 Written by: Blackie Skulless
No kidding, the guys in their 60s can’t match the fervor they exuded in their 20s?! That’s never the correct question to be asking. Rather, we should be asking if something actually feels original and inspired, rather than a bunch of old dudes writing music for the sake of writing music and cashing a paycheck. And if they do manage to capture that energy conjured up so many decades ago, that’s simply a bonus (see Bruce Dickinson’s latest full-length). New York legends Anthrax may not have pulled off Bruce’s stunt, but does their latest full-length, Cursum Perficio, at least check the “at least it has a soul” box? Absolutely. Rather than just making another thrash metal album that churns out fast and aggressive but forgettable numbers, with a nice clean production and tired schticks, Anthrax have been moving forward with inspiration save for maybe one hiccup in We’ve Come For You All since their start. But as the saying goes, I’d rather take a step forward and eat shit, than not step forward at all (sorry, that’s my therapy sessions coming through in my reviews). With a full decade between this record and their previous output, it’s no surprise that obvious emphasis is put on unique songwriting in place of pure speed and fury. It’s also no secret that the groovier aspects of the John Bush era have made a more prevalent appearance since the man’s departure than anything since, but I think it mixes well,and avoids distraction. The end product sees a similar general feel to For All Kings and Worship Music in terms of warmer production and catchy chops, but prioritizes attitude over mosh-friendly earworms.
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Written by: Blackie Skulless
Cleaner thrash metal is one of those things that more often lands on the “fine but unremarkable” side of things, but the few times it makes an impression, it’s quite fun. The Czech outfit Exorcizphobia falls into that latter category. They’ve been around since 2006, with a somewhat consistent timeline of output since then, however it was their latest record that caught my attention. Their fifth full-length is titled Neurosis Unbound, hitting two decades after formation. Frankly, it may be the album art that caught my attention, but I think what let it stick was the fact that it sold this style without needing to rely on overly pretentious technicality or bells and whistles. Instead, Exorcizphobia simply works by writing to the point, raging chops with clear and comprehensive vocals that aim for melody and form without sacrificing aggressive function. More than that, there’s a beefy bass presence, further aiding with the memorable songwriting. And perhaps most importantly, things are kept brief and feel no need to overstay their welcome. 
Written by: Blackie Skulless
Sweden’s Eternal Evil is an outfit that has been on my radar for a while, but never really did much for me. Their 2019 debut demo Rise Of Death hinted at potential for a rough and gruff style of black/thrash that needed work, but wound up coming to fruition in a cleaner veneer than one would expect. While worthwhile, their first two records simply felt more competent and capitalized on potential without a lot of delivery. However, album number three titled Forever Feared takes that idea and pivots into less awkward execution by just nailing an old school thrash sound that doesn’t feel generic at all. With such clean production and stripping themselves almost entirely of the blackened elements, Eternal Evil very easily could have fallen into unremarkable territory, but instead they keep my attention with catchy songwriting and variety. Hooks one after another are present, carried with leads that feel like they have intent rather than just exist for foundation’s sake, and the several different vocal approaches certainly help. Indeed, the frontman has a solid range, retaining the occasional shriek but mostly working in melodic rasp, and the occasional softer singing. Wrap all of that up into a competent and brief enough shell, and you’ve got a fantastic album! 
Written by: Blackie Skulless
Half a decade ago now, the Florida death metal act Hexorcist came forth with a beefy but predictable release, selling me on their no-frills brand of the style born in their state. Things seemed to stay relatively quiet after that digestible serving, until they decided to cook up a follow-up just this year. Titled, Crucificial Imprecations, the band seems to show no sign of deriving far from their roots, even down to the album art style. Oftentimes, this can be good or bad. And because both their debut and its follow up are brief and straightforward, avoiding generic finishes and overzealous technicality, there’s no issues in terms of stagnation (yet). Indeed, Crucificial Imprecations flies through in a half-hour’s time, keeping the formula rather safe with choppy rhythms and extremely nasty sounding vocals. Actually, I may even go as far as saying that vocally, things almost take an even more gruff stance, treading on that blackened line not dissimilar to Abbath’s style. Speed was never not a feature of their writing, but with the crunched time also seems to come even faster songs, with very few sections slowing down to a simmer even a bit. 
Written by: Blackie Skulless
Since their 2019 album entitled Exile, the Chicago based heavy metal outfit known as Black Sites has been on my radar under close watch. They’ve followed heavily in their prog-adjacent steps ever since, curating two records in a similar vein, and while that held up nicely for a bit, I did find it to run slightly stale by the previous outing. This year, they’ve brought For Eternity, one I was unsure about what to expect. I’m happy to report that they’ve since tweaked the formula a bit, and for the better. Rather than focusing on more intricate rhythms in a Queensryche-meets-Iced Earth type blend, Black Sites has done something that I’ve been implementing in my own life to feel more peace as of late; slowing down. I mean this in a literal and figurative sense, as this record very clearly nods towards more doom metal ingredients than they’ve ever showcased before, in pace and general vibe. However, the noticeable stripping back of progressive elements, while not being completely void of them, shows them clearly no longer taking the focus. This allows for a more cohesive whole, likely being the most focused record since Exile. 
Written by: Blackie Skulless
With the astounding eight year gap since the German black/thrash outfit’s prior overly long-titled album, Witching Hour has finally mustered up a follow-up to the one record that really snagged me. Earlier efforts stuck to a digestible yet predictable formula, but it was album three that seemed to give the band an identity. Descending… Where Time Has Ceased To Exist continues the name trend as much as it does the stylistic evolution. In other words, there’s a lot more emphasis on heavy/speed metal than there is on the blackened side of things. In fact, I would almost struggle to call this a blackened thrash record, as it emphasizes rhythm and melody and all but ditches the hazy atmosphere that still drew melancholic layers the last time. True, the vocalist still boasts a pretty gruff and throaty delivery, one that’s admittedly an acquired taste, but it’s quite comprehensible and lets the band feel a bit more unique, if nothing else. Moreover, the instrumentation seems to have a bit more clarity in its delivery thanks to the cleaner atmosphere. Hell, even sharp basslines come through tighter than ever, quite evident on “The Graves Yearn For The Dead.” 
Written by: Blackie Skulless
Washington D.C. thrashers Desolus hit the scene a few years ago, and while I can’t pretend they took me by storm, I also can’t pretend that I wasn’t impressed with their thunderous debut album System Shock. Remaining in the same lane for their second time around, they’ve followed things up with the same Teutonic vibe. Titled Dwellers Of The Twilight Void, things stick to the same structure as well, flying by in shorter blasts for a digestible ride. It should then be no surprise that what’s before us is a pretty familiar formula. Brash attitudes captured under a backbone built on speed work as the musical foundation, topped with nasty shrieks that combine a blackened undertone with moody snarls. If there’s much worth noting of difference, it’s that higher falsettos are a little more common this time around, and weirdly, the production almost feels dirtier rather than cleaner. Otherwise, you’ll find most moments of note when a slower cooldown or riff-driven bridge takes over, which I enjoy most when vocals are part of that, such as in "Trespass The Threshold." 
Written by: The Administrator
I strongly suspect that every single reader of this review will agree that The Recreant is a remarkably easy sell. Alicia Cordisco and Ruby Rockatansky, neither of whom need introduction 'round these parts, join forces to deliver a crusty grindy crossover thrash Transgressive sister/spin-off project. The Recreant promises stripped-down spite, and features an overt Napalm Death reference right there in the album title. I mean...'nuff said, right? I invite anyone to take a deep dive into the bottomless maw of the Sleeping Village's promo pit; you'll be hard-pressed to find a more invigorating elevator pitch. And yeah. Holy shit. The Recreant, I am pleased to say, more than delivers on its implicit promise. Upon first exposure to the gloriously incendiary advance singles, I commented "oh, this goes capital-letter HARD hard." After many, many listens, I can't agree more with this initial assessment. The Code is V... Outlive the Code exudes hardness with a stomping gravitas and a sense of authenticity that simply can't be manufactured. It is sneering and tough in a fashion that feels tangible and profoundly badass. It thrums and erupts with pugilistic physicality. It is the pinnacle of rage, a snapshot of the precise moment that fury transcends. It is outspoken and honest and assertive. It is raw and exposed. It is a throat-rending battle cry, and it goes hard. I cannot (re)iterate this enough. It. goes. so. fucking. hard. 
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. 
Written by: Blackie Skulless
It’s no secret that a couple years ago, Cruel Force rose from the ashes of their former selves and crafted something that truly resonated with many listeners. By tightening up the songwriting and breaking the typical mold of the black/speed predictability, these Germans allowed themselves to stand out far above their peers. This year, Haneda sees a continuation of this evolution, not only on the songwriting front but also in a stylistic way. In many ways, Cruel Force is going the exact direction that they had hinted at with Dawn Of The Axe. A notable feature was that the “blackened” aspect of the last record almost felt like it was being lifted from time to time, matching the injection of melody that didn’t exist as much prior. We see a similar vibe under the misty, echo-tinted production that allows the drums to pop really hard without feeling too raw. In other words, the blackmosphere lingers while other facets that made this fall in that camp fall away. This pairs nicely with the evolved vocals that now avoid anything harsh or raspy so one can more easily call this a full realization of a modern speed or thrash metal record that dodges any generic production nonsense. |
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