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.
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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. 
Written by: Blackie Skulless
As what tends to happen, I’ve headed into the early parts of a new year discovering things I missed the year prior. Even labels that I follow closely like Caligari are no exception, as one of their American outfits swung in from out of nowhere late last year. Burning Death are a black/thrash outfit somewhat born out of label-mates Act Of Impalement, sharing two members. Their debut dropped following zero lead-up releases, simply being titled Burning Death. The album art may suggest something different, but the fact of the matter is that this band is pretty straightforward, avoiding any bells and whistles or intricate fluff. Definitely residing on the thrashier end, things stay fast and loose without getting overly chaotic nor feeling underproduced. The clearer delivery under a still blackened hue and gritty vocals definitely gives things the meaner flavor, allowing some room for punk-oriented stomps to fill in the gaps. Such a style wrapped into only eight tracks naturally makes for a pretty short full-length, coming and going before our eyes. 
Written by: The Administrator
Whelp. Here I am once more, basking uncomfortably in the midst of list season, justifying why my year end lists are published a year behind schedule. If you've been around for a while, please feel free to skip ahead to the good stuff. If you're wondering why I do it this way, here's a brief explanation: I firmly believe that staying power is an important aspect of music appreciation. The ability of a project to outlast the narrow moment in time immediately surround release day is a testament to its quality. In deliberate spite of the inevitable industry churn, I enjoy the process of looking backwards to revisit old favorites at this time of year. But mostly, I started doing this because I got wildly off-schedule and found great value in committing to the bit. This is the way it is, now and forever. If you are at all interested, you can check out my Favorite Album Artwork of 2024 here, and my Favorite Albums of 2024 list will follow at, y'know, some random and inopportune point in the future. So: here are 20 EPs from 2024 that, given significant hindsight, are still my favorite EPs of 2024. They made an impact and stuck around in my rotation, and that's worth celebrating. As per established precedent, the following list draws from the assorted genres and subgenres that interest me, mostly within the sphere of metal and rap. I took some liberties with the "EP" label; some may technically be mini-albums, so apologies in advance. The list is alphabetical and unranked. Everything comes highly recommended. I'd also like to issue a massive umbrella "thank you!" to every artist who contributed to the releases contained within this list. And to you: thank you for your readership of this little music blog! You're very cool and I appreciate you very much. 
Written by: Blackie Skulless
This past Halloween, a Philadelphia act that’s been dropping short releases for a few years now came forth with a full-length. Bastard Cröss are an act that take the relatively safe route of blackened thrash, one tough to screw up but also tough to stand out. If the band name didn’t make its style obvious, certainly knowing that the album title is Crossripper will, however, despite seeming rather on the nose, I think there’s a little more to what’s before us. In other words, don’t shy away from what seems like just more of the same on the surface. Despite the general aesthetic of aggressive artillery baked with speed metal ingredients and harsher vocal shrieks, you also find a healthy amount of defining characteristics with Bastard Cröss. The vocals miraculously stand out well, not only for the addition of death growls and a scratchier sense, but simply with how coarse and grating they sound against the cleaner background. Musically, there isn’t a lot in terms of blasting, tremolos, or atmosphere, opting instead for a cleaner veneer of more straightforward thrash riffs that combine rhythmic strength and a comprehensive finish. Such contrasts in the music and vocals makes for a hell of a combo; this isn’t to say the riffs themselves aren’t mean, but that they’re digestible compared to the frontman’s horrendous outcries. 
Written by: Blackie Skulless
A few years ago, the Polish blackened speed metallers Gallower caught my attention with their short EP entitled Eastern Witchcraft. While it was nothing bad, it wasn’t impressive enough for me to work backwards and look towards their first full-length, feeling somewhat underwhelming. This year, the same label brought a follow-up to both, changing my entire perception. You might say they’re back for a vengeance due to my initial reaction, considering the aptly titled Vengeance & Wrath. One should note, Gallower is still rather familiar in their style and execution, but this time around feels far more complete as an idea, with an emphasis on the metal end of things. Punkier attitudes are now traded for focused leads that don’t let go of the grit but absolutely step up their game in terms of hooks. Moreover, emphasis on witchcraft and spookiness is let up a bit, allowing room for some looks at historical and mythical tints that definitely impacted and matched the sound. Thus, there’s far less in the blackened overlays that came before, maintaining a really gruff presence, especially in the vocals, but ultimately falling out of that camp save for the occasional blast-beat frenzy. It was already faint on former releases as is, and the emphasis on a touch more melody brought things to a steadier apex. 
Written by: Blackie Skulless
Perhaps one of my more anticipated albums of the year, Graveripper’s sophomore record took the very approach they hinted at the first time around the block and ran with it. Not only has the blackened aspect taken a deeper root in the construction, but the cleaner surface that presented the first record’s straightforward approach has been roughened up. From Welkin To Tundra even depicts this in its album art, always curating a sound that matches how it looks. Thus, I can confidently say their bare-bones foundation has evolved into something with more identity. For starters, Graveripper have always crafted a “warmer” sound, one I’ve in the past compared to Toxic Holocaust, but the emphasis on black metal tropes have cooled this entirely. Perhaps Cory’s vocals aren’t any harsher than they were, but there’s a filthier snarl to them to coincide with the less-than comforting surface, all playing into the cold atmosphere. Thrash riffs have now become an accessory, not a template, as the record is dominated by explosive drum pummels and rhythmic gradients that care less about melody and more about density. The hookier moments do add a little flare, but nasty motion holds everything together perfectly. 
Written by: Blackie Skulless
Like I always say, discovering a blackened thrash band from South America is a fast way to grab my ear by the lobe, being an easy sell. Yet, some do just a little (or a lot) more than others, and Mayhemic is a fantastic example. Having formed in 2018, last year saw the Chileans’ first full-length hit the ground, entitled Toba. Considering this is named after a massive volcano in Indonesia, the music couldn’t be more fitting. At first glance, one could lump Mayhemic into the endless sea of bands that go for this exact same style. It’s a swift blow around the thirty-five minute mark, making speed and aggression its main aims, coated in a finish that’s just the tiniest bit clear without ruining the dirty foundation. Yet the delivery alone goes the extra mile, crushing up some of the meanest outbursts into tiny, dense, riff-sandwiches that hold the weight of an anvil. Pairing with that is a vocal snarl sounding like Millie Petrozza, but perhaps even nastier, to complete the general feeling of being trapped under smoldering hot magma. 
Written by: Blackie Skulless
The Norwegian extreme metal act Nithe took formation a few years ago, but never saw themselves with label representation until their third outing appearing on Caligari Records, my favorite tape slingers. Their catalog already consists of a demo and an EP, making Funeral Death their third outing. The truth is, I think all three of them could have been labeled either or. The band is rather tough to label other than somewhere within the black and death realm, perhaps with a thrashy attitude. Much of this is due to the fact that the coarse and mean production with such attitude in presentation somewhat dances all over the place, but those very things help keep it together. Consisting of four songs, we start on a blistering note with “Chains Of The Abyss,” loaded with blast beats and harsh shrieks before breaking into a punkier stomp. “Primordial Ooze (Mother Of Woe)” follows up with a thrash driven approach, not only sneaking some clear leads into the main riffage, but even allowing some gang chants in the chorus. It’s rather unorthodox amidst the ugly and unforgiving atmosphere, especially with the tremolos worked in, but I can’t complain (especially with that slow bass bridge connecting everything). 
Written by: Blackie Skulless
We love when I can stumble on something that crosses off two interests in one, that being extreme metal and China. Though I’ve been through my share of heavy metal that’s been cooked up in the Sinosphere, Shenyang’s Acherozu strikes a chord like none I’ve yet encountered. Having been around for over a decade, they have few releases to their name, but the latest, 2019’s 萬劫之海 / Vendetta Ocean is what sold me on them. Mythology under a black/thrash scope is the name of the game, and I’m here to play. For starters, it’s almost uncanny how clean things come off despite the nasty style and the intimidating artwork. Typically I shy away from that, but thankfully it’s not overdone, and it instead helps the best parts stand out. Acherozu has a keen ear for melody at just the right spots in an otherwise dark and desolate setting, typically with lead guitars working in a side lick that rides parallel with the vocals. Similarly, those come through comprehensively because of the mix, coating a throaty snarl of ancient Chinese poetics beside mean but steady riffage. |
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