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.

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”