Written by: The Administrator
Here's an established fact: I like WARPSTORMER. Back in 2022, their debut EP Here Comes Hell made quite a mark--as I said back then, said EP "unleashes riffs with the confidence of a seasoned act and the haste of a band excited to parade their entire arsenal in a single 20 minutes span." Needless to say, the promise of a full length was exciting. Their self-titled debut LP came out last November, and, in classic fashion, it's taken me a very long time to actually write about it. Apologies for tardiness, etc. etc. WARPSTORMER plays a potent blend of stoner doom and thrash, a combination that feels simultaneously vigorous and sludgy. While the doomier stoner elements do frequently take center stage--the thrash is often more apparent in the roaring bombast than shredding speed per se--this album is notably forceful. WARPSTORMER feel like the bastard lovechild of High on Fire, The Sword, five gallons of diesel, and some high-octane guzzoline. And, while big punishing riffs often lead the charge, there are enough progressive and (dare I say?) cosmically inclined psych moments to lend the songwriting an expansive quality. With the exception of some very nice cleans that shine in the back half, the vocal delivery, which is raspy and striking in equal measure, fondly reminds me of the punchiness of Black Royal. While never unhinged, very little here feels overly restrained. WARPSTORMER is a powerful band, and isn't afraid to show it.
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Written by: Blackie Skulless
The French black/thrashers Hexecutor have been around for a little while now, with over a decade of experience and several releases that include three full-lengths roughly every five years. It would take the third album hitting early this year before they’d catch my attention from the logo alone (a fitting one for a French outfit). Titled …Where Spirit Withers In Its Flesh Constraint, we’re treated to a somewhat jagged brand of the genre, dealing heavily in longer tracks. With an album title like that, I guess I could have anticipated this. So it should be no surprise that embellishment of a more chaotic approach is the name of the game. Strangely, the guitars tend to take a backseat to a unique and sporadic shrieking vocal style, equally overshadowed by loud and explosive drums, with the exception of when there’s a solo. Much of the rhythm sections are absolutely drowned in tremolo picking, all tied together with constant shifts in tone and tempo, ultimately trying to toe the progressive line. I wouldn’t say it really fits in that camp per se, however an obvious attempt at breaking some of the rules is present. At minimum, the dramatic shifts in what pops out the most gives the record some character. 
Written by: Blackie Skulless
It’s always a good time finding older extreme metal bands that were ahead of their time. In the era between the thrash revival bands and the prime-time of the genre’s popularity existed acts that bridge that gap, for better or for worse. Sweden’s Bewitched arose at an unfortunate time for their style, cranking out longer records during the boom of the CD with a decent following but overall flying under the radar. However, if there’s one of their records that really does it for me, it’s record number four, 2002’s Rise of the Antichrist. The early 2000s would lay the groundwork for thrash revival to take the world by storm, with the Toxic Holocaust and Municipal Waste types being pivotal in their respective styles. However, I’m of the firm belief that Bewitched added the slightest blackened tint onto an otherwise hardcore-flavored thrash burner over a decade before Power Trip would even break real ground. Much of this record sports minimal in regards to blast-beats, tremolos, or degraded production, yet their evil themes and crushing attitude makes it fit nicely right beside the likes of Bastardizer or Diabolic Night. Thus, it acts like a melting pot of styles that could have given way to all sorts of bands long before their time, but probably didn’t. 
Written by: The Administrator
If you are a purveyor of music review sites, you've undoubtedly learned to skip over the fluff that constitutes AOTY intros. The pointlessness of writing this isn't lost on me, let alone the fact that this is a list for, erm, the wrong year. In the music industry churn, an album released last year might as well be a million years old. Obsolete. Irrelevant. Forgotten. So: why 2023? Why not 2024, like unto a proper music review website? What's the rationale behind publishing this list a whole damn year late? There are two reasons. The first is that I think demonstrable longevity is an important aspect of music appreciation, and the ability of an album to outlast a narrow moment in time is a testament to its particular excellence. The second (and real) reason is that I am a profoundly lazy and frequently overwhelmed person, and compiling this list last December was a very large task that seemed, frankly, insurmountable. So here we are. These are 23 albums from 2023 that are, in significant hindsight, still very much my favorite albums of 2023. In terms of format, this list is alphabetical and purely unranked. The generally arbitrary structure of counting down to #1 simply doesn't demonstrate the way I enjoy music, nor is it an effective or accurate way to make recommendations. I'm also completely unconcerned about genre, as I listen to a lot of different stuff. If I'm writing a list, it should probably reflect the reality of listening habits instead of projecting a false image of metal exclusivity. Be prepared for eclecticism. I hope there's something lurking herein that catches your ear. A massive thank you to every artist who contributed to the releases below. And, dear reader, thank you for your readership and support of artists! You're the best. Yes, you.
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 short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. In that spirit, here's a mini-review of a thrashy debut single.
Written by: The Administrator
This year, we slumbering scribes made a deliberate attempt to check out more debut singles. When review requests from brand new bands arrive, they all-too-oft fall through the cracks of the promo pit, overshadowed by flashier release announcements from bands with broader brand recognition. After focusing a little more diligently on discovering these undiscovered tracks, I ended up writing about some very cool debut singles--check out mini-reviews of the first-born tracks from Negative Bliss, Slaughtersun, and Elsewhere. But! I evidently wasn't diligent enough, having regrettably missed this banger from Theocracide, leaving it waiting in the ol' inbox for an embarrassingly long time. Better late than never? Released back on June 14th of this year, "Neutralise The Predator" is an energetic thrash ripper that goes for the throat right out of the gate. This track delivers the kinetic clamor and riff-forward aggression that we can only expect from a band citing New Wave of Thrash influences such as Warbringer and Havok. But Theocracide also provide a welcome additional heft with notable bass presence and some punky vigor, integrating a little stomping crossover into the proceedings. Check out that muscular groove that sets the stage for the back-half soloing. Thematically, "Neutralise The Predator" provides a conduit for catharsis--to quote promo material, the track overtly "tackles issues of assault and sexual violence in society whilst providing an outlet for survivor’s rage and the desire for retribution." Bena Pietroni's vocals are acidic and sharp, and feel explosive without ever pulling ahead of the instrumentation. There's an incendiary urgency in the delivery that is exciting and vehement. Most of all, "Neutralise The Predator" is music that demands a full-body experience. There's something to be said for a present-day thrash song that makes me want to kick over my desk chair and start a one-man mosh in the confines of this lonely scriptorium. Give me a full album of this energetic ire and I'll happily be inventing techniques to swing elbows into my own teeth. If you like crossover or thrash in general, you should check this one out. In terms of new music, it does looks like Theocracide have another single on the horizon--I've pre-saved "Warning of the Serpent, which drops next week! Theocracide - "Neutralise The Predator" was released June 14th, 2024.Find it here! 
Written by: Blackie Skulless
God do I ever love a good grower; take that as a double meaning if you must. Germany’s Victims Of Classwar drew me in not only because of the intriguing band name, but also the album artwork. Never mind the fact that black/thrash with a crust/hardcore edge tends to boast some of the nastiest music you’ll get ahold of, but it leaves even more room for interpretation than your regular black/thrash formula (one that I love dearly). This influence is definitely the lesser focus, but considering the band has been active for nearly fifteen years prior to their debut, you can be pretty certain that Invitation To A Funeral is full of long-time rage. Victims Of Classwar runs with a rather unorthodox presentation that admittedly took more than a listen to grow on me, however getting through that initial phase lets in one of the most interesting and meanest records I’ve heard this year. This isn’t necessarily to say that there aren’t plenty of bands that take this path, but the frontwoman’s vocal approach absolutely pummels you with discomfort and proverbial assault, being the most standout feat. A variation of fairly straightforward blackened shrieks to pain-stricken croaks and degraded howls offer a variety of unsettling feelings that reflect the very perturbing album art. Obviously, the rough production helps this feeling remain, but musically you can definitely tell that there’s a history of dabbling in the hardcore/crust realm. 
Written by: The Administrator
Thrash-infused sludge with a bombastic pep in its step? Dragged-through-the-muck production and tasty gang vocals to boot? We're dealing with an oddly specific category here, but you can count me all the way in. Please. Please count me all the way in. I need this. Earthblood are a new-ish quartet out of Finland, and the inflammatory Witchburner is their second EP. I was impressed by their debut outing released last September, but this sophomore effort feels like a significant step up both in terms of songwriting chops and production value. With only 3 tracks filling the 17+ minute runtime, the songs are quite girthy, incorporating both a slow-burning sludgy stomp and a thrashy drive to be the most cathartic band in the playlist. Earthblood are confrontational and dirty, seeming to take a certain glee in forcibly forging their own path by way of rowdy riffage and gravel-gargling roars. In a word, Witchburner is energetic to a near-jubilant degree. There's a vigorous bounce and groove at play--check out the hellishly fun "Sons of Heavy Pain" or the exciting chorus on the title track as prime examples. When things do slow down--take the mighty closer "Swamp Hammer," for example--the lumbering pace serves to build anticipation for the burly violence that inevitably returns. If I do have any minor criticism of this EP, it is that said closer does run a tad long. But that doesn't negatively impact the overall takeaway: music like this makes me want to light my beard on fire and smash a bunch of shit with sledgehammer. Y'know, for fun. 
Written by: Blackie Skulless
Cruel Force has touched my radar a few times over the past couple of years. The German black/thrashers dropped two albums nearly fifteen years ago before splitting up, and while they made a serviceable enough take on the genre, it really never stuck to me. Fast-forward to over a decade later, and they came back with a vengeance, dropping Dawn Of The Axe, changing my mind about everything I just said. What was a nice soil that grew few worthwhile fruits now harvests an entire garden. Stylistically, they wouldn’t veer too far away from this initial idea, but any sharp edges get deburred and the thrashy attitude feels refined into something reminiscent of an ‘80 speed metal foundation. Similarly, vocals with a deeper snarl but a far more concise delivery are tacked on, almost feeling similar to Zetro from Exodus. Echoed production helps everything, giving a reverberated tone to the drum kicks pairing wonderfully with the vocals. Meanwhile, the bass licks are rather bouncy, providing extra kick beside the sharp riffing. Oftentimes, overdoing this can ruin a solid record, but that’s not the case here. The end product is a far more mature outing that almost lifts the “blackened” element away as well, leaving only remnants, but still holding onto their aggressive oomph. 
Written by: Blackie Skulless
Indiana’s Wraith touched my radar back in 2018 with their simple and straightforward but hard-hitting debut album Heed The Warning. Since then, it’s been a mixed bag, as I felt their follow-up Absolute Power didn’t do much to inspire despite a slight reworking, but then Undo The Chains swung in and blew my mind a few years following, outdoing themselves. It was anybody’s guess as to how the band would fare moving forward with such a background. This brings us to Fueled By Fear, working in the same vein as the prior record. Working on a good foundation, the fourth outing sees similar songwriting tactics that made the previous record super strong. The blackened, harsher vocals remain while the cleaner, precise guitar sweeps and strong leads still take the forefront for much of this. Hooky tactics that build for nice choruses can stick in one’s head, and I’d go as far as saying a lot of these fall in the fun category (with a mean tint). Tunes like “Ice Cold Bitch,” “Code Red,” and “Merchant Of Death” are packed with pummeling drum kicks, breakneck riffs for days, and energy that’s easy to dig.
The Sleeping Village has been around for a few years now, and during that time, a lot of reviews have unceremoniously disappeared into the dark confines of our archives, destined to never see the light of the front page again. Music appreciation, however, is a timeless affair, and in that spirit, here is a review retrieved from the deep dark depths.
Written by: The Administrator (originally published June 15th, 2019)
Given the convoluted intros that have become a bit of a calling card ‘round these parts, we wizened scribes find ourselves in a bit of a situation here. Here's the rub: Entrenched is an outfit about which I know astonishingly little. No niceties regarding city of origin, or band members, or associated acts. In this sense, unless you’ve seen the gloriously indicative album artwork for their sophomore effort Endless Occupation, the music really must speak for itself. And to be honest, it doesn't speak so much as roar vivaciously. Entrenched play, for all intents and purposes, a speed and thrash-oriented brand of death a la Demolition Hammer or Morbid Saint. They wear the visceral war-torn trappings of Sodom--take the track titles, which range from the obvious ("Meatshield") to the goofy ("Goreamedic") to the exclamatory ("Terrorize the Insurgency")--and conduct themselves with the juggernaut bombast of Malevolent Rapture-era Legion of the Damned. Imagine if Merciless lost their more overtly frantic edges, and gained instead a Vader-esque sense of (moderate) composure. But yet, these comparisons are imperfect, and despite existing in a fairly well-occupied space, Entrenched are seemingly their own bloody beast, taking the bits that work, but never feeling derivative to a consequential degree. Needless to say, if you want thrashy riffs and endless bullet-belted aggression, Endless Occupation will scratch that itch with...well, take your pick of rusty implement. Rake. Machete. Lawnmower. |
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