Written by: Blackie Skulless
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Charonyx are an Indianapolis-based thrash metal band that have been around for nearly a decade. Being one of the many projects of frontman Max Barber, their releases are rather sparse, but often worth the wait. Their 2019 debut full-length The Ultimate Judas was a serviceable enough dose of thrash metal, but it’s this year's EP Persistent Soul that actually hooked me. In a world of constant thrash by the numbers, hearing something a little more unique is refreshing.

Naturally, its strengths lie in the combination of advanced song construction with several faces meeting a very precise mixing and transitional style. Cleaner vocal approaches meeting growls work as the main ingredient over bubbly bass hooks paired with tech-thrashy chops. You’d be hard pressed to say it moves into death metal territory, but these harsher sections mold into the cracks of the melody-drenched areas better than you’d expect. Packing all of this into a rather short release is if nothing else, impressive.

Written by: Blackie Skulless

A four year gap between Enforcer releases, especially considering the controversy that followed their previous disc, really had me eager to hear what the Swedes would come up with for their sixth time around. Would it be a continuation of the cool and mature energy of the last one? Would the title Nostalgia indicate that it’s back to business as usual? The answer is a little confusing, since for the first time in the band’s history, the direction seems a little unclear. A lot is going on in this effort, so unpacking it bit by bit is the way to go.

For one, stripped away is the clearer Europower tint that covered much of the previous record, letting through some rougher touches that we felt in the earlier albums. The drums specifically stand out in this realm, coating the otherwise buttery guitar noodles with a tougher backbone. Another real consistency lies in the fact that all thirteen tracks avoid the intricate, epic builds or advanced layering that made its way onto several prior releases, making for a disc that’s meant to make a bunch of quick points before moving onto the next.

Written by: The Administrator

When ye olde Sleeping Village is pillaged and plundered in typical fashion--a frequent occurrence, if we're being honest--the inevitable spoils of the marauders feels fairly obvious: livestock, gold, artifacts, leather-bound tomes containing alchemical secrets. However, we were recently targeted by a new kind of thievery as an HM-2 afflicted crew graced us with their boisterous presence, demanding not the usual fare, but rather the bile from our rotten guts. After a messy and putrid passing of the collection plate, Vomitheist left us, erm, vomit-less. Lacking a certain subtlety, it was a little too noisy to be considered a heist per se, but rather than stew in the unfairness of it all, we slumbering scribes simply decided to give their tunes a spin.

​As it turns out, Vomitheist's debut album is a remarkable first outing, an absolute beast of a release. Straddling both a classic buzzsaw Swedish death metal muscularity and a putridity that distinctly reeks of a butchered Autopsy, NekroFvneral nails that delicious cadaver-licking foul factor while remaining a highly listenable--dare I say infectious--affair. This is a dominating debut performance, and Vomitheist have declared themselves a name to watch in very short order indeed.

Written by: Blackie Skulless

​This year hasn’t really seen a whole lot in the realm of standout death metal, probably a personal take of mine due to the massive influx of it in recent times. This would change with the U.S. death metal act Kommand dropping their second full-length (not to be confused with the black/thrash act Kömmand). Entitled Death Age, this sees a continuation of their first album a couple years ago. Terrorscape was already pretty tight, but here is where we gain an even higher jump in quality.

Despite being such a short release of only six tracks (also like the previous album), this passes before us rather quickly, but they pack a lot into a small container. Chunky, marshy riffs that carry loads of weight are pulled by compelling leads, some with a bit of a catchier ring to them. This is aided by production that gives it an echo-effect without overdoing anything, as well as a cleanliness level that brings everything forward without sanitizing what’s supposed to be filthy. Pacing is executed well for all of this release, letting the slower grooves swing into eruptive blasts with ease. “Chimera Soldiers” has a particularly strong ear for this, with opening leads that lay down strong dual-guitar layers.

Written by: The Administrator

Those of you with frighteningly impeccable memory may remember another mini-review from a while back discussing Cartoon Head's first foray into self-described "doom ska." I really enjoyed "Wrong!" in all of its oddity, and have anxiously awaited another Cartoon Head release in a similar vein. What we got wasn't a duplicate of those gloriously strange sights and sounds, but the result is wholly intriguing and chaotic nonetheless. In the band's own words: "It's a cover of a Ghost song and we fucked it right up for you."

"Square Hammer" is a classic unto itself, and a straight cover simply wouldn't work. Enter Cartoon Head's off-kilter approach. There's a poppy yet carnivalesque sense of panic and glee that drapes over the whole (very brief) affair. That instantly recognizable riff has been given the fun house treatment, drenched in a glitzy sleaze. The verses are sped up to a borderline comical degree, the vocals are just a little maniacal, and the noise-afflicted chorus feels like it has been dragged through the sewer. The track also just ends midway with the kind of abruptness that makes you wonder if you accidentally hit pause. There is no leadout, no reflection. It's a genuinely funny choice, and one that fits Cartoon Head pattern of operating outside expectation.
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The whole track feels less like an homage to Ghost and more like a medieval satire, a jester clowning with a crude effigy of a king. And if all this sounds like a negative, please know that I absolutely adore the Cartoon Head approach to absurdity. This track is an exciting exercise in pulling the rug out from under the listener, and that is a rare trait indeed. Given the implicit good humor and self-awareness that Ghost have utilized over their run, this feels like a very appropriate way to cover their music. If you want a faithful rendition of "Square Hammer," this ain't it. If you like weird music, check it out below.

Cartoon Head - Square Hammer was released May 5th, 2023 via Hvng Man Records. Find it here!

Cartoon Head can be found:
Bandcamp
Twitter

Written by: The Administrator

It's been quite some time since today's project in question was released, but god-tier stoner riffs are always gonna get the time of day 'round these parts. Moreover, when they are this damn enjoyable, you can bet your ass they'll be stuck in rotation for a good long while.

When it comes to god-tier stoner riffs, the subtly monikered ROBOT DEATH MONKEY have decidedly got the goods, delivering a cheekily flippant EP with rough 'n' tumble component parts aplenty. Intergalactic Party Powder is chock full o' groove, a crude sense of humor, an apparent love for the swagger of Orange Goblin's catalog, and a healthy dose of Neil Fallon's phlegm nasty sneer. The riffs are big. The attitude is off the charts. Let's party.

Written by: The Administrator

I undoubtably speak for everyone here: sometimes we all just need our craniums caved in with a boulder the size of a small boulder. When you require such necessary service, I highly recommend looking no further than Denver's Cronos Compulsion. Just take a gander at the appropriately burly and bloody album artwork for this (very good) five track EP and let me know what Malicious Regression sounds like. Your suspicions are undoubtably correct.

Cronos Compulsion wield a truly neolithic approach to the model of simple but bluntly effective riffcraft, alongside a rumbling doomy density. The vocals are as bestial and cavernous as ye might expect. At times, ambient harsh noise serves to break up and/or intensify the abyssal soundscape. Bludgeoning atmosphere is the general rule, and when the riffs encounter peak sludge, a notable sense of despair prevails. Personally, I find these slower and gloomier moments to be some of the strongest. While there are certainly no weak songs, the lumbering "Consumed By Malignant Spirit" is an absolute crushing track, and, by extension, one absolute hell of a closer.

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!

ANTI RITUAL can be found:
Bandcamp

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.