HELLRIPPER - Coronach (Review)

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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In other words, there’s still some of that earlier influence here, but it feels more original. Instead of focusing on a speed metal backbone with harsh vocals, higher attention is paid to strong leads, stomping attitude, and other aspects that separate thrash from simple speed metal. “Kynchile (Goatkraft And Granite)” is my favorite example, as it’s so obviously built on thrash might in its riffs, but sneaks in incredibly competent leads, thick layers, and a slower burn in the end that lands such a mean impression. It even works in softer guitars without a shred of awkwardness that bridges the fact that things feel a bit all over the place here.

Actually, instrumentation like this being used all around is another strength of Coronach, showcased in the beautiful piano intro of the following “The Art Of Resurrection." Weirdly, it's otherwise structured more in that traditional black metal front, sporting dissonant wails and a stronger atmospheric push, but feels no more out of place than anything else. This ties in well with the more advanced musicianship swung in the likes of the closing title track and its gigantic prowess, even tampering with death metal vocals. Honestly, the way this is basically an epic metal march under a blackened sky alone is neat, painting imagery of a soldier’s march towards certain death, which made sense once I looked up the definition of “Coronach.” 

Still, none of this feels as overwhelming as one might assume with so many moving parts. Hellripper doesn’t stop there, though. “Baobhan Sith (Waltz Of The Damned)” has one of the most melodic moments the band ever cooked up in the song’s second half, which sits nicely beside the rest of the experiments. The only real exception might be the very obvious (but still very good) “Blakk Satanik Fvkkstorm” that I’m purposely not going to elaborate on, as its title should tell you everything you need to know about it.

James McBain has done it yet again, this time squeezing several different directions (including some older practices) into one coherent whole that I love every bit of. Perhaps it’s not as stellar as Warlocks Grim & Withered Hags, but boy what a high bar that has been set by himself. I imagine another album of the Coronach type could still bring fresh ideas, or at least be presented in a tighter fashion. My review of the debut written nearly a decade ago ended with “pretty outstanding record for being done by one dude,” and that statement holds up.
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Hellripper - Coronach was released March 27th, 2026 via Century Media Records. Find it here!

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Hellripper can be found at Bandcamp and Facebook
Cover art by Adam Burke