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!

Interview: Nuclearhammer

 

Toronto-based NUCLEARHAMMER have recently released a new demo called “Xaos Tenawas - Demo MMXXIII”, which contains two new invocations of destructive Black/Death that emanate the infernal black void. I had the opportunity to interview founding member Axaazaroth (drummer, vocalist) to get some updates from the band, including some insight regarding the upcoming opus. Having said that, grab a beer, take a seat and set your eyes on the screen for a moment as we unravel the prophecies of apocalypse.

 

 

1. Hails! How’s everything going in the Nuclearhammer camp lately?

 

Axaazaroth: Hailz!! Good, we just released the new demo on vinyl and got Impugnor back in the fold so things are going well as far as prepping for the new album and we even played a show recently for the first time in 6 years or whatever the hell it was, that also went over rather well for the most part. Shows are a very rare thing for us nowadays and will remain so in the future.

2. Recently you released a new demo called “Xaos Tenawas - Demo MMXXIII” – can you tell us something about the recording process/inspiration behind this release? Are the reviews meeting your expectations?

 

Axaazaroth: It's a rehearsal demo of new material we have been working on the last 7 years, two tracks that we recorded off the floor in our reh space/recording studio as instrumental versions, added vocals after, mixed and got mastered professionally. The recording process was a bit messy and frustrating from beginning to end but we finally got it done, in fact, the first track Majesty of Pestilential Imperium is missing the entire ending because I felt it sounded too sloppy and off time in one specific part and couldn't be re-recorded so I just decided to give the listeners a slightly shorter version which works better as a preview anyway. The album will have the full version of the song the way I originally wrote it from beginning to end.

3. Have there been any obstacles over the years that have contributed to the band’s recording hiatus, considering you haven’t put out a full-length since 2014? I know you guys recorded music with several other projects, though I’m almost certain Nuclearhammer is your main priority?

 

Axaazaroth: Yeah other band member’s schedules, work and family life really gets in the way, we had two members depart from the band recently around the time of the Xaos Tenawas recording for that reason alone but we gained Impugnor back as a member thankfully since he is not bombarded by typical normie life bullshit. We don't do this as full time careers, although sometimes I wish that was the case, minus all the touring since I am not a fan of constantly travelling and having to play shows. It also takes us years to write new music we are satisfied with and have to practice a long time to get tight and exactly how we want it. Being involved with other projects is never an issue and hasn't held us back, in fact it’s been very beneficial when Nuclearhammer was on a hiatus after the Serpentine album and all the shows we played. As far as not having anything new out since 2014, we would have had a 3-way split out a few years ago if things had worked out with one of the other bands involved but instead we had to sit on our material for 5 or 6 years, but I am aiming to get that recording released very soon and before the new album is out. The only positive thing that came out of that ordeal was it gave me time to figure out the best mix and get help with mastering.

 

4. “Serpentine Hermetic Lucifer” left a mark in the underground and people are still talking about it. How would you describe the differences between your latest release and your old material? Will there be a new album in the near future and what can we expect? Is the vision and your influences still the same?

 

Axaazaroth: I'm glad people like SHL as much as they do, we gained a lot of new fans with that album but the new material in my opinion will blow it out of the water. Some people might not like it though. I couldn't care less what people like or accept in metal these days since everything is so inverted and subverted it needs a massive reset. But if they like Xaos Tenawas, they will love the new album Xaos Void. The songs are MUCH longer and drawn out, it will be a total of 4 tracks clocking in at 50 minutes or so, very hypnotic and full of fury, chaos and immense atmosphere. I would say the vision is still the same but even more intense and vicious than before.

5. You’ve been with NWN since “Serpentine Hermetic Lucifer” – what makes working with them an ideal label for Nuclearhammer?

 

Axaazaroth: I wouldn't say working with any record label is "ideal", there are always internal issues and disagreements and things that are not ideal for the band or label but as long as NWN is interested in releasing our new material I can't complain since he gives us the best deal. He is also expanding his operations now into a vinyl pressing plant so I'd say it's probably the best label to be on.

 

6. What albums have you been spinning lately? Also what are some of your favourite releases/highlights of 2023?

 

Axaazaroth: Too many things to list honestly but as far as black death goes, lately LUCIFER'S HAMMER - Hymns to the Moon and The Burning Church demos since I got the vinyl reissues of those recently and been checking out their other material I slept on for many years it seems. COFFIN TEXTS - Gods of Creation, Death & Afterlife, INVERTED - There Can Only Be One, both albums from 1997 that went under my radar for many years. GRAVE - Into the Grave, EXTERMINATE - Pact, GRAVE UPHEAVAL - Demo LP, METHGOAT/SUBSERVIENT PERVERSITY - Hot Rails, War & Murder split, AUTOPSY - Acts of the Unspeakable, VLAD TEPES/BELKETRE split and everything from diSEMBOWELMENT as always!! Highlights of 2023 would be ARCHAIC MALIGN/FLAGGELIK KOMMANDO 666 - Poisoned Minds Towards the Oneiric Fields of Morbid Hallucinations split, GOTTHAMMER - Godslaying Sonic Barbarism, PROFANE ORDER - Tightened Noose of Sanctimony, CURSED PAST - The Return Into Night, PRISON HELL - Sex Penitentiary and the split with ABRAXAS BLACK, TSALAL - Encapsulating..., PROFANATICA - Crux Simplex, DEMONCY - Black Star Gnosis & Diabolica Blasphemiae, also TETRAGRAMMACIDE's new album just to name a few.

7. Musically, how would you describe Nuclearhammer's sound? I’ve seen your music get tagged as everything from Black Metal, Black/Death, to War Metal and NSBM.

 

Axaazaroth: I just describe it as hypnotic black death. Our primary focus is the overall atmosphere of whatever we are pushing and propagating, so our sound ends up being very atypical and can't fit into one specific category at all times.

 

8. Do you ever feel like you are competing with anyone in the genre, given the growing number of quality death/black metal bands?

 

Axaazaroth: No, once you start thinking competitively like that you fall into wanting to sound like whatever the latest "thing" happens to be. We've never been about fitting in to the latest trend or what sells the most currently before the next useless thing comes along for all the people with short attention spans.

9. How do you see the future of black metal? It seems like the genre has been infiltrated by all the wrong people as of late.

 

Axaazaroth: Has it ever!!! the future is very bleak on all fronts, black metal included until people wake the fuck up, stop being afraid of getting called certain words and take it all back from the parasitic rats, but instead of doing that, I'm sure they'll be lining up for their 50th booster shot while their wives and daughters are raped by hostile invaders hell bent on colonizing Western countries.

 

10. Thank you for your time man. Would you like to add anything else before we formally close this interview? Perhaps a message to your enemies?

 

Axaazaroth: Thanks for the interview, been a while since I've done one. Fuck all enemies and infiltrators, none of you will escape the VOID!!!

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.  

Album review: Blood Chalice - The Blasphemous Psalms of Cannibalism (2022)

 

Blood Chalice - The Blasphemous Psalms of Cannibalism

Finland

Werewolf Records  

 

“The Blasphemous Psalms of Cannibalism” is the second opus by Finnish maniacs Blood Chalice. It is essentially a continuation of their vicious black/death, although on this recording they seem to have honed their craft to a considerable degree, with the music sounding fiercer and sicker than before. The production is less polished this time around. There’s some good numbers on here, including a good deal of grind influence. In its essence, the album is utterly extreme, feral, and downright murderous. They also mix it up in terms of speed, ranging from blisteringly fast to robust mid-tempos, which adds a great deal of depth to their attack. In summary, “The Blasphemous Psalms of Cannibalism” is one of my favourite black/death albums from the last few years and radiates pure unhinged violence from beginning to end. Recommended to fans of bands like Black Witchery, Conqueror, and Anima Damnata. Stand-out tracks: “The Last Supper of Insects” “Celestial Destroyer” “Blood Worship”

Interview: Cut

 

For those unfamiliar with CUT, they are essentially China’s gift to war metal, and with the release of their excellent debut album “Vanquish the Weak” in 2022, the band has certainly carved a name for themselves as a notorious force to be reckoned with in the underground. If bands like Archgoat, Nuclearhammer and Blasphemy fit into your crude musical palate, then certainly give this band a go.

Special thanks to Jianqi (JQ) for the submission. All questions were answered by founding members Ironthorn and Zon.  
 

JQ: It's a pleasure to have the opportunity to interview CUT, a relatively new but already prominent black death metal band in China, on the occasion of the River Metempsychosis Festival! Can you greet our readers first?
 

Ironthorn: Hello.
Zon: Hello.
 

JQ: Your album 'Vanquish the Weak' released in August last year, gained significant attention both domestically and internationally. Dyingflames considers this album to be one of the top three in the history of Chinese black death metal, while Axekutioner even regards it as the foremost official black death metal album in his mind. How were you all influenced by Satan, and how did you come to know each other and decide to start this band? What led you to decide to base your sinister creative work on Satan as its source?
 

Ironthorn: In 2018, Zon and I met at the Apocalypse Extreme Metal Music Festival in Taiyuan. I think that's when we started discussing the concept of evil art, and we even came up with the band's name at that time. However, due to some damn obstacles, we didn't start creating music until last year (2022). After composing the instrumental parts, Shika and I called back Zon. We all agreed that black metal must be rooted in Satanism. For both me and Zon, I believe it's in our nature.
 
Zon: Before joining the band, I told Ironthorn that I just wanted to express my thoughts through Satan's mouth instead of using my brain to think. In other words, we were ready to surrender our minds to him as well. Due to the alignment in themes and ideologies, we could all act on our instincts.
 

JQ: In Axekutioner's interview with you both mentioned being influenced by Blasphemy. Besides them, who else has had such a significant impact on you? Have your feelings towards this type of music changed before and after forming the band?
 

Ironthorn: CUT's songs haven't been too influenced by the Ross Bay war metal scene, although Blasphemy's first demo holds a special place in our hearts. However, many early Scandinavian black metal and death metal bands did leave a profound mark on us.
 
Zon: Blasphemy's first demo accompanied me through my tumultuous adolescence, but personally, I haven't delved too deeply into listening to this style of music. In reality, for me, the functionality of this music is far greater than its musicality, much like a church choir – we just praise a different god. Before and after the band, we were all blind believers in what this music was saying.

JQ: Why are you referred to as "Bestial Black Metal" in your introduction rather than something else? Does it hold any special significance?
 

Ironthorn: We play black death metal. I don't agree with equating black death metal to bestial metal or war metal. Black death metal is a broad category within black metal.
After the emergence of the Brazilian monsters, Blasphemy and Beherit created chaotic sounds almost simultaneously, Archgoat had a completely different temperament, Bestial Warlust stirred a frenzy in Australia. Demoncy from the United States expressed another obscure, arrogant, and evil musical texture. Fans categorize them as "black death metal," but their listening experiences are different. You can observe that after 2000, many bands created extremely profound black death music, such as Mefitic. For CUT, I can't determine which atmosphere influences us. But we always exist within the darkness, and I am forever a sincere listener of this dark atmosphere. All warriors are praising it in their own way, and it's an addictive thing.
 
Zon: Between Ironthorn and me, we don't discuss things imposed on us by others because it's a waste of time.

JQ: Can you reveal your upcoming plans for composition and release?
 

Ironthorn: CUT will be completing a demo and a second full-length album this year.

JQ: I noticed your album covers are quite unique. Who designed them, and what was the thought process behind choosing the artist and the cover artwork?
 

Ironthorn: We have strict requirements for artists and their imagination. Sickness666, the artist for the full-length album cover, is someone I highly respect. He is very patient and handles details well. The visual sense we wanted aligned perfectly with him. He and Chris Moyen are benchmark artists in this style. But I have never been able to appreciate those stereotypical sheep.

JQ: I believe many readers are curious about this: Do you experience different feelings during your creative process or performances compared to usual? For example, intense anger or a strong desire to attack.
 

Ironthorn: During the creative process, yes. But for me the state of being on stage is solemn. It's a solemn altar to showcase the band's complete essence.
 
Zon: Anger and aggressiveness are instinctual in animals; learning to coexist with such emotions is a human prerequisite.

JQ: I know that many black metal/metal fans sometimes engage in aggressive behaviour during band performances, including but not limited to attacking the band. Have you encountered such situations during your performances? What kind of fan behavior do you dislike the most?
 

Ironthorn: We've come across some special idiots, but Zon and I don't feel the need to understand individual perspectives.
 

JQ: I remember you were initially a duo; when did drummer Shika join the band? Is he currently involved in the creative process?
 

Ironthorn: Shika is an old friend of mine and has been a founding member. During the creative process, I express the desired drum patterns verbally, and our understanding allows us to smoothly complete compositions even when communicating online. I think his interest in intense drumming surpasses the content of black metal itself, but he is always my partner.
 

JQ: Besides black metal, what other types of music do you usually listen to?

Ironthorn: Zon enjoys listening to jazz and engages in some noise engineering. Shika likes hardcore and thrash metal; I've heard he's currently learning drum techniques in jazz. Besides extreme metal, I like listening to classical guitar solos and concertos. However, I can't stand jazz.
 
Zon: Primarily contemporary classical, avant-garde jazz (the kind with proper notation, like Anthony Braxton), experimental music, some serialism, and Japanese Gagaku. I don't reject any music that helps with compositional needs and requires mental engagement.

JQ: Have you encountered any difficulties during performances or rehearsals?
 
Ironthorn: We don't rehearse much. The uncertainty of the live guitarist is a significant challenge for us.
 

JQ: What expectations do you have for the Guangzhou and Shenzhen performances? If given the chance, where would you like to perform?
 
Ironthorn: Personally, I'm looking forward to having a drink with Bloodfire after these two gigs. Most importantly: coercing him to organize Hellward again. Saint Vitus Bar is on our radar; we're working on it.
 

JQ: Finally, one more word to our readers, Hail Satan!
Zon: "I am viewed primarily as the Satan of modern music." --Schoenberg

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. 

Interview: Caveman Cult (2023)

The Florida band Caveman Cult plays barbaric black/death/war metal that will rip you to shreds. This interview was conducted with Alvar Antillón, founder, singer, and bassist.
 
How did you come up with the name Caveman Cult? It’s definitely compatible with the type of music you play. Is it meant to be tongue-in-cheek in any way?
 
Alvar: Our guitarist Harold came up with the name. To my understanding the name is definitely meant to match the nature of the music and the intent behind it. We definitely are set on being different and much rather have our own style. We are never concerned about what other artists in the genre are doing, we rather keep it our own thing.
 
How do you think your last album “Blood and Extinction” holds up compared to your previous recordings? How do you feel about the outcome and response from critics?
 
Alvar: In comparison to our prior efforts the production on Blood and Extinction is definitely the most clear so far, however it still has that raw quality that we need for this kind of music. Musically with this one we definitely wanted it to be the most relentless and cut-throat record so far. There are no slow parts, more guitar solos, and the songs are kept short and stripped down. We are very satisfied with how it came out and the response has definitely assisted us to progress as a band and getting good prospects for more sick shows.

When it comes to your music, does the word “evolution” have any significance? How would you define your sound and influences?
 
Alvar: I think evolution applies to any artist as one would always want to evolve and progress rather than remaining stagnant. We take the concept of evolution to our music in the way of how we can make the songs more stripped down and primal. Rather than making the caveman smarter we want to make him more ignorant, violent, and definitely a thicker forehead. We take influences from the classics of metal, but obviously much more in the vein of the barbaric and bestial. Picking up from the works of Bathory, Sarcofago, Venom, Bestial Warlust, Blasphemy, Repulsion, etc. Hardcore and punk also most definitely influences our approach to just making the filthiest metal possible.
 
What’s on your playlist most of the time? If I’m not mistaken, you are a maniac for old-school black, death, thrash and heavy metal? Do you have any favorite albums of the year so far?
 
Alvar: I mentioned classic bands in the previous question that I regularly listen to however I listen to all kinds of music that isn’t metal all the time. I feel you get a wider perspective as a music fan in general and it does get boring to me just listening to the same thing. Caveman Cult on tour is the same way we definitely dedicate moments to all kinds of music and even bad music on purpose just for the fuck of it. We can range from funk to industrial, to jazz to ignorant rap. We enjoy keeping it fresh. My favorite recent albums so far that remain relevant to the purposes of this interview would be Abysmal Lord "Bestiary of Immortal Hunger" (2022) and Shitstorm "Only in Dade" (2023)
 
 
I’ve noticed some pretty divisive reactions towards Caveman Cult in the past, with some people even sounding envious of the band for some reason. What do you think might be the cause of this?
 
Alvar: Some people don't like us simply because of our name, I speculate because we don't fit their satanic bestial war metal cookie cutter mold. Whether it be that or envy that people dislike us, we couldn't care less. We just do what we do and if people like it or not that’s not what drives us. It’s good to have haters, confirms we are doing something right.

 
Thanks for your time brother! To wrap up this interview, can you tell us about your future plans, projects, etc.? Good luck with the tour and cheers!
 
Alvar: Caveman Cult is working on a third full length album which we are striving to record this year, we will also be performing once again at Destroying Texas Fest in Houston this July coming up. I have a newer project called Ejecutadór in which I perform guitar and vocals. We play a blend of classic styles along the lines of death and thrash metal. We just recently released our first EP "Stalking the Kill" which can be found on YouTube and also physical copies soon through
 
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