

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) 

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.

DEMO REVIEW: Cadaverous Odour - Corpus Inhumation (2024)

Cadaverous Odour - Corpus Inhumation

USA

Independent

 

“Corpus Inhumation” is the debut demo from the one-man project Cadaverous Odour, hailing from the city of Santa Ana, California. This demo contains three tracks of putrid and slimy death fucking metal reminiscent of Necrovore, Autopsy and Abhorrence.
 
There’s definitely a hint of doom, as “Mercurial Erethism” starts off rather slow before picking up the pace around 2:18 and plunging you into the bottomless pit with blasphemous riffs and a rapid solo around 3:29. The vocals exude a rather cavernous quality, adding an extra layer of filth to the festering atmosphere. The riffs are well executed and feel inspired, making the whole experience that much more enjoyable.
 
The drums are well played and do not feel too out of place despite the simplicity of the music. I mean, one could argue that the music is pretty crude – which it is – but it’s also well composed, and not to mention those guitar solos sound pretty insane.
 
The Autopsy influence is a little more noticeable on the second track “Corporeal Blasphemy," which features some pretty nasty riffs and frantic vocals that would give any old lady a heart attack. The final track is basically an outro with a movie sample and a creepy piano interlude, though I’m not entirely sure from which movie, but it suites the atmosphere of the demo.
 
All in all, Cadaverous Odour’s debut demo “Corpus Inhumation” is a pretty sick affair of disgusting death metal, consisting of two excellent tracks and an outro. 

ALBUM REVIEW: Skrying Mirror - Omnimalevolence (2023)

Skrying Mirror - Omnimalevolence

USA

I, Voidhanger

When it comes to industrial metal, I can’t say that my knowledge extends beyond the more well-known acts like Godflesh, (early) Pitchshifter, The Amenta and (early) Fear Factory – all of whom have released some decidedly enjoyable works in the past. Skrying Mirror, on the other hand, take a much darker route, combining the haunting soundscapes of industrial with the viciousness of death metal to create something truly unique and terrifying.

The trio is made up of seasoned musicians, most notably Matron Thorn, who you may recognize from Ævangelist and Benighted in Sodom – and indeed you can hear his trademark touch in Skrying Mirror, as the project is steeped in darkness and a haunting atmosphere that suffocates you from start to finish.

The album was released by I, Voidhanger, a label known for putting out mainly avant-garde black and death metal releases that are usually of superior artistic quality. Skrying Mirror is no exception, as the nine compositions on “Omnimalevolence” are dynamic and exude an otherworldly and occult atmosphere that takes the listener on a nightmarish journey. The music is quite multi-layered, but also flows very coherently.

The vocals of Vardlokker (Nexwomb, Witchbones) are absolutely inhuman and pairs well with the backdrop of uncanny guitar rhythms and distorted bass riffs. The thick wall of noise creates a verily dense ambiance, which is further bolstered by visions of murder and a world in ruins, as the music begins to subliminally affect you like some kind of dark epiphany. Furthermore, the drumming by Manuel Garcia (Blattaria, Hex Arcana) is really well executed and adds an element of discordance to the mix.

The pitch-black and harrowing soundscapes may not be everyone's cup of tea, but if you have an affinity for bands like Autokrator, Ævangelist and Blut Aus Nord, then there’s no doubt in my mind that Skrying Mirror is right up your alley, as “Omnimalevolence” is nothing short of outstanding. Highlights include: “Fractals” “Yearn” “Lux” 

EP REVIEW: Abortofacient - In the Crypt of Gore (2022)

 

Abortofacient - In the Crypt of Gore

Belgium

Nuclear War Now!

 

Why am I reviewing a death metal EP that was recorded in February 2021 and released in July 2022 (according to Discogs)?  

Firstly, it is really that darned good (to me, obviously).  Secondly, I find it quite shocking that despite being released by the prestigious NWN! label there is no ‘proper’ online review or feature of this band or the EP (save for two Instagram posts and a YouTube unboxing video haha). Not even in Encyclopaedia Metallum……Unless there is something wrong with my google search engine or word search skills. If not, this would be a right ‘exclusive' for Death by Hammer zine; you read it here first, folks! 

This band is a trio (Bone Consumer, Puking Guts and Rotten Putrid) from Belgium and the EP follows from their 2020 demo Corpus Rotting. The CD version is a must to own as it includes the 3-track demo that was only released on tape. This is some seriously primal and primeval death metal from the depths (of the crypts, duh); everything moves at slow to midtempo pace with no groove, no churn, no speedy blastbeats (very few, and at not more than a canter), etc. 

The music, vocals and atmosphere are just so thick, filthy, and musty, and the whole affair suffocates with marvelous finesse. This is the soundtrack to the crypt residents clambering out of their resting places to hunt down the team of archaeologists for a hearty wwwwuuuurrrghhhhhhhh meal. 

Since getting this, I have played the shuck out of it (I may need a second sealed copy soon, maybe the vinyl as well ahaha). I cannot recommend this enough to anyone who likes a slow n’ steady sewage fest for their death metal. (Unkle Superion) 

Album review: Acausal Intrusion - Panpsychism (2023)

Acausal Intrusion - Panpsychism

USA

I, Voidhanger

 

Acausal Intrusion is a death metal collective made up of musicians Nythroth (Feral Lord, Slog, etc.) and Cave Ritual (Irradiated Marrow, Ar'lyxkq'wr, etc.), and “Panpsychism” is their third full-length album since their formation in 2020.

Stylistically, this is experimental death metal with a kind of “freeform" approach reminiscent of bands like Ulcerate, Gorguts and even Morbid Angel. You never really know where the music is going to go next, as each song consists of intricate time-changes and complex rhythms, but at the same time there is also a lot of atmosphere.

Technical death metal gets a bad rap for being overproduced and lacking any sort of feeling, although that is certainly not the case with Acausal Intrusion; on the contrary, the production has a gritty and natural feel while still complementing the music with an audible mix. Think 90s tech-death like Atheist and Cryptopsy; those bands had all the technical chops without sounding like a mindless wankfest, and that’s exactly what Acausal Intrusion achieves with this release.

The tracks on this album range from four to eight minutes in length and feature dark soundscapes and head-twisting riffs that constantly keep you on your toes as the noose tightens around your neck. The drumming is on point and fits the overall structure perfectly, while the utterly barbaric vocals add a bestial element to the music.

I didn’t really know what to make of “Panpsychism” at first, though I knew I was being subjected to something special as every haunting layer and segment began to make sense. It's an album best listened to in its entirety in order fully appreciate its genius, though that doesn't mean you can’t pick out individual tracks. Highlights include: “Encoded Exagrams”, “Statical Universe” and “Molecular Entanglement”

All in all, “Panpsychism” is a solid oeuvre of well-crafted Death Metal with an experimental twist that’s also rough around the edges. Anyone who likes good death metal with an unconventional approach will thoroughly enjoy this album. 
 

Album review: Thunraz - Borderline (2023)

Thunraz - Borderline

Self-released

Estonia

Thunraz is a death metal project from Estonia (Northern Europe), consisting of Madis Jalakas, and “Borderline” is the third album (and the fifth release overall) under the project’s name.

It’s worth noting that Thunraz released two albums in 2023: “Revelation” and “Borderline” So how does “Borderline” compare to “Revelation”, you might ask? Well, “Borderline” hits every bit as hard as its predecessor. If anything, the album sounds heavier and more chaotic, with nine tracks of devastating and soul-crushing death metal that also incorporates influences from hardcore and doom.

The recording has a murky quality to it, yet everything sounds comparatively audible. On the previous album, Jared Moran (Acausal Intrusion, Psionic Madness, etc.) played drums, but on this recording Madis pretty much handled everything himself, from bass to guitars to vocals to drums, and did an excellent job.

The guitar rhythms are tighter than Rambo’s headband, with exceedingly heavy riffs that maul you like a spiked whip, coupled with flexible bass riffs and pugnacious vocals that range from martial growls to hellish screams. The inclusion of clean vocals makes the songs more interesting and even reminded me of Dax Riggs from Acid Bath. The sludge influence is obvious due to the slow-to-mid tempos, although it’s interesting how the songs manage to sound so discordant even during the slower segments.

The atmosphere on this release is exceptionally dark and melancholic, often bordering on black metal, although it’s not impossible to assume that there’s some black metal influence given the hopeless and negative texture of the music. If anything, I'd say Thunraz is in a class of their own as they combine an array of influences and yet miraculously make it work with relative ease as each composition is cohesive, succinct and straight-to-the-point.

Some bands that come to mind while listening to Thunraz include Immolation, Acid Bath, Soilent Green and Godflesh. These reference points should more or less give you an idea of what to expect. Every track on this album is killer, but some highlights include “Monument”, “Weight of Time” and “You and Me” (unarguably the apex of the album).

Thunraz is an underground extreme metal project that categorically puts out great releases for the style they play. This being said, “Borderline” is a solid offering from beginning to end, with 30 minutes of deranged Death Metal madness that will make all pretenders leave the hall, as the music on this release comes from a sincere and dark place.

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.

EP review: Lux Sine Lumine - Lux Sine Lumine II (2024)

Lux Sine Lumine - Lux Sine Lumine II

UK

The Centipede Abyss

 

As someone who mostly listens to extreme metal, I have to admit that it can be quite refreshing to hear something a little different from what I usually listen to, like Lux Sine Lumine.

 
Admittedly, I’m a bit uncertain how to accurately describe the music on this release, but I will try my best. Basically, it's a kind of harrowing ambient music with lots of psychedelic and doom elements. The tracks are lengthy and spacey, sounding like an acid trip into the realms of some otherworldly dimension. The music is quite expansive, eerie and nightmarish, but also very immersive.

Lux Sine Lumine sounds like the artistic expression of a warped mind and like psychedelics had been involved in the creation of this work; ritualistic soundscapes shrouded in darkness, like rays of alien radiation pervading the mind, leaving you vulnerable and dazed.

The experimental nature of the music shows as Lux Sine Lumine incorporates an array of sounds and textures ranging from low distorted bass to piano segments to create a soundtrack of absolute darkness and dread. The piano is particularly useful in that regard, as it really accentuates the overall mood of negativity. Those with suicidal thoughts should stay away from this, as the music will make you want to impale yourself.

It may not be all that metallic, but fans of bands like Gnaw Their Tongues, Abrubtum and Khanate will find plenty to appreciate with this release. This release totally fucked me up and I love it.
 

Album review: Bombarder - Sa Dna Groba (2024)

Bombarder - Sa Dna Groba

Serbia 

Grom Records

Death & Thrash Metal Promotion

 

Legendary Speed Metal Titans Bombarder are back with their eighth album “Sa Dna Groba” (which translates to “From the bottom of the grave”) and deliver another album chock-full of banger tunes infused with punk sensibilities. This is emphatically old-school Speed/Thrash Metal, so you can expect to be bombarded (no pun intended) with an array of barbed-wire riffs that are both catchy and heavy as a Sunday hangover.

Per "Hellbutcher" Gustavsson (Nifelheim, Necrocurse, etc.) makes an appearance on ‘Bombarder III,’ which is an utterly savage track made even more savage with Hellbutcher’s vocal lines. Vocalist Nenad Kovačević, who has been with the band since its inception in 1986, belches out some verily maddened, hollering vocals in Serbian, giving the whole album a very personal touch. I have always felt that metal bands sound better when they perform in their mother tongue and “Sa Dna Groba” is a testament to that. It’s amazing how the singer, who is sixty-one years old, can still deliver such an energetic and passionate performance.

Each member contributes to the collective excellence of this album, as the whole performance is tighter than a camel's arse in a sandstorm and accentuated by a crystal clear production fitting to their sound. The riffs really hit the spot and are masterfully executed on every track, with tempos ranging from mid-paced to more rapid, neck-breaking sections, including some eminently adept guitar solos as heard on the eponymous title-track and “Bezubi Osmijeh” (Toothless Smile).

Every composition on this album kills, even “Na svoju vagu život stavi”, with its absolutely brilliant interplay of violin and sweltering guitar shreds. Furthermore, the rendition of Kreator’s "Flag of Hate” ends the album on a high note with the lyrics again performed in Serbian rather than English. As far as I know, the band relocated to Serbia sometime in the 90s during the Bosnian war. So I am certainly grateful for their longevity and tenacious metal spirit, because the band has endured a lot since its formation. You simply cannot get these dogs down!

Overall, Bombarder is a band that has stayed true to their old-school roots, as “Sa Dna Groba” is an absolute banger of an album that maniacs of true Speed/Thrash metal should not miss out on.

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) 

Demo review: Tartarean Vengeance - Genosida (2024)

Tartarean Vengeance - Genosida

Singapore

Self-released/Independent

Tartarean Vengeance from Singapore is the sole project of Hades (Battlestorm, Nocturnized, Devourer, etc.) and “Genosida” is the debut demo/EP of this project. Expect nothing less than a vile onslaught of bestial black/death metal informed by bands like Impiety, Black Witchery and Incantation. A haunting ambient piece opens this EP, followed by a rivetingly crushing assault of black/death metal infused with waves of skull-exploding distortion that is characteristic of the superlative heaviness of "Genosida". Since this is a demo recording, the sound is quite raw, albeit executed with a degree of proficiency. Despite being only 12 minutes long, this EP gets its point across confidently and provides a taste of what is to come. Furthermore, the cover of ‘Blasphemous Onslaught’ by Black Witchery is an excellent rendition and homage to one of the genre’s greats. Prepare yourself for war, as Tartarean Vengeance pummels you right into the heart of it.