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In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of a short albeit very violent EP.
Written by: The Administrator
Greetings, dear reader. Do you have a mere 7 minutes of free space in your inevitably well-stocked music queue? If so, I highly recommend taking Anti Ritual's latest for a spin. Don't bother buckling up–regardless of safety precautions, you'll leave this brief encounter as bruised and battered as a crash test dummy after a double shift at the getting fucked up factory. Make no mistake: engaging with Green Terrorism’s fiery display of self-described “caustic black/grind hardcore” is an inevitably pulverizing and visceral affair. The general trend is breakneck percussion with breathless riffs to match, a thrashing fray accompanied by some truly pissed off rabid snarls. If you like harsh music that drives home its point in gloriously bloody fashion while hastily leaves the scene of the crime, ANTI RITUAL have ye covered. Blistering violence is the name of the game, and indeed, it is pretty damn telling when a project's arguably most languorous and borderline sludgy track (the stellar "The Ghost of Mary Shelley") still manages to clock in at a brisk one minute and forty six seconds. Green Terrorism is urgent and relentless and pugilistic to a fine-tuned degree. You can forget kid gloves--as they explicitly target those responsible for the capitalistic eradication of the global climate, ANTI RITUAL gleefully wield knuckledusters wrapped in bloodied barbed wire. And despite the outward grit and bluster, this project most certainly rewards repeat listens. The intent is crystal clear, and the execution is on point. If you're in the mood for violence, Green Terrorism comes highly recommended. ANTI RITUAL - Green Terrorism was released May 5th, 2023 via Indisciplinarian. Find it here!
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Written by: Blackie Skulless
In 2021, Blazon Rite were able to capture my attention with their debut record’s bright personality. This year, they offered up another disc full of fantastical tales and glorious battles. Titled Wild Rites And Ancient Songs, the fitting feeling casts the same energy as before in a slightly more compact manner, but with a few minor nuances to note it as a worthwhile step forward. Naturally, things feel a bit cleaner, but the epic Philly traditional metallers offered up a little more than just that. For one, there’s a clear injection of inspiration that aligns more with Iron Maiden tropes than full-on Savatage worship in the modern light. Galloping riffs with a slight step up in speed make up a higher percentage of this disc, without feeling like it steps into harsh territory. I’d also say that the songwriting itself is clearly defined in a very focused manner here; not that it was boring before, but Blazon Rite seems to have a personality built with higher purpose this time around. The solos are tight, and in general, the already compelling ideas from before have a sharper edge. 
Written by: Blackie Skulless
2018 saw Canada’s Gatekeeper indulge in the epic leanings of the traditional metal style on East Of Sun. Being a tougher approach to sell me on as is, I wasn’t overly impressed. Switching to the other side of the compass, From Western Shores would quickly change this, as the band not only sounds refreshed after five years, but also has matured and cemented their narrative in a more compelling manner. Coming in at almost fifty minutes, these eight songs pack loads of ingredients in nice and snug, without trailing off. Naturally, a step forward in songwriting quality is realized, particularly in the album’s varying ideas. Moreover, stepping away from the Europower glazings from time to time helps, although its presence is still important for much of the runtime. Strong chorus melodies that insert themselves between beefy riffs and emotional solos become a vital part of the foundation. It pairs well with the tendency to progressively intertwine the different angles within the same song, showing Gatekeeper’s ability to transition smoothly. 
Written by: Blackie Skulless
The classic Florida death metallers Obituary have remained pretty constant over their several decade existence, whether or not their albums actually hold up. Being an outfit that plays things a bit too safe sometimes, their discography can certainly be spotty, but the bright side is that it leaves little room for outright failure. Their 2017 self-titled album was a solid slice of their business as usual displays, and six years later we get Dying Of Everything. The only difference is, they actually stepped out of their comfort zone more than they have in a very long time. It admittedly takes little to expand upon Obituary’s brand of death metal, but them doing it to themselves worked wonders. For the most part, Dying Of Everything touches on a lot of what the more varied outings have given us in the recent decade. Using modern production tactics to the advantage of echo and haunting effects beside buzzing riffs made a world’s difference, rather than cleaning everything so much. The end result is a disc that boasts all of the sludgy, dense characteristics that made Slowly We Rot incredible with a refreshing new personality. 
Written by: Blackie Skulless
In 2018, the Italian act Thulsa Doom caught my attention with the EP Realms Of Hatred, but for the longest time, I got no follow up. Last year, it slipped past my radar, because the debut full-length entitled A Fate Worse Than Death delivered exactly what I look for in the death metal genre. While this is a bit of a continuation of what was offered up before, the execution here is splendid. Nothing really reinvents the wheel, but comprehension and strong riffage take the throne. For the most part, this is reflective of the old school Florida sound, using chunky but concise playing patterns, held up with an extra boost from the bass. It’s hard to not notice the refined nature in the production, letting go of the raw insides that the previous effort gave, but I see this as an improvement, and nothing is too over the top. The constant weaving of blasting drum avalanches between harder kicks and bright solos create a steady contrast. Matter of fact, the drum and bass combos play a noticeable enough role here to share the spotlight with everything else. 
Written by: Blackie Skulless
Despite having been around for over twenty years, Negative Plane are an act that only reached my radar at the beginning of this year. Being on their third album, these New York metallers dropped The Pact… last year, and somehow I didn’t get my hands on it until a few friends recommended them early this year; boy am I ever glad they did! Their brand of black metal is my absolute favorite way to carry out the genre, touching on the first wave vibes that use a lot of traditional and thrash metal influence under a coarse, wretched, and Satanic scope. If only it were easy enough to describe it as that and end it there. As a matter of fact, their biggest selling point is the amount of layers and intricacy used, being displayed in seven long tracks that collectively touch the hour runtime. Yet, it’s riff after riff making an impression and sticking nicely. The harsh and noisy atmospheric platter makes the sharp leads and hateful vocals sound even more appetizing. You get a nice diverse selection of blistering, Venom-esque passages that use speed and rigidness, slow and doom-cladded breaks of bass frenzy to rake in a Celtic Frost image, and then straight up heavy metal clarity in the form of melodic guitars that feel like an ode to Saxon. One can’t be present without the other two looming in the background 
Written by: Blackie Skulless
Ever since The Affair Of The Poisons dropped in 2020, I’ve been saying Hellripper are due for an alteration in sound, as the black/thrash genre can run stale fairly quickly if action isn’t taken. Boy, did they ever deliver! Warlocks Grim & Withered Hags came in clutch, completely blowing away anything they'd done prior to this album. This isn’t to say that McBain’s brand was never good, it was great; but this was exactly what the latest recipe called for! First, it’s important to address the fact that the foundation isn’t lost at all. Longtime fans should still find the appeal; “Goat Vomit Nightmare” makes this quite obvious. However, now the blackened element is laid on in a fashion far more in line with the traditional tropes of the black metal genre. When it isn’t running in that vein, more melodic leads are clearer than they’ve ever been. Speed metal still exists, but it is no longer the backbone needed to carry the entire album. Instead, it’s a nice feature along with these other notable traits. 
Written by: Blackie Skulless
Following a short career consisting of two demos and a full-length that have all gotten solid praise from me, Conjureth are back with a second full-length. While not changing too much, there’s enough here to get whiffs of exploration that feel just a little scared to move that direction. The Parasitic Chambers certainly maintains everything that made the band’s coarse, yet simple and furious nature stick the first time. As such a style can run dry quickly, it’s good that there are some signs of other ideas. For starters, the focus on advanced rhythms and lead guitars is propped up a bit. Album one may have had a little bit of this, but it was hardly the focus. On The Parasitic Chambers, drastic swings from more traditional playing to intense, panic-stricken breaks take precedence. What’s really maintained is the louder atmosphere, which admittedly makes some of this harder to realize unless you’re playing on an incredible sound system. The outro of “Dimensional Ascendency” is the first spot that this nuance becomes quite clear, particularly with the small solo. 
Written by: Continuous Thunder
As a self-proclaimed aficionado of slow metal here in the Village, I find sludge metal to be one of the more intriguing sub-genres. While it’s often described as a combination of doom metal and hardcore punk, the application of those influences can vary widely from artist to artist. Naturally, this leads to a diverse pool of artists that can be described as sludge. How else would you end up with bands like Melvins and Isis under the same umbrella? I’m not usually one to stress over the minutiae of hyper-specific sub-genres and when it comes to sludge, I tend to trust my ears and I know it when I hear it. All that being said, They Grieve bring some heavy sludge. 
Written by: The Administrator
Given that this particular scribe's familiarity with (the reputedly well-acclaimed) Bloodborne verges on nonexistent, the thematic content lurking behind Soulmass' stellar Let Us Pray has zero impact on my experience. That's certainly not a bad thing–the music speaks for itself without the implicit weight of a fan's expectations when it comes to faithful lore. And damn, does the music ever speak to me. This album has been in consistent rotation ever since I received the promo, effectively holding my January and February listening habits in a fiercely tight and omnipresent stranglehold. One dreams of such albums at the top of the year. |
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