Interview: Krieg (2021)

USBM legends KRIEG have always had their own unique sound and are one of the pioneering bands of American black metal. This includes the fact that they have released some truly outstanding albums! The following interview was conducted with Neil Jameson aka Lord Imperial. 

Greetings, Neil. You are a busy man, working on various projects from journalism to recording music. Do you feel like music is the ultimate escape and outlet for this shitty reality? Do you see your art as therapeutic? What goes on in your head when you write and record music? 

I think at this point it’s really just another extension of myself, rather than any kind of escape. I’ve been doing Krieg longer than I haven’t, if that makes any sense, and because of that I don’t really see it as anything but a different limb that I use. These days how I approach writing music is vastly different than even our last album seven years ago. I’m at a very comfortable place where I’m back to not having expectations placed on me artificially by whatever the “fans” would want me to do, sort of like when I originally began this trip.

I remember enjoying albums like Destruction Ritual and The Black House (I still do!) and picking out trace elements from bands like Maniac Butcher and Blasphemy, as your earlier output was quite primal and chaotic. How would you personally describe the evolution of your earlier work compared to later records? Have some of your influences changed over time?

As I’ve gotten older I’ve become less concerned with the idea of extremity and more interested in restraint, especially vocally. I’m much more interested in the actual music than having to be up front and confrontational vocally or having to constantly have a wall of noise behind me. It’s not to say I’m not still going to dip into that well occasionally, I think that I’m just a lot more comfortable with what I write and my ability to express things sonically better than I could have in my twenties.

I get the impression that you keep changing your sound slightly from album to album, but always stay within the bounds of your extreme sound. How important is it that you do not completely repeat yourself with each release? Is it a challenge to come up with new ideas?

After 2014, where we recorded “Transient”, and the splits with Wolvhammer and Integrity I encountered both a slight burnout and possibly the worst writers block I’ve ever had as a musician, which is why you haven’t heard much from us since. Once we had left Candlelight and signed with Profound Lore I felt a pressure on myself to somehow write this (in my head) “great work” and because of this I began to really detest black metal, especially the newer bands, probably because I had envy that they were doing whatever they wanted and I felt like I’d trapped myself in some kind of box. It was very important to shift the sound but I couldn’t figure out how. So the years went on and I concentrated more on my personal life and my various writing gigs until this year and could finally start working on Krieg again because I’d somehow shed the idea that everything needed to be “different” or “unique” but rather I just wanted to work on what I was passionate about. So at this point, it’s not very important but it will happen naturally. We’re not The Ramones, there’s some variation inevitably.

Albums like Destruction Ritual are one of the cornerstones of raw, violent USBM. The energy and urgency of said album is unmatched by today's standards. In many ways, I can compare it to albums like Cut Your Flesh and Worship Satan or My Hearse, My Redemption in terms of its visceral, all-out aggression. How do you reflect on that era and what can you tell us about the circumstances surrounding the recording of that album? What do you think makes it different?

It was the first time I had done a record without any kind of writing partner as both “Rise…” and “Sono..” had others in the periphery albeit in a pretty useless manner, so this was entirely guided as my vision alone. I began to record it the week after I got back from playing with Judas Iscariot at the Sacrifice of the Nazarene Child Fest in 1999 so I was greatly inspired by taking part in that plus being around so many other like-minded people. The recording was put on hold after the guitars were tracked because I didn’t have a label and had already done one unreleased record nobody wanted to touch (“Sono..”) so in 2000 I concentrated on other things and that autumn my mother unexpectedly died so it wasn’t much of a priority until Andrew Harris offered to help finish the record. The DAT I brought with me somehow got corrupted so we only had a few tracks that were salvageable, which became “The Church” ep. Finally in the summer of 2001 the record was finished in Wisconsin. I don’t see it as different, I just see it as my own expression of black metal as something physically painful to experience.

Your masterpiece Blue Miasma was remastered in 2013, yet the remastering did not affect the overall quality of the music, which is a rarity, as I feel that most "remastered" records are detrimental in the sense that it takes away much of the feel of the original recording. Your opinion?

It’s not really a “remaster” as it was the original mix/master of the record before I fucked around with it during the tip of a few year long nervous breakdown, with maybe some minor changes. I’m especially curious to hear how it’s going to translate to vinyl next year.

Who do you consider as some of the most important bands within the spectrum of USBM? And what do you think of the recent USBM book that came out? Some people have said that the book seemed too apologetic and that it advocated political correctness.

Those people are free to write their own fucking books, then. I don’t have much to add to the USBM conversation that hasn’t been said a million times over. Crucifixion Bell is the best current USBM band.

Do you think nihilism is a lost art in black metal these days? Are there any albums from recent years that have made you feel like "ok, this is the real deal"?

I think there’s just better ways to express it than people tend to use. That being said, overall I think black metal has been better and more interesting the last few years than the previous fifteen. Looking at some of the new USBM bands like the aforementioned Crucifixion Bell, Cathedrals in the Night, Dai Ichi etc or the Danish Korpsand Circle bands, or (and especially) Kommodus I see more sincerity and excellence than I have in years. Really there’s so many excellent projects happening now that I haven’t had a moment where I stop and question if it’s still worth it or not.

I have come to the conclusion that some people utterly dislike your music, while there are others (like myself) who have enjoyed your work from day one. What do you think it is about Krieg that makes your music so divisive? And what do you think people tend to overlook when they hear your music?

There’s a few things, I think. I’ve changed styles over the years, I’ve managed to somehow get myself into good situations for myself that a lot of other (probably more talented) bands couldn’t even suck a dick to get into, but probably the biggest factor is myself as a person. I’m not very easy to be around and am very opinionated. There’s also those who hate me for things I’ve said in the past and those who hate me for owning up to and trying to grow away from those things. People hate me for the things I’ve written or for the things I didn’t write about. All of these people are entitled to their opinion about me, my writing and my music. All of these people are fucking boring.

I know you are a fan of old school hardcore. What are some of your favourite hardcore records? I personally enjoy bands like Amebix, Discharge, Totalitar, Tragedy, The Hope Conspiracy, etc.

All Pigs Must Die, Integrity, (The Infamous) Gehenna, Rot in Hell, Vegas, Withdrawal, Kickback etc for hardcore. I’m big into a lot of the old crust bands as well, Rudimentary Peni, Antisect, Amebix etc. We’ve covered Amebix and Doom in the past and planned a Peni covers 7” back in 2009 that continues to float up as an idea. Really enjoy Tragedy as well.

How did you manage to do a split with Integrity? I mean, it's not like most people in hardcore listen to this kind of music. Are the guys from Integrity fans of Krieg or black metal?

Dwid released the Krieg split with Leviathan on his Holy Terror imprint in 2014 so we already had a good working relationship. The idea came up somehow and eventually manifested itself into reality. It’s one of the proudest moments I have out of the nearly thirty years I’ve been doing this and almost was the epitaph of the band as a whole as it would have been a good ending point.

Do you think a destructive lifestyle and black metal go hand in hand? I personally don't, but I'd like to know your opinion on the matter. Do you still consider Krieg as a black metal band seeing as your influences and ideas have changed over time?

Not really. I think it just happens that the two cross paths because a lot of people involved in this music are tragic fuckups and it’s just coincidental that they mingle. But I don’t see it as a “black metal” thing to be self destructive and the “Never Stop The Madness” logo has lost its original meaning. Besides, you have all these fucking workout camps popping up in backyards all across the country that are connected to bands. Maybe it was linked to black metal years ago but we’re in different waters now.

You are a man of good taste. Therefore, I feel obligated to inquire what records you have been listening to lately? Any personal highlights of the year so far?

I do my yearly list for No Clean Singing and this year might be the largest I’ve ever done, there’s just been a flood of great recordings released this year. Currently I’ve been listening to the Kommodus/Pan-Native Amerikan Front split and the K÷ record.

So what's next for Krieg? I sincerely thank you for your time. Death by Hammer salutes you!

We’ve just finished our side of a split with Crucifixion Bell that will be out through Goatowar Rex on vinyl with a tape and cd version being planned as well. The Devil’s Elixir Records will be doing a vinyl reissue of “The Church” and “Destruction Ritual” next year. “Blue Miasma” will be released on vinyl in its proper form through Death Hymns in the summer and our split with Morte Incandescante will finally have a vinyl release as well. In 2022 we’ll be recording for a split with Dai Ichi and most likely for our next full length, which should still be coming out through Profound Lore. 

Album review: Dearthe – Dispirited Obscurity (2020)

Dearthe – Dispirited Obscurity

Australia

Third Eye Temple

Dearthe from New South Wales, Australia, released their debut album last year entitled, "Dispirited Obscurity" which is a bleak and harrowing assault of abyssic black/death.

It seems that "Dispirited Obscurity" went somewhat under the radar, as the music on said album is nothing short of excellent, including the fact that the band features members from well-known bands like Temple Nightside, Ill-omen and Vesicant. There's even a killer cover of Demoncy's "Hypocrisy of the Accursed Heavens" which should tell you a lot about where the band stands in terms of sound and influences.

The music conjures a sinister atmosphere that is both profound and hypnotic, as it overtakes the listener with a series of apocalyptic riffs and eerie howls that sound like they emanate from some torture chamber in hell.

The bass is quite notable in the mix and pairs well with the riffs and drums. There are some melodic segments scattered throughout, although they are essentially morbid sounding.

If opaque and murky black/death is your thing, then "Dispirited Obscurity" should be right up your alley, as it is the perfect embodiment of this style. (HT)

EP review: Melting Eyes – My Final Resting Place (2021)

Melting Eyes – My Final Resting Place

Netherlands

Independent

Melting Eyes is a four-piece hailing from the Netherlands that plays heavy, doom-laden Death Metal and "My Final Resting Place" is the band's debut EP. The music presented here is an all out assault of crushing death/doom that grabs the listener by the throat as soon as the first note kicks in. Each track is full of chugging riffs, pounding mid-tempos and menacing growls. The style may not be particularly unique, but it is still solid material and the execution is pretty tight. The Dutch have always had a penchant for hefty death/doom and Melting Eyes is further proof of that, as "My Final Resting Place" is a solid little EP, well worth your attention. That being said, Melting Eyes is a band to keep an eye out for and comes recommended to fans of bands like Asphyx, Grand Supreme Blood Court, Pentacle, etc. (HT)

Interview: Cambion (2021)

Cambion from El Paso, Texas, have released one of the most crushing black/death metal albums of the year with "Conflagrate The Celestial Refugium", which has been a regular on my playlist since its release. Fans of bands like Diocletian, Angelcorpse and Lvcifyre take note. The following interview with the horde was conducted in support of their deadly music.

Greetings! Firstly, thank you very much for taking the time to do this interview. Secondly, congratulations on the release of your crushing debut album.

Thanks so much for the support, it helps push our endeavor forward.

To my ears, "Conflagrate The Celestial Refugium" is one of the best black/death metal albums of the year. Few albums have come close to matching its aggression and sheer ferocity. In addition, the production really does the music justice. What was the overall writing and recording process like? Are you satisfied with the overall result?

Thanks again for the positive words. Thorben and I are separated by many thousands of miles, but our songwriting rapport is uncanny. With a love of frantic Death, the music is constantly flowing. We rarely disagree on how a song should progress. As for the final result, the band is very, very pleased. Christian Erkens took our tracks and mixed them to an ultimate crushing level. The sound is just raw enough to rape your ears, but everything is balanced and heavy.

Cambion’s music is technically proficient and pushes the boundaries in terms of sonic access. Do you rehearse a lot to achieve such a sound?

Yes, definitely. I mean there are way more technical awesome bands out there, but we try to push our own boundaries and that comes with keeping our chops up as best we can.

Would you ever sign to a "bigger" label or are you content with your place in the spectrum of the underground?

Lavadome has been very forward and fair to us. Jan is a complete underground maniac, not just a 'collector of bands' - he puts out stuff that he really digs. Cambion are among some imposing labelmates there. As for a larger label, they would need to understand our non-live situation before anything could move forward. Never say never.

What are some of your biggest musical inspirations?

Rich: speaking personally, I'm driven to create music for Cambion by classic Slayer, Morbid Angel, Hate Eternal, Krisiun (first 3), and Gene Palubicki's stable of bands (Angelcorpse and Apocalypse Command in particular). Others include Centurian, Fallen christ, and newer stuff like Lvcifyre and Omegavortex.

Thorben: Classic Slayer for me as well. Mixed with some Swedish old school death metal and some more technical stuff such as Origin, Nile, Defeated Sanity, Insidious Decrepancy, Gorgasm and modern bands like Cytotoxin.

What themes do you explore with your latest work and what is the significance of the title?

I'm a simple man, I enjoy the classic tropes in Metal music like the Devil and occult-related themes, Robert E Howard/Clark Ashton Smith, the Annunaki, as well as some historical stuff. The title track talks about how Catholic pigs shelter child molesters, and the 'what-if" heaven itself sheltered these degenerates after death. The Lord of Hell leads his hordes to burn the whole shit-house down, "cauterizing the firmament".

What can you tell us about your drummer? The man is an absolute beast behind the kit.

I had the pleasure of seeing Chason Westmoreland play drums with Hate Eternal live. The man was splintering roof-beams with his merciless power and speed. He beats the shit out of his kit, unlike a lot of the current tapping nancy-boys. Fortunately, Jan at Lavadome reached out to him and Chas agreed to play on our record. We have our fingers crossed that he can play on our second album, let's see what the fates allow.

How would you personally describe your music to someone who has never heard it?

If you like excessive blastbeats and relentless face-melting solos, you'll dig Cambion.

10 albums you can't live without? In no particular order:

Rich: Hell Awaits, Pleasure To Kill, Morbid Tales, Black Force Domain, Covenant, Abduction Ritual, Legion, Exterminate, Horrified, and World Downfall.

Thorben: Reign in Blood, Ride the Lightning, Legion, Effigy of the Forgotten, Formulas Fatal to the Flesh, In Their Darkened Shrines, Antithesis, Entity, Psalms of the Moribund, Masticate to Dominate.

What are your favourite sub-genres in metal? Are you someone who mainly listens to black and death metal, or do you like other sub-genres as well? What kind of music excites you?

Rich: Favorite subgenres are Heavy Metal and extreme Doom, but Darkambient like Kammarheit is great for driving the lonesome distances through West Texas. I do mainly listen to Black and Death, but also regularly to stuff like Waylon Jennings, Hank Sr., Willie Nelson, The Highwaymen, and Bob Wills.

Thorben: Currently very technical Death Metal or Brutal Death Metal. Like Rich I also love to dig into Darkambient but also other things like the darker or virtuose pieces of classical music.

Can you tell us about the artwork of the album and what kind of vision you had in mind? I think it fits perfectly with the atmosphere of the music.

The piece is called "Ordeal of the Abyss" and it's by Shaari Moth, an artist out of California. Its a pretty big piece, done on canvas with acrylics. The artwork has actually been very polarizing; some despise it and some love it. I personally think it's a style that's not so common these days. The artist was basically given free-reign to make a hellish cover with a lot of hidden symbolism. As a side note, she used a real insect on the doorway on the left side of the art.

What is your opinion on the current underground scene throughout the states? And in your opinion, does each state that has a developed metal scene have its own distinctive sound like some of the countries in Europe?

There are lots of good bands if you know where to look. I think, generally speaking, American acts have a tendency to be more on the brutal side. Sadly, there are more bands than ever, so it becomes difficult to comb through mountains of average material. Since I'm a grouchy old man, I screen bands on youtube and almost immediately stop the song if it's something I don't like.

Do you have any merchandise available for people to get hold of? Also, if any zines or promoters out there would like to get in touch with the band, how should they do this? Cheers and thanks!

The best place to look is directly to the Lavadome bandcamp. The album is available on CD and shirts are in the works. I have a few copies of Conflagrate for stateside maniacs. The best way to contact us is through the Cambion Facebook messenger or Lavadome Productions. Thanks to Death By Hammer for the interview, H&K to our supporters!

Interview: Detest (2021)

Detest is one of the seminal death metal bands from Denmark, who released the classic "Dorval" album back in 1994. Guitarist John Petersen is the only remaining member of the original line-up. We caught up with the legend to talk a bit about the band's history and also acquire some details about the new album, "We Will Get What We Deserve".

Hails John! How's everything going? How did the decision come about to resurrect the corpse of DETEST and record new material? What happened to the old members? Was it difficult to find a suitable line-up?

It goes well even though the body is old, but the head is still 16 years old. Back in 2014, we were encouraged to play some gigs, but then the others dropped out one by one (Ole and Bonne started arguing just like in the old days, then Bonne went out. Ole kept getting angry and made it more than it is so we threw him out, Peter stayed a few more years. But then he got tired of Death Metal and wanted to try something else). I could not get enough of Detest, but felt like much more and would not stop again, so I tried with some young people and it has been a bit of a struggle to find the right ones. But now Simon and Danni are with me, and they give me a lot of strength to write or correct all the songs I have made in the last 25 years.

Let's talk a bit about the new Detest album called "We Will Get What We Deserve," which is also the band's first new album since 1994's "Dorval". What can you tell us about the whole recording and writing process? Are you content with the final outcome? Was it challenging to achieve the type of sound you want?

As I have mentioned, I have been writing music all my life, so they are old songs that have been given a new life and can finally come out and get some air. Nowadays you can almost record/make everything at home, so drums are recorded at a friend who has a small studio (Anvil Pro.) and the rest we have recorded at Simon's home (Terror Studios). And then it was produced and mixed by Marco Angioni (Angioni Studios), he is super good and understood exactly what we wanted and how we got there, so it was not a problem to reach the goal of our ideas. So I'm very happy with this new Detest album.

You are the only remaining member of the old line-up. How does it feel to be making music again under the DETEST banner? Are you satisfied with how the new album came out? How would you describe the band's progress since the "A Moment of Love" EP?

It feels just exactly as it should and then I should not start from scratch as I have tried with others bands, and I love everything about the new album (that there are some people who believe in me) and keeps the fire going so it burns with even greater flames, so a huge thank you to Mr. Andersen (Emanzipation). We went back to what Detest is simple music, without so many modern tricks/techniques.

As far as I know, things went downhill sometime after the release of "Dorval". How do you reflect on that period and what were the main factors that led to the breakup of DETEST in the 90s?

I can well resent that we could not score that goal now that the ball was right where it was supposed to be. But we were young and wanted it too much and we all wanted to decide where we were going, so it went completely wrong when you also took a lot of drugs. Ole wanted it to be more and more technical and that was where I could no longer and said stop, as I could not play my/our songs anymore without rehearsing from morning to night. And we was sure Sex, Drugs, Rock'n'Roll was right thing and took it way too seriously, but I found out that it's just a saying, so now I'm finally myself again and have been for many years.

In my opinion, "Dorval" is a classic and somewhat overlooked gem in the pantheon of 90s death metal. It is also one of the first albums I would recommend to anyone unfamiliar with death metal from Denmark. How was the feedback for "Dorval" back in the day? And what can you tell us about the artwork and theme of "Dorval"? Who was the artist?

We got a lot of good publicity and all said that they become something, but as you know it did not happen. But better late than never so now it happens (ha ha) and regarding the story of Dorval it was Peter who was responsible for everything, and got all his ideas from a cartoon called ''Laihla''.

I also had a listen to your Industrial Death Metal band from the '90s called CYBORG. Again, this is killer stuff! Can you tell us a little bit more about this project and what its main vision was and the type of sound you were going for?

That was after I left Detest, and it was supposed to sound like it was played by robots (and that it became simple again). And as it was with Dorval, it was the singer Jesper who had an idea with his lyrics.

So what can you tell us about the lyrics and theme pertaining to the new album?

First of all, there is no theme and they are about everything I see, hear, think about this and that and feel (and then mixed with a lot of Lucifer that I think all Metal lyrics should have). Such as that the world is full of shit and a lot of shit people (those with the power our so called leaders), also that you are the strongest/biggest who will/can manage everything, there is one that is about Star Wars (my love for The Dark Side), and also about that I should probably get hold of you one day just wait and see, another is about I have always know I was possessed by the devil. Can only say grab our new album and read them yourself 666%.

Do you think that mankind's true nature is self-destructive and that we are a doomed race? Are we any better than animals in your opinion?

The way we behave with the fact that we have to have new things all the time and can not live with the fact that we do not have the same as him right next to us, so it will probably go completely wrong one day. NO we are not better than animals, they are better than us because they are not greedy and can settle with what they have (I think). BUT we should be wiser than them, as we have compassion/empathy and a knowledge of how things are and will be.

Have you ever considered a career as a musician in other genres or is that a transgression from your point of view? How passionate are you about playing this kind of music?

Around the year 2000, I was the football coach for my son's team and got to know a lot of new people, and we talked about music. There I then joined a rock band, but as time went on I began to feel that it was not hard enough. So I started playing Metal again because that's what I grew up with and feel most for and the guitar was tuned down again to the dark tones, and formed S.D.I.D. We were out playing gigs but it never turned into more.

What's some of your favorite bands that you currently like to listen to? Do you check out new bands at all, or are you mostly stuck in the past? Furthermore, what's some of the best Danish metal bands in your opinion?

I have to admit that I have it best with all the old bands, and there I listen to Heavy Metal, Thrash and Death Metal, I have also started listening to 70's rock (it's new to me). Since I play with some who are younger than me, they say you should check this out so I meet new bands through them. That's for sure Mercyful fate (their first two) and Maltese Falcon, Illdisposed and I'm also like Withering Surface.

What are some of your biggest influences as a guitar player and how would you describe your playing style?

There are many right from Jimi Hendrix to Alexi Laiho and all those in between like Dave Murray, Wolf Hoffmann, Scott Ian, Trey Azagthoth and so on. I would say it is simple without so much technique, but after 30 years I have finally learned to play the guitar. Like I now know some scales and have become musically much wiser, and know how I can achieve what I want with all my ideas, now that I have become completely clear in my head without anything disturbing my thinking.

What are 10 albums you can't live without?

10 is not many for such an old man as me, for there are at least 100 I would say. But I'm trying : The Sweet - Sweet F.A., The Jam - Sound Affects, Mercyful Fate - Don't Break the Oath, Def Leppard - Pyromania, Judas Priest - Defenders of the Faith, Overkill - Taking Over, Metallica - Ride the Lightning, Deicide - Deicide, Entombed - Clandestine, In Flames - Soundtrack To Your Escape, Holy shit it was 10 and it was only the tip of the iceberg.

What's next for Detest? Thanks for your time!

It's me who says THANK YOU and we're going out to play a lot of concerts (so I hope to see you one day), and have also embarked on getting ready for the next album. There are a lot of songs that want out and they can not wait for what they have been doing for way too long. And not forget the most important of all to have fun while it happens and we fucking enjoy it, suddenly everything is running as it should and it's forward without looking back.

Album review: Vrykolakas - And Vrykolakas Brings Chaos and Destruction (2021)

Vrykolakas – And Vrykolakas Brings Chaos and Destruction

Singapore

Dark Blasphemies Records (CD) / Vidar Records (12’ Vinyl) / Sadist Records (CD/Tape)

I'm not gonna lie, I've only recently came across the name Vrykolakas while accepting promo submissions, and I have to say that the band and the album in question are certainly a nasty surprise considering the level of depth that encompass the songs on this Singaporean band's latest album, "And Vrykolakas Brings Chaos And Destruction".

This whole album is solidly executed death metal through and through with razor-sharp riffing, which brings to mind the best of bands like Morbid Angel, Mortem, Sadistic Intent and even more modern bands like Necros Christos (especially when it comes to the vocals). I have heard a fair share of bands from Singapore, and I can safely assert without a doubt that Vrykolakas is one of the best I have heard from that country.

The new album is a punishing affair of pummeling death metal that blows you away with brutal and sick riffs. It sounds like they put a lot of effort into the construction of the riffs, as the guitarist is basically a damn riff machine. It's incredible to think that the band only consists of three members, considering the finely crafted output. The drummer displays a nice variety of beats and fills and I must be frank, the production suits the music in this case as it gives it a very crisp, clear and powerful sound. Every segment on this album complements each other as the music is exceptionally well-put together and fun to listen to. The vocalist emits a perfect mid-range growl reminiscent of none other than Mors Dalas Ra of Necros Christos. 

The compositions are also quite lengthy, yet never gets dull for a second, as each song is replete with an array of killer riff phrases, devilish vocal lines and top-notch drumming that hits harder than a train at full speed. That being said, if you want to hear one of the best death metal albums of 2021, then do not hesitate to check out this beast. It's worth picking up and I can not recommend it enough. (HT)

Album review: Svartsyn – Requiem (2020)

Svartsyn – Requiem

Sweden

Carnal Records

Sweden's Svartsyn is one of those bands you cannot possibly get tired of listening to due to the unequivocal quality of their output. They embody everything that black metal is about: ideologically, musically, artistically – and they have never conformed to any insipid trends or given a damn about impressing the audience with "pretty" tunes to get groupies or anything like that. They are also one of the few bands that can change their sound from album to album and still sound coherent and worthwhile without repeating themselves. Each album presents a new identity while still staying within the confines of the genre. Last year's “Requiem” is a prime example of this. 

The band once again shows their knack for finely crafted morbid metal that exudes an inherent and universal hatred for everything and everyone. That's the feeling you get when you listen to this album. It doesn't get any blacker than that. On "Requiem", the band emits a very oppressive and crushing atmosphere that is almost a little doomy to some degree, but that's mainly due to the immensely dense production. It just goes to show how proficient the band is at crafting a really eerie and unholy atmosphere which pairs well with the ominous mid-tempo of the music.

 

It's very intense and peppered with excellent riffs and interesting counterpoints. The drumming on this album is pretty tight, with lots of inventive fills and fast pounding that sounds pretty damn menacing when combined with the bass and the soul-piercing riffs. The vocals are somewhere between a rasp and an acute scream, yet hateful and full of emotion. In short, they are effective and fitting to the music. The atmosphere of this album can be described as gloomy, but also apocalyptic and sinister. The bass is also well-executed and can be heard throughout the mix; it definitely adds depth and gives it a very devilish sound. 

Each song on "Requiem" is outstanding and can be enjoyed on its own, although the album is best experienced as a whole and is most impressive that way. This was one of my personal favourite albums from 2020, and I recommend it to anyone with good taste, or if you like other great black metal bands like Antaeus, Katharsis, and A.M.S.G. (HT)

Album review: Detest - We Will Get What We Deserve (2021)

Detest - We Will Get What We Deserve

Denmark

Emanzipation Productions

Back In 1994, Danish death metallers Detest released a classic album entitled "Dorval," which is an underrated gem in the pantheon of '90s death metal that embraced sci-fi themes before it was even a thing. 27 years later, the band returns with an updated line-up, save for the bassist, who is the only original member left. The new album "We Will Get What We Deserve" is quite different compared to "Dorval", although one thing is certain: the lads made absolutely sure that the record lives up to the Detest name and crush the listener without mercy. The compositions on "We Will Get What We Deserve" are well put together and display a good deal of compositional depth. The production is somewhat modern sounding, although the music is pure old-school death metal through and through, as the band continuously belch out an array of pounding grooves and frenzied solos. References can be made to bands like early Grave, Obituary and Asphyx. The whole album is chock full of pulverizing riffs, heavy low-end and bludgeoning tempos that will leave you bloodied and bruised. Interestingly, the lyrics on this album seem more social in nature and a departure from 1994’s sci-fi themes from “Dorval.” Admittedly, I haven’t heard their 2019 EP yet, although I intend on giving it a listen soon. Overall, "We Will Get What We Deserve" is a pretty excellent return to form and comes recommended to fans of chunky, old-school death metal, especially fans of the bands mentioned earlier in this review. I also highly encourage the reader to check out their classic “Dorval” album from 1994 if you consider yourself a fan of death metal at all. (HT)

Split review: Thornspawn / Maledictvs – Guided by Vengeance & Bloodlust (2021)

Thornspawn / Maledictvs – Guided by Vengeance & Bloodlust

USA / Mexico

Inhuman Assault Productions

The split in question is the first release to feature new Thornspawn material since their last split with Singapore's Istidraj in 2013. The two new Thornspawn tracks 'Under The Illustrious Eminence of Satan's Doctrine' and 'Clairvoyance with the Dead' are both killer slabs of raw and vicious black metal, boasting a powerful production while maintaining that malicious and bestial edge they are known for. Blackthorn's vocals are visceral as ever with a fair amount of distortion, giving the music a menacing effect paired with the vicious buzzsaw guitars and thumping drums. The atmosphere is evil enough to draw me in, and has that apocalyptic ambience that is typical of their sound, although one thing missing from these tracks are guitar solos. They have always had them in the past; nevertheless, I am quite impressed with the new songs and hope to hear more of the same on their next recording. (Although it’s like I said, they need to throw some solos in the mix to give the music that extra oomph.) Interestingly, Blackthorn is the only remaining member from the original line-up and that really says a lot about his dedication to black metal, as the band has been around since 1993.

Maledictvs from Juarez, Mexico, is the manifestation of Hella, the mistress of Blackthorn, which consequently features Blackthorn on drums. The Malevicvs portion of the split is quite well crafted, with an an array of chaotic riffs and hellish, high-pitched vocals that sound like they come from the depths of Hella's black soul. This music is above the standard pedestal and exudes pure devotion to the dark arts, as this is raw, underproduced black metal at its finest. All in all, a solid split all around and recommended for aficionados of blasphemous underground black metal. (HT)

Album review: Black Winged Goat Messiah - Satanic Morbid Lust (2021)

Black Winged Goat Messiah - Satanic Morbid Lust

Cuba

Mara Productions

Black Winged Goat Messiah is an evil manifestation from the blackest depths of Cuba, playing bestial Satanic Black Metal. There's some great bands coming out of Cuba and Black Winged Goat Messiah are part of that phenomenon. From the get-go, the music continually assaults the listener with sadistic riffs, profane vocals and hard-hitting drums, conjuring up an atmosphere that is utterly unholy – this is 100% pure Satanic Black Metal with absolutely no reprieve. There are notable references to bands like Archgoat, Urgehal and Von. They also cover "Watain" by Von, and I have to say, it's pretty damn good. There's also a good bit of traditional metal influence, especially with the guitar solos throughout. Everything was recorded by Conspirator, who is also behind other great bands like Shrine ov Absurd and Skjult. Everything that Conspirator touches turns to gold, and Black Winged Goat Messiah is no exception. Fans of the aforementioned bands should definitely give Black Winged Goat Messiah from Cuba a listen – you will not be disappointed. The album is due for release on CD by Mara Productions from Poland. (HT)