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Written by: Blackie Skulless
Ah yes, the world has been long overdue for an extreme metal act with “Hell” as the first part of the band name, right? Probably not, but that doesn’t mean it doesn’t usually rule! Besides, we all need our occasional head-crusher that can still serve as a comfort album, right? While we may find that to be mostly the trope under a black/thrash scope, Sweden’s Hellbutcher takes the direct line of black metal for a more ferocious delivery. This is served up on a platter also simply known as Hellbutcher, keeping things swift by barely crossing the half-hour mark. Given the frontman’s vast background, it makes sense that an act so new has such a veteran feel to it. Really tight production that doesn’t overdo it brings blistering clusters of explosive drum kicks and breakneck riff speeds into a punishing wall of black metal attack that doesn’t let up at all. Vocally, things fit right in, kicking in rasp that feels harsh and menacing, but still retains some clarity while avoiding sounding forced. All of this is packaged together with hellish themes and Satanic schemes that touch the right amount of occult and a side of death and destruction.
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Written by: Blackie Skulless
Philadelphia's very own Crypt Sermon aren’t really anything new these days, and with only three albums stretched across nearly ten years, you can tell a lot went into all of them. While the band has always been something I’ve acknowledged as pretty solid, they never did anything exponential for me. That is, until now. The Ruins Of Fading Light took the doom metal world by storm five years ago, but The Stygian Rose took me by storm this year. Formulaically speaking, the band hasn’t undergone any serious changes between records, putting emphasis on the “epic” in epic doom metal for years. Our latest outing stays pretty true to this label, however this is the one that absolutely finished off what I previously acknowledged as kinda cool into something truly immaculate. The themes around religion and medieval occult haven’t gone away, either. So what’s the big deal? Perhaps I’m biased, but I think it boils down to a few things. I think that The Stygian Rose put more force behind the vocal passages, sped up more of the innards, and offered some tonal expressions that assault the listener in a way that previous records didn’t do to me. Certain guitar passages feel like they could fit into a speed metal song despite their crushing doom metal weight, and the way it flows so naturally is beautiful. Moreover, there’s a clearer aura to the vocals that remain clean, mostly avoiding anything harsh save for some rasp, yet they carry more conviction than what I find in a lot of extreme metal. Packing this into six long tunes makes for a muscular narrative that would almost feel overwhelming if things weren’t placed so wonderfully. ![]()
Written by: Blackie Skulless
Considering how much I loved the debut album by Indianapolis’s very own Vexing Hex, you can imagine my excitement upon hearing they’ve finally cooked up a follow up. Haunt was very much a spooky doom metal-meets-psychedelic/classic rock outing that often finds itself compared to the likes of Ghost. Now we get Solve Et Coagula hitting the surface several years later. The same stylistic grounding is very much present, but I’m glad to say it’s also derivative. Mainly, the slower, doom-cladded riffing is a little more relaxed here in exchange for more blatant rock ‘n roll numbers that have a poppy front. Layers upon layers of synth and effect make themselves even more known, without compromising the tight riffs the band has long since built itself on. Moreover, the bass is more present than ever, enforcing an aggressive bottom as well as playing an important role in the rhythm itself. The outcome is quite literally a mix of songs that almost feel metal oriented, and straight up radio tunes. ![]()
Written by: Blackie Skulless
Given the hype that’s been circulating around Tyran in the realm of traditional metal dweebs like myself, I was certainly eager to check them out. The appealing album artwork spurred that on even more, making me want to lend an ear immediately. Not to be confused with Iran’s capital city Tehran, the Bavarian dudes have only been around for a few years, and 2024 would see the year they drop a full-length. Following two singles, it realized itself in the form of Tyran’s Oath. At first glance, you’ll find exactly what one would expect. Speed metal riffing, high falsettos in the realm of King Diamond, and a generally clean overlay can easily sum up the entire album in the most basic sense. What’s less obvious is that most of the record avoids the mythical, magical, or historical angle you may anticipate, and prefers to focus on classic ‘80s strong-man themes around heavy metal and machinery. Stylistically, it’s also straight to the point without any hints of power metal or epic metal flavoring. Most changes in any dynamic are as simple as some songs slowing it down a little, like in “Thrill Of The Chase,” a melody-heavy tune. ![]()
Written by: The Administrator
Full disclosure: I have very little frame of reference for the thematic content that informs the Stormland brand. Gundam remain a mystery; my knowledge in this particular department is regrettably nonexistent. That said, I am a sucker for art that serves as a lens and love letter to something that the artist is clearly passionate about. Indeed, sole member Justin Pierrot has successfully imbued Stormland with an immediately recognizable sense of excitement. I've always loved that the project has a lot of charisma and character, regardless of my personal connection (or lack thereof) to the subject matter at hand. And, of course, Stormland serves as a reliable delivery agent for my most favorite subject of all: sick fuckin' riffs. The Altar of War, Stormland's new-ish EP, pretty much picks up right where 2022's The Human Cost left off, with the first three tracks exemplifying the solid foundation of combat-ready riffage upon which the band is built. ![]()
Written by: Blackie Skulless
While Portland, Oregon’s Witch Vomit have been around for over a decade, picking up bigger attention in the latter half of that decade, it took a while for them to appeal to me. Their brand of death metal focuses on the old school style, sticking to the usual themes of death and gore under a raw and guttural veneer. Normally that jumps right out to me, but for some reason it took the more refined approach of 2021’s Abhorrent Rapture to hook me. From there, the latest Funeral Sanctum seems to have followed suit, striking quite a strong chord. As anticipated, much of this follows the same marshy riffing with a cleaner production that doesn’t feel inorganic. Heavy and chunky riffing backed by pummeling drums that tend to coat on an echo with the bass kicks add an extra layer of muck, making it so guitar solos never take too much precedence. In other words, they feel focused without being the star of the show. This allows the rhythms section a little more prominence, which just may be what captures my attention the most. ![]() Written by: Blackie Skulless Seeing that ol’ Bruce hasn’t put out a solo effort since 2005, and that the latest Iron Maiden record didn’t exactly blow me away, I was a little unsure of what to expect from The Mandrake Project. As time passes on and veteran musicians struggle to keep the capacity going, it often tends to fall into the “hit or miss” category. But, more often than not, more time between records will work to your advantage. Bruce Dickinson further solidified this idea, as his latest effort truly did blow me away. The Mandrake Project is a culmination of many things not too unordinary for the British frontman, meaning its magic doesn’t rest in anything new. Rather, this is an exceptional exercise of tactics that he had mastered between his own career and his several decades in Iron Maiden alike. Modern production values with deep distortion on the riffing works entirely to this album’s advantage, all the while sneaking in a hefty amount of raw emotion and beautiful story-telling. Writing a record that focuses on only one of these properly is impressive, let alone all of them. ![]()
Written by: Blackie Skulless
Leave it to Trevor to take me out of review retirement, huh. Year after year, I have found myself writing (at least) a review for Haunt annually. Anybody who has followed me knows how much I love everything from Mind Freeze and before, and how much I love different things about each following record without my mind needing to be blown. Well, I guess Dreamers is the one to break that trend, because boy do things actually take a turn here! Not to say that Haunt has stepped away from the heavy metal genre, but this is the most significant deviation from their classic core that we’ve gotten thus far. Rather than being another cut of stripped-down traditional metal with mildly varying toppings, this lifts up different layers to take the forefront. Strangely, the vocals and guitars swap taking a backseat despite still being a vital ingredient, depending on the track. The drum clashes pop harder than ever, and the synths feel like a tool to cast a mistier atmosphere rather than being another outlet for melody like on former records. ![]()
Written by: The Administrator
We slumbering scribes are nothing if not considerate. In that spirit, here's a relevant public service announcement: if you choose to fire up Terror Labyrinthian, the debut album from Baltimore's Nuclear Tomb, please know that you are willingly subjecting yourself to an undiluted sonic onslaught. Real face-melting stuff. Prodding and squirmy and barbed and apocalyptic and absolutely ripping. Representing a particularly weird and wild variant of death-oriented thrash, Nuclear Tomb have perfected a brand of chaos that appears, at first blush, quite unhinged. In reality, their approach is as calculated as it is contorted. In a case of promo material feeling exceptionally accurate, Nuclear Tomb do indeed skillfully integrate an old-school blistering aggression à la Sadus alongside a more punky off-kilter Voivodian approach to dynamics. That's a win/win combination in my book. ![]()
Written by: The Administrator
No time for a superfluous introduction. Here is a collection of things I love about Principality of Mechanical Violence, the latest album from death metal duo Soulmass. Let us begin. Firstly, I love the album artwork. I am inclined to judge a book by its cover, and the case of this gorgeous piece by Samuel Nelson, I was immediately struck by the evocative palette and setting. Here, Samuel has captured a moment in time so articulately as the moon rises over a prone gundam. This is the gloaming; the moment where dusk becomes night. I generally adore heavy usage of pinks and purples, and the color of the logo is warm and wonderful, full stop. The color scheme in general feels quite unique in the world of death metal, and stands out from the crowd. It is by far one of the best covers I've seen this year. |
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