Written by: Blackie Skulless
Taking one look at the second full-length by Spain’s Rave In Fire, I had a gut feeling this would be yet another retro-glazed cyberpunk themed “throwback” heavy metal outfit that we get so many of today. Neon colors, typical titles, and an ‘80s aesthetic gives one of the most predictable vibes we’ve always seen. One could say I didn’t exactly have high hopes going into Square One blindly, having not heard the first record at that point. But as the saying goes, I shouldn’t judge a book by its cover, because I’ll be damned if this didn’t absolutely smoke! True, on a stylistic front, things fit that description, but it rises above anything I’d call generic. Elaboration in songwriting as well as taking varied directions that never stray from the retro vibe they’re so clearly going for helps elevate Rave In Fire tremendously. In several spots, melodies with a warm touch reflect earlier glam metal sensibilities that flow so nicely into the harder sections. Layered leads that match the clean and powerful aura of the frontwoman’s equally clean vocals come off nice and sharp, with polished production helping them stand out rather than blend in with their peers. The fact that the songs themselves are so memorable is what truly takes this to greater heights.
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Written by: The Administrator
As established, I'm a fan of MEGAFAUNA. Referring, of course, to the marshdwelling experimental artist, and not real-life megafauna, which are frankly very frightening. But where MEGAFAUNA is often despair-prone and scary and anxiety-inducing, all too happy to feed a fear of the dark, xadaa's other project Grumm Trencher is a little more... comfy. It leans into a relaxed woodland vibe, and, even at its most urgent and chaotic, there is a warmth that reverberates. I really enjoyed the sound and worldbuilding that went into Grumm Trencher's On the Culinary and Necromantic Uses for Various Species of Mushroom, and the followup wintery "Beira" single was extremely evocative. The project has a great track record. As such, the prospect of new Grumm Trencher was cause for celebration, once I wrestled it free from the all-hungry maw of the promo pit. And so here it is: new Grumm Trencher. The Bat and the Hellebore, which we are pleased and honored to present here in full, will see full release on April 24th. This is an album that tells the story of a little brown bat and a big adventure, and with a description so short and sweet, I feel like I'm doing a disservice to said album by continuing to write words instead of just leaving it at that. But I am nothing if not annoyingly wordy, and so shall discuss The Bat and the Hellebore in detail below. Hit play on your way down. We'll meet again, as always, on the other side. 
Written by: The Administrator
I strongly suspect that every single reader of this review will agree that The Recreant is a remarkably easy sell. Alicia Cordisco and Ruby Rockatansky, neither of whom need introduction 'round these parts, join forces to deliver a crusty grindy crossover thrash Transgressive sister/spin-off project. The Recreant promises stripped-down spite, and features an overt Napalm Death reference right there in the album title. I mean...'nuff said, right? I invite anyone to take a deep dive into the bottomless maw of the Sleeping Village's promo pit; you'll be hard-pressed to find a more invigorating elevator pitch. And yeah. Holy shit. The Recreant, I am pleased to say, more than delivers on its implicit promise. Upon first exposure to the gloriously incendiary advance singles, I commented "oh, this goes capital-letter HARD hard." After many, many listens, I can't agree more with this initial assessment. The Code is V... Outlive the Code exudes hardness with a stomping gravitas and a sense of authenticity that simply can't be manufactured. It is sneering and tough in a fashion that feels tangible and profoundly badass. It thrums and erupts with pugilistic physicality. It is the pinnacle of rage, a snapshot of the precise moment that fury transcends. It is outspoken and honest and assertive. It is raw and exposed. It is a throat-rending battle cry, and it goes hard. I cannot (re)iterate this enough. It. goes. so. fucking. hard. 
Written by: Blackie Skulless
Hellripper is so much fun, because they’re another one of those bands that broke early ground amidst my true deep dives into modern and extreme metals, and getting to analyze a band of “my generation” in real time over the years is something that I consider an honor. Or, maybe that’s just my way of coping with the fact that I’m now 30, and I could barely drink legally when Coagulating Darkness came out. Regardless, what matters most is that upon reaching full-length number four, the Scottish one-man show has shown zero signs of stagnating despite playing a pretty safe genre. Coronach is all the more evident of this, with a new and, might I say, far more original logo to go with it. A few years back, Hellripper (smartly) stepped away from the black/thrash basics and evolved into a more black metal focused project. They still worked in many a thrashy chop but ultimately delivered crushing blastbeats, a harsh atmosphere, tremolos, and a vicious flair that abandoned the goat-worshiping safety net of yesterday. Here we get an evolution of that, less so in taking a more “traditional” black metal direction, and more in emphasizing technicality and unconventional writing. In fact, I may even say that the thrash hints even came back a little more prominently, but under proverbial new management. 
Written by: Blackie Skulless
It’s no secret that a couple years ago, Cruel Force rose from the ashes of their former selves and crafted something that truly resonated with many listeners. By tightening up the songwriting and breaking the typical mold of the black/speed predictability, these Germans allowed themselves to stand out far above their peers. This year, Haneda sees a continuation of this evolution, not only on the songwriting front but also in a stylistic way. In many ways, Cruel Force is going the exact direction that they had hinted at with Dawn Of The Axe. A notable feature was that the “blackened” aspect of the last record almost felt like it was being lifted from time to time, matching the injection of melody that didn’t exist as much prior. We see a similar vibe under the misty, echo-tinted production that allows the drums to pop really hard without feeling too raw. In other words, the blackmosphere lingers while other facets that made this fall in that camp fall away. This pairs nicely with the evolved vocals that now avoid anything harsh or raspy so one can more easily call this a full realization of a modern speed or thrash metal record that dodges any generic production nonsense. 
Written by: Blackie Skulless
After Midnight Assassin cemented Sadistic Force as a true, *ahem* force to be reckoned with, and not just another decent black/thrash outfit that checks all the boxes, it does make one wonder how much more they can evolve. If sticking to the same dynamic formula is the move, then the truth is not too much. This didn’t stop the Texans from attempting several steps forward, and if anything, their recent EP of last year is a testament to that. Titled Morbid Odyssey, they’ve taken a similar general idea and cleaned it up a bit, all the while injecting some pretty extreme fervor in several ways. Before even noting the differences in execution, the production alone would have felt like a pivot elsewhere, and I’ll be damned if it didn’t make things sound bigger. Sneaking in melodies and nods to more traditional metal influence is still present, but the drums feel far more ferocious this time around, and the riffs far thicker and marshier. Thus, while I’d still call this a black/thrash effort at its core, Sadistic Force made themselves sound heavier, with more might behind the kicks. It’s like what would happen if you asked a death metal artist to play this genre instead. |
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