Dvne – ‘Etemen Aenka’ (Metal Blade Records)
If Metal Blade are interested in you then you must be doing something of note, and that’s exactly what Dvne have done with their past releases which made Metal Blade snap them up. ‘Enuma Elis’ opens the album in spectacular fashion, their Mastodon-meets-Cult Of Luna progressive sludge pouring all over you like a huge wave of undulating sound and texture. The guitars of Victor Vicart and Dan Barter entwine to create fabulous vistas of glorious guitar interplay, the fluent duelling is breath taking. The rhythm is furious, not in speed but in dexterity, there is a definite Mastodon influence at work here, just listen to the guitars throughout the whole album, not only are they magnificent they are clearly inspired by the duo from the American sluggers. The backbone of Dudley Tait (drums) and Greg Armstrong (bass) is immense, an immovable bottom-end continuously thumps hard in the gut, combine this with the magical guitars and you have something that’s pushing the boundaries of music, treading a new path through the music business jungle. What gives Dvne that extra edge are the keyboards of Evelyn May, she sprinkles them in all the right places, the likes of the dreamy ‘Court Of The Matriarch’ is wonderfully enhanced by these gorgeous tones. ‘Etemen Aenka’ is an utterly stunning album that will appeal to everyone from Tool loners to Cave In’s loyal fan base. Superb.
Baest – ‘Necro Sapiens’ (Century Media Records)
Baest seem to be the next “big thing” in the death metal world, that’s if you believe the internet! Signing to Century Media only up’s the expectations, so can the young Danish band live up to the hype? A resounding yes! After a little intro ‘Genesis’ blasts forth on a filthy groove that just swamps you, much like prime Entombed but with a more modern death metal style. Baest are driving death metal forward for sure but there are some lovely old-school touches here, like Lasse Revsbech and Svend Karlsson’s early Morbid Angel-like guitar squeals, or Simon Olden’s Karl Willetts (Memoriam) booming growl. The 5-piece certainly pay homage to their heroes.But there is a modern sheen to it all, bringing an old sound screaming up to date spectacularly. Baest’s 3rd album is a brutal banger that has grooves to die for (check out the title track), showing the old guys the new breed have a few tricks up their sleeves.
Clouds Taste Satanic – ‘Cloud Covered’ (Kinda Like Music/GS Productions)
I fell in love with with Clouds Taste Satanic the very first time I experienced their psychedelic doom.That was 7 years ago and the New York 4-piece have gone from strength to strength, culminating in the glorious ‘Satanic Singles’ series and this covers album (some of the tracks overlap onto both releases). Those limited 7″ singles sold out in record time so to be able to hear these interpretations is wonderful! The tracks chosen are ones that influenced the band in some way or another, with a couple of choices eye-openers while others not so. The opening ‘Funeral For A Friend’ (originally by Elton John) is a particular highlight, not only as its a surprise choice but Clouds Taste Satanic do it so much justice as they turn it into one of their own. This album may contain the best cover version ever in the shape of soft rockers Chicago‘s ‘If You Doom Me Now’! You seriously can’t help singing and dancing to this gloriously campy version. Fucking amazing! The Flaming Lips are an obvious influence on the band and it’s no surprise to find ‘Sleeping On The Roof’ included here. I could go on and name every track as each has its own wonders to offer, you will have to find out for yourself what the other choices are! Clouds Taste Satanic have triumphed once again! Oh, did I mention its instrumental? Thought not.
Paradise Lost – ‘Gothic – Live At Roadburn 2016’ (Nuclear Blast)
Back in that mythical day I traded a lot of tapes all around the world, one of the traders was a certain Nick Holmes, he sent me loads of early Paradise Lost rehearsals and live shows. Then the demo’s and first ep (I am on the thanks list on both releases) came out and everyone took notice of this grim Northern doom band who were part of the (in)famous Peaceville 3. A classic debut was released (still my personal favourite) but the bands sophomore album ‘Gothic’ was the one that truly established the band in the hearts and minds of so many. And that was what was celebrated one balmy night in Tilburg, for the first time the band played this classic album in its entirety to rapturous glee. We all know the classics such as the title track or ‘Eternal’, but you get to hear ‘Angel Tears’ live for the first time ever! Sometimes playing whole albums doesn’t work as some songs are fillers, not here. Each and every track is played with passion and devotion, each one delighting in its own right but ending the set with ‘The Painless’ is sheer class. Glorious album from a band that still have a lot to offer.
Revenant Marquis – ‘Below The Landsker Line’ (Inferna Profundus Records/Death Kvlt Productions)
Welsh lunatic S returns with an album that almost defies description, yes its raw black metal with ambient passages but fuck is this a disorientating journey that’s not helped by a muffled, thick production that swamps everything in a filthy murk. This on-purpose sound truly harks back to the original 2nd wave demos, Uruk-Hai, Thou Shalt Suffer, Old Funeral, Amputation, that had this musty odour about them. Revenant Marquis has captured that unique era’s essence and expanded it to points where black metal is not even thought of, ‘Haverfordwest’ or ‘Children Of The Grand Abyss’ not only blast you to pieces with a furious old-school rampage, they also chill you to the bone with ice cold ambience that bring to mind Megaptera at their very darkest. There are nods throughout the album towards Burzum, obviously, but instead of plagiarism Revenant Marquis has paid homage to the first one-man black metal outfit, the originator of this raw scene. ‘Geist Unbaptised’ is a furious rumble of pure darkness, S expelling his many demons through unrecognisable shrieks and bellows drenched in a cavernous echo while the harsh sounds create a thick churning black maelstrom of pitch-black darkness. Disorientating blackness descends the moment you push play, Revenant Marquis has crafted an old-school raw black metal that’s seldom heard these days. Sickeningly exquisite.
Five The Hierophant – ‘Through Aureate Void’ (Dark Essence Records)
Avant-garde and experimental are 2 terms thrown at, mostly, unlistenable music simply because its makes you seem clever, better than others, rarely do you find a truly avant-garde outfit forging their own path through the music jungle. Bong do it, so does Oranssi Pazuzu. Now we have another name to add to that short list, London’s Five The Hierophant who return 4 years after leaving us devastated by debut album ‘Over Phlegethon’, the trio have surpassed all expectations and created a massive sounding, true avant-garde record. Essentially it is a sludge/doom album that has been mutated into this unique end result, the addition of middle eastern sounds and atmospheres, jazz and even easy listening has transformed Five The Hierophant into being leaders in an ever growing scene. The array of strange instruments used to create this psychedelic nightmare are fabulous; djembe, bowed guitars, Rag-Dung are all used perfectly, giving the whole album a mysterious aura of pure wonder. These weird sounds coalesce into magnificent epics like ‘Berceuse (For Magnetic Sleep)’ where there vast music takes you away to places of sheer wonder. Then there is the smooth jazz of ‘The Hierophant (II)’, easy-listening never sounded so good as the beautiful saxophone soothes and bewilders in equal measure. An utterly breath taking album from a band not afraid to experiment, a band and album you all should seek out immediately.
Wintaar – ‘Ice Heart Of The Urals’ (Self-Released)
Russian artist WV has been creating feral black metal under many guises for the last decade or so. His most known outfit Wintaar have stuck to the 2nd wave blueprint for the last 7 years, now on their mind-melting 23rd album! You may expect a drop in quality with so many releases but no, each new album has something new to grab your attention, whether pure fury or more subtle touches, he always gets you to notice his work. This time the “new” thing is employing Elegiac’s Zane Young on drums and he does his usual chaotic best as he blast-beats for Satan himself with the likes of ‘Sombre Landscapes’ utterly destroying with an icy blast of black metal. WV’s guitar is as harsh as can be, the tremolo abuse piercing your flesh with sharp barbs of high range nastiness, while his feral shriek always instills a real fear deep in your soul. ‘Baptism By Freezing Winds’ is a stomping Darkthrone-like beast while the re-recorded early track ‘Moonlust’ is a pure early Mayhem romp, WV and Young locking into a furious blast that eviscerates your face where you stand. The cover of Darkthrone’s classic ‘Hans Siste Vinter’ tells you everything about Wintaar’s origins, that raw naive sound of the second wave runs rampant through ‘Ice Heart Of The Urals’, its freezing cold core exploding in a fury of raw blackness. Wintaar never fails in delivering the raw goods, yet again they/he have created an ice cold, pitch black album of real, true power.
Pyriphlegethon – ‘Gales Of Atrocious Whispering’ (Self-Released)
I purposely put this review next to show the differing versions of black metal, whereas Wintaar continue down the old-school route, Dutch misanthropes Pyriphlegethon drift away from that rigid sound into new areas of darkness. The origins are rooted in that 2nd wave but Maurice De Jong (he of Gnaw Their Tongues and Cloak OF Altering fame) has expanded that sound, incorporating a Deathspell Omega-like thickness with a Cloak Of Altering rawness. This produces such forward-thinking gems as the highly emotional ‘A Celestial Storm Of Sin’ or the utterly glorious ‘Death’s Alluring Arms Hold No Secrets’ where De Jong lets his mournful guitar drip a palpable sadness that floods your emotions. What I like about Pyriphlegethon, and most of De Jong’s projects, is the cohesiveness of it all, you would never think this is just one person as each piece has the vibe of a band who have jammed these out to get them to where they need to be. De Jong has created another twisted vision of black metal, and it’s a supreme, cohesive album of true darkness. Stunning.
DSKNT – ‘Vacuum y-Noise Transition’ (Sentient Ruin Laboratories)
Switzerland is a magnificent country, amazingly clean with stunning scenery, but their quota of metal bands is low. We will forgo the obvious 3 bands that put the country on the metal map, what’s left is slim pickings. In recent years the excellent Tar Pond have made their debut to critical acclaim, now its time for industrialised death metal duo DSKNT’s turn to show what their country has to offer, and with this 2nd album of suffocating mechanical noise, it has a lot to offer! The album is bookended by 2 (‘Spirit’, ‘Spore’) harsh electronic blasts that serve as a jarring beginning and ending, the bit in-between is full of harsh guitar, almost unrecognisable drums and a deep bellowing that combine to create a massive wall of raw sounding ultra-death metal. At times during ‘Deconvolution (Part I)’ it gets so chaotic it feels as if they are playing it backwards, the churning so intense it induces nausea in the extreme. Also, the abrupt stops are equally jarring, you get sucked into the thick maelstrom, the chaos throwing you around violently then bang! It just stops dead. Mind-fucking. DSKNT certainly know how to make an impact that’s for sure. The duo responsible Quasar (vocals) and Asknt (everything else) have created a pitch-black gut-churning album that hypnotises as much as it slams you in the face with an ultra-death metal Portal would be proud to call their own. Magnificent stuff indeed.
Sanguisugabogg – ‘Tortured Whole’ (Century Media Records)
It must be said that this is a strange signing for Century Media as Sanguisugabogg have only been in existence barely 2 years, only the one demo and they play an ultra-brutal death metal that is so middle of the road its painful. Don’t expect much speed here as the band follow in Six Feet Under‘s footsteps of maudlin death metal, never getting above medium pace throughout. Let’s start with the drum, well snare, sound. It’s appalling, it sounds like Lars’ sound on ‘St. Anger’, like a tin being hit. That needs to be sorted as it sucks all the bottom-end out, which is crucial in this style of music, and leaves just this tinny ringing. It does ruin what may have been something very interesting. Not for me at all.
Memoriam – ‘To The End’ (Reaper Entertainment/Chaos Reigns)
I have been critical of Memoriam’s past albums, I found that after the initial impact they drifted into mundane areas. Not here on the bands fourth album, from blistering opener ‘Onwards Into Battle’ to the closing mournful epic ‘As My Heart Grows Cold’, Memoriam are on top form. There seems to be an urgency present this time around, the 4-piece are fucking angry and they have no problem in letting you know. Scott Fairfax (also of the excellent As The World Dies) lays down huge slabs of down-tuned death metal mayhem, his immense guitar powering over you as it unleashes gloriously hefty riffs and highly emotional solo runs. Frank Healy and new drummer Spikey T. Smith (ex-English Dogs) lock into an intense bottom-end, rumbling like the tanks the band love so much, causing severe damage to your stomach as the relentless throb doesn’t give up. This leaves the irrepressible Karl Willetts who puts in a supreme performance, spewing his hard-hitting lyrics forth with a new venom as he spits and curses. The whole is spectacular, Memoriam truly coming into their own with ‘To The End’, easily the bands best effort yet.
1782 – ‘From The Graveyard’ (Heavy Psych Sounds)
Italy’s stoner doom lords 1782 have returned with their 2nd album of heavy, musty, stoned doom metal, and its glorious! The trio are still on an early Electric Wizard trip but have made strides away from this sound, ‘Priestess Of Death’ is a prime example of 1782’s more original sound. Marco Nieddy’s fuzz-drenched guitar unleashes raw stoner riffs that slam into you in wave after wave, relentless fuzz swarming all around you as Gabriele Fancellu (drums) and bassist Francesco Pintore craft one heavy bottom-end, Pintore’s thick bass being especially hefty. All 3 sing to create a disorientating swirl of echo-soaked voices, confusing as the stoner harmonies wreak their chaos, ‘Bloodline’ pounds out on a gloriously simplistic beat, guitar droning endlessly and a bass throbbing in a wonderfully stoned groove. Yes there are touches of the aforementioned Electric Wizard, sometimes a little too much, but there are fewer this time around as 1782 find their feet. As it stands ‘From The Graveyard’ is a gloriously stoned album, full of heavy grooves and relentless doom.
Genghis Tron – ‘Dream Weapon’ (Relapse Records)
Thirteen years in the making, the return of Genghis Tron is a strange one. Gone are the short bursts of insanity, replaced with a synth-heavy progressive Krautrock barrage that simply bewilders as it goes. ‘Exit Perfect Mind’, with its ambient sound-scapes and wonderful synth stabs, gives way to ‘Pyrocene’ with its mid-period Nine Inch Nails-like beat that oozes from the speakers on a thick bed of synths. Original members Hamilton Jordan and Micheal Sochynsky have recruited 2 new members, vocalist Tiny Wolski and Sumac/Baptists drummer Nick Yacyshyn, to fulfil their ideas for the future of Genghis Tron and judging by this that future is safe. The combinations of robotic voices cause a bewildering utopia, the wall of synths growing with each new song, Wolski doing a stunning job as his precise beats drive these vast cinematic sounds onwards wonderfully, he can also add some furiously eclectic fills that, once again, jarringly compliment the dreamy ambience that the original guys have created so beautifully. The title track is a furious romp driven forward by Wolski’s magnificent drumming, the first hint of guitars also gives it a familiar, old Genghis Tron sound of harshness. Even though ‘Dream Weapon’ is a completely new sound, it is still Genghis Tron at its core and the connection between this album and the bands previous effort ‘Board Up The House’ is closer than first appears. Unless you’re already a fan of the band I am not sure who this is aimed at as there is no real “metal” of any kind to be found here, just banks of synths for the most part. Me? I fucking love its harsh ambience.
Witchtit – ‘Intoxicating Lethargy’ (Self-Released)
The wonderfully name Witchtit finally release their debut album after just one split release 4 years ago. And its an album full of majestic doom and a palpable Occult aura, feel your skin crawl as opener ‘Silver Tongue’ creeps to life on a huge doom riff while Reign lets her unearthly tones loose to entrance and ensnare your soul. She expels her mystical utterances hypnotically like free-flowing mantras to raise demons, while all around her the hefty doom rumbles forth on massive riffs courtesy of Daniel Brown and Nate Stokes. Their fuzzed-up wall of guitars covering everything with their wondrously warm tones. When this is all put together you have something akin to The Oath jamming Wasteland Coven with this forward-thinking doom full of progressions towards newer pastures. Fabulous album.
Deha – ‘Par Le Sang Et La Fin’ (Solitude Productions)
I have followed Deha’s progression (or maybe that should be deconstruction?) since I experienced the ‘Halo’ album in 2018, it had a profound effect on me that has stayed with me to this day. In the 3 years the man Deha has released a staggering 28 records of varying styles, with this single 37 minute song being truly devastating among many exemplary releases. This time he has recruited drummer Chris Dalcin to aid in this monstrously churning journey, sometimes slow and gruelling, at others raw black metal blasts forth viciously, but always unmistakably Deha. The ritualistic overtones are not only truly frightening they bring back memories of Abruptum at their prime, giving ‘Par Le Sang Et La Fin’ an edge of realness that many simply do not have in their art these days. Towards the conclusion of this mammoth and gruelling journey it gets out of control, as if the protagonists are coming to a natural ending, then it just abruptly stops. Nearly 40 minutes of tortuous, ritualistic insanity with a black metal aura surrounding it all means Deha have triumphed once again with his quest to release the most quality product ever. The thing is, if each release is as good as this with no drop in quality then why shouldn’t he put as much out as he likes!? Another great Deha album.
Bosphorus – ‘Slow Burn’ (Trepanation Records)
After 2 self-financed ep’s, Glasgow’s Bosphorus release their debut album of sumptuous post-sludge. Those 2 ep’s laid the solid foundation for this full length to expand on those early forays into recorded work, and by fuck is the end result magnificent. ‘Silhouette’ starts it all off wonderfully, an intense guitar pours out swamping you in their warm and very heavy splendour, Stuart Teager is a master of the instrument as he weaves magical post-sludge riffs into one thick heavy wall of gorgeousness. Then you get the stunning post-rock of the title track where a certain Cave In vibe surrounds you, beautifully enveloping you in a blanket of wondrous guitar and luscious atmospheric keyboards to die for. Closing track ‘Crooked Path’ (featured on the ‘Doomed & Stoned In Scotland’ compilation) is simply stunning, the hum of low-end synth creeps to life before stabs of John Carpenter-like ambience permeates the air, this utterly wondrous song is the perfect way to close an album, it leaves you begging for more. ‘Slow Burn’ is a superb post-sludge album that comes highly recommended for anyone who likes a lot more from their music than just run of the mill parody’s of classic bands. Bosphorus are ones to watch out for.
Amammoth – ‘The Fire Above’ (Electric Valley Records)
Coming out of Sydney, Australia Amammoth’s debut album is one heavy muthafucker! The stoner sludge created is pretty damn fine, not to mention original in the most part, as the album trundles over you with gloriously stoned riffs, crashing caveman drums and a beautifully subtle use of Hammond organ. This use of the organ is stunning, turning ‘Shadows’ into something beyond any genre tag, it becomes a gloriously unique piece of art. Fantastic. Scott Fisher’s transcendental guitar shimmers all over the album, one moment expelling the harsh demons the next lulling with some mouth watering post-isms. ‘Rise’ is a truly wondrous track, sometimes gentle, sometimes not but always with a gloriously stoned swagger. The dual vocals between Fisher and bassist/Hammond lord Luis Lipovac are disorientating but strangely welcoming as well, that is until Fisher unleashes his caveman bellow! As the last intense strains of ‘Walk Towards What Blinds You (Blood Bong)’ rings out in a dirty Eyehategod-like drawl, you realise you’ve just been battered by an exceptional album, one that is relentless, intense, gentle and simply stunning. Highly recommended.
The Ruins Of Beverast – ‘The Thule Grimoires’ (Van Records)
With their first full length in 4 years, Germany’s The Ruins Of Beverast have deemed us worthy of a new album, an album that encompasses deep dark doom and a barely controlled ferocity that can be so vicious you can almost taste it.The sole member Alexander Von Meilenwald has combined an atmospheric black metal with an almost Bethlehem-like dark metal, not quite doom but far darker, more sinister than what most would consider death metal. There is an evil aura covering ‘Anchoress In Furs’ the likes of Batushka would conjure up, then there is the all-out fury of opener ‘Ropes Into Eden’ where Meilenwald combines furious black metal with an experimentation that transcends music genres. The Ruins Of Beverast are very much in a field of one, there is nothing that sounds like ‘Polar Hiss Hysteria’, its regimented beat hypnotising while Meilenwald’s harsh vocals only cause further disorientation. The Ruins Of Beverast‘s 6th album is a glorious exponent of modern day black metal that takes you on a harsh journey through crying shades of blackness. A remarkable outfit with an astounding album.
Nightfall – ‘At Night We Prey’ (Season Of Mist)
Formed in 1991 Greece’s Nightfall have enjoyed a modicum of success over the last 30 years, even if they seemed to change style on every new album. From a melodic death/doom origin (the bands debut album ‘Parade Into Centuries’ is a stone-cold classic) they have altered their sound once again, this time into a more death metal entity with a touch of their country’s unique-sounding black metal injected into the core. And its pretty damn good, not breaking any new ground but the forceful ‘Witches’ gives off a Septicflesh vibe although Nightfall are increasingly heavier than their counterparts. Michalis Galiatsos and Kostas Kyriakopoulos weave gothic-tinted waves of luscious guitar, complimenting each other with that old Greek metal sound as Efthimis Karadimas lets loose his feral howl, combining together to give off an early Moonspell atmosphere. That’s another thing that makes Nightfall so good; their atmospherics are sublime. The sprinkling of keyboards over the likes of ‘Temenos’ changes the song from good-average melodic death metal into something much better, the atmospheres generated throughout are spectacular. For their first album in 8 years ‘At Night We Prey’ is a damn fine comeback, one that should propel the band into the hearts and minds of a vast audience. Melodic death metal never sounded so good. Glorious.
Phantom Druid – ‘Stages Of Twilight’ (Off The Record Label)
Last year I discovered this Holland-based one-man classic doom outfit through their debut album ‘Death & Destiny’, it truly blew me away with its 1970’s proto-doom immenseness. A year later and they (or rather he, Tjeerd De Jong) have followed that fabulous album up quickly with ‘Stages Of Twilight’ that takes up where the previous record left off and expands on that early sound gloriously. The obvious influence is Black Sabbath and yes their early bluesy tones are all over this sophomore album, culminating with the likes of ‘Electric Sky’. There is a Count Raven level of doom shot through the whole album, De Jong’s warbling vocals belonging with the Swedes epic doom, but the classic doom of ‘Revelation By Night’ shows that Phantom Druid have a lot to offer that is all their own. I particularly like the interludes placed perfectly between these doom epics, sometimes bluesy, sometimes a Spanish guitar seeps into the doom. But its that old-school doom metal we are most interested in and Phantom Druid do not let you down on that point, the classic doom trundling along wonderfully. I loved this band the first time I heard them and this new album only reinforces my love for them. Do yourselves a favour, get this. You won’t regret it I promise you.
Lord Mortvm – ‘Diabolical Omen Of Hell’ (Helter Skelter Productions)
The mysterious Norwegian known as Lord Mortvm has seemingly come out of nowhere to release a quite breath taking album of slow, heavy and intense black doom metal that oozes forth with sinister tones. Quite where this entity truly comes from is anyones guess but he (for this is yet another one-man band) has crafted an album equal parts very early Electric Wizard and Mephistofeles with their psychedelic Satanic doom and a brooding darkness all his own. The end result is spectacular, slow and gruelling but nonetheless spectacular. ‘Omega XIII’ has a psychedelic aura to it as Lord Mortvm lets out some truly mind-expanding guitar while his raw, black metal croaks gives it all that nasty, sinister edge, even though the pace of each piece says doom metal, the samples and all-encompassing aura screams black metal of the darkest order. The clash of harsh black metal ideology and a sound not that far from drugged-up ultra-doom is beautiful, creating something truly unique as well as being of the highest quality. Lord Mortvm’s debut is a thing of ugly beauty, clashing magnificently on the glorious ‘Sodomizing With Satan’. Very interesting album indeed, one that will get many repeat listens. Top quality from an unknown protagonist.
Yawning Sons – ‘Sky Island’ (Ripple Music)
If the name is new to you this band is made up of members from sound architects Yawning Man and psych riff-rockers Sons Of Alpha Centauri, with the end product being a sumptuous post-psychedelic dream-scape that creates massive vistas of wonderful sound. The more improvised style of Sons Of Alpha Centauri is held in check for the most part, occasionally taking over to form some wondrous sounds that are equal parts comforting and worrying. The atmosphere is one of calm, as if you are floating over an endless desert with the likes of ‘Adrenaline Rush’ as your soundtrack, or if you want to get a touch more rocky then ‘Shadows & Echoes’ is your guy with its upbeat, almost pop sensibilities. The whole album is a trip though, whether that be a progressive later-day Pink Floyd vibe or Yawning Sons unique use of ambient sound-scapes combined with a rock guitar, the end result being this magical album of sublime music. When you want to listen to something gentle, calming instead of the usual noise consider Yawning Sons, their prog-infused psyche rock is simply stunning.
Wiederganger – ‘Cult Of Extinction’ (Self-Released)
“Recorded between August 2020 and February 2021 as a result of our plagued times and as a symbol for our own insignificance in the face of nature”. So says the bands Bandcamp page and who am I to argue that the festering black metal contained in these grooves isn’t a product of our isolation over the past year or so. The lone malcontent WDRGNGR has crafted a debut release to contend with the big hitters of atmospheric black metal, just listen as the ferocious ‘A Tower Of Light’ opens the album up violently as the lone madman howls, shrieks and bellows as if truly possessed, the furiously programmed drums are blistering as the high-end tremolo abuse screeches in utter disgust. The aura of Mispyrming occasionally cloaks the darkness with its disorientating blackness, as there is a touch of Gaerea’s take on orthodox black metal. What I will say is Wiederganger do have an old-school rawness coupled with a more modern attitude, although his vocals are utterly deranged throughout giving off a true feeling of insanity, much like Dodheimsgard at their most unhinged. Seemingly coming from nowhere Wiederganger have delivered an album of supreme black metal that will appeal to the devout old guard as much as the modern day fans. Superb.
Culted – ‘Nous’ (Season Of Mist Underground Activists)
Culted have always been an anomaly in full-time bands; they don’t all live in the same country and the singer has never even met the rest of the band. It has been this way since debut release ‘Below The Thunders Of The Upper Deep’ back in 2009, and it continues today with this 3rd full-length of ominous experimental doom that is soaked in a black metal aura. The overall feeling is one of dread as the mechanised darkness swarms all around you, hovering there like a wall of electronic blackness, waiting to engulf you with its mysterious atmospheres. The foreboding sounds are truly frightening at times, the likes of ‘The Grid’ being a particularly nasty piece of work with its Author & Punisher-tinged blackened sludge pouring all over you in a thick black tar-like substance, suffocating so slowly you don’t notice until its far too late. Culted are as influenced by the drone of Sunn0))) as they are the industrial monotony of Godflesh, in fact the 4-piece close out the album with a crushing rendition of ‘Crush My Soul’, doing it immense justice as it annihilates you where you stand. A dark, nasty, intense album, ‘Nous’ has utterly destroyed me, physically and mentally. A massive album full of filthy blackened doom noise!
Greenleaf – ‘Echoes From A Mass’ (Napalm Records)
Originally forming in 1999 when Tommi Holappa’s previous band Dozer imploded, Greenleaf have spent the last 3 years honing their skills to perfection with the results being this 8th studio album of what is basically stoner rock. I say “basically” as ‘Echoes From A Mass’ has a lot in common with the pop sensibilities of modern-day Queens Of The Stone Age, the slick stoner rock sometimes bordering on something the Foo Fighters might do. What saves the album is the honesty of the band, truly playing from their hearts as ‘Bury Me My Son’ shows wonderfully. Greenleaf have the potential and chops to cross-over into the mainstream with this album, the damn fine stoner groove, although too poppy for my liking, can still groove like the best of them. Hints of Lowrider creep into ‘A Hand Of Might’, while ‘Needle In My Eye’ has an hypnotic, floating groove to die for, reminiscent of King Buffalo at their darkest. ‘Echoes From A Mass’ does take a few songs to really get into its stride but when it does you are swamped with huge grooves and gorgeous melodies.
Yellowtooth – ‘The Burning Illusion’ (Orchestrated Misery Recordings)
Wow. Simply wow. Yellowtooth’s 3rd album is a wonderfully musical sludge record that is immensely heavy but also harmonic, the beautiful guitar weaves its magic right from the off and your hooked. I am utterly blown away by how majestic these superbly arranged songs are, opener ‘FFTF’ sets the tone with some hefty riffing and harsh vocals from ex-Shades Of Grey (what a band they were!) member Peter Clemens, but there is also an Alice In Chains vibe shot through the track which gives off a sublime atmosphere. That vibe bubbles under throughout the entire album, its just there clashing superbly with the utterly grooving sludge that has just a hint of stoner rock about its wonderful groove. ‘Astronauts Journey’ is a monster, it unfolds with a purpose of intent, Henry McGinnis’ guitar once again delighting with some heavy riffs and wondrously exquisite solo runs. His display throughout is spotless, backed-up by Clemens thundering bass and Dave Dalton’s massive drums providing the immense backbone. I am speechless after being pummelled with some hefty and musical sludge that borders on Torche’s harmonic majesty, Yellowtooth are a band to watch out for. Without any doubt one of the albums of the year.
Monte Penumbra – ‘As Blades In The Firmament’ (End All Life Productions/Oration)
Ferocious black metal greets you as ‘Black Mould On Rye Grass’ explodes forth, high-end guitar abuse screams as lone member W.uR constructs a blackened force that could destroy planets. This may sound as if its just raw fury present but there is an avant-garde, almost Ved Buens Ende aura of not playing by the rules, there are some jarring time changes that are so abrupt you loose equilibrium, stumbling around intoxicated by the wonderfully obtuse rhythms. Guest drummer Bjarni Einarsson (also of the gloriously filthy Almyrkvi) puts in a fabulous performance, blast-beating for Satan one moment and the next playing complex, angular beats that confuse as much as they astound. The duo’s display is truly breath taking, the album unfolding to expose majestic early (Code) progressions and furious Deathspell Omega-like darkness. ‘As Blades In The Firmament’ is an album that lets more of itself visible the further you delve into its darkened fury, an album that is well worth your attention in this saturated market.
Stoned Karma – ‘Colours Of Karma Collection’ (Self-Released)
French stoner rock outfit Stoned Karma have released a huge amount of product since their inception in 2017, this being their mind-blowing 17th album in 4 incredible years. The thing is, the dreamy quality never drops, their psychedelic stoned rock always offers something new, different from before, sometimes dark, sometimes light and sometimes, as here, colourful beyond imagination. We are treated to a vibrant technicolour journey through tripped-out sound-scapes of huge magnitude as a vivid picture is painted before your ears with gloriously stoned colours of sound. Each instrumental piece washes over you in gentle wave after gentle wave, slowly swamping you with something not too far from Here Lies Man jamming with Yawning Man to create a sublime, luscious stoner-psychedelic groove. From ‘Smoke Of Wisdom’s lulling aura to ‘Oblivion’ and its more free-form groove, Stoned Karma succeed in infecting your very being with some wonderfully chilled stoner sounds. One for drifting away to with a nice sativa.
Les Chants De Nihil – ‘Le Tyran Et L’Esthète‘ (Les Acteurs De L’Ombre Productions)
You have seriously got to love Les Acteurs De L’Ombre Productions, as not only do they release devastating products they are all volunteers who’s only goal is to release quality unknown bands. With Les Chants De Nihil‘s 5th album they have once again succeeded in unleashing a furious rampage onto the world, not only does this truly destroy with a harsh black metal Ahklys would be proud of they also incorporate a Uada level of chilling atmospheres. The title track is a ferocious blast of unadulterated black metal, Thomas providing an unstoppable drum battery while Mist and Jerry peel off harsh tremolo abuse that tears flesh from bone with its sharp rawness, Jerry’s vocals are abrasive in their delivery as he spews his black bile up for all to see. Another furious number is ‘Lubie Hysterie’ where the 4-piece lock into such an aggressive fury the hair stands up on your arms, giving you goosebumps with a wondrous assault. I throughly enjoyed this powerful album, one that should open a lot of doors for Les Chants De Nihil and the French scene from which they come, they are just another exquisite French black metal outfit that only adds to the quality of the scene they have. Stunning.
Cannibal Corpse – ‘Violence Unimagined’ (Metal Blade Records)
After 32 years of causing controversy Cannibal Corpse show no signs in slowing down, this is their 15th studio album and is as sickening as ever as it brutally takes over your very being causing bouts of violent nausea. Cannibal Corpse have undergone many line-up changes over the years and that hasn’t changed here as there is a new guitarist making his Cannibal Corpse debut, a certain Erik Rutan. Yes he of Morbid Angel, Hate Eternal and Ripping Corpse fame has joined and immediately added his considerable talents to the bands brutal sound. He and Rob Barrett rip out some ferocious riffs that eat at your flesh violently, while Rutan peels off exquisite solo runs that offer a high level of musicality to the immense brutality churning away behind him. Paul Mazurkiewicz and Alex Webster are their usual bludgeoning selves, not only flattening anything in earshot with an intense bottom-end they also delight with some wondrously technical fills that astound beyond belief. All this is topped-off by George “Corpsegrinder” Fisher’s inhuman bellow, he vomits his disease-ridden vocals forth as if the world was coming to an end to make ‘Violence Unimagined’ the best modern era Cannibal Corpse album. The whole sound is overwhelming as it rumbles over you, splitting you in 2 viciously, Cannibal Corpse are back to reclaim their death metal crown and on this evidence they deserve it.
Here Lies Man – ‘Ritual Divination’ (RidingEasy Records)
Here Lies Man’s past 3 albums may have put a few metal-heads off due to the bands penchant for throwing in afrobeat rhythms, but this time the band have concentrated on a more heavy rock formula. To great success I might add! Old fans of the band need not worry as their usual unique way of doing things is still present and you will find much to love here, its just there is a lot more emphasis on Marcos Garcia’s guitar which produces such gorgeous numbers as ‘Can’t Kill It’ with its All Them Witches-meets-Ecstatic Vision groove. Another first for the band is this album was actually recorded by the entire band not just Garcia and fellow founding member drummer Geoff Mann (son of legendary jazz drummer Herbie Mann), this time joined in the studio by live members JP Maramba (bass) and keyboardist extraordinaire Doug Organ, who both put in glorious displays of how to create free-flowing African-influenced psyche rock of the highest order. Quite a lengthy album but one that keeps your attention through hypnotising tones and dreamy atmospheres of pure bliss. Another fabulous Here Lies Man album and one I hope gets them the recognition they truly deserve.
Bongzilla – ‘Weedsconsin’ (Heavy Psych Sounds)
I have waited 16 fucking years for this album, one I thought would never come. But here it is in all its sweet glory; the return of the mighty Bongzilla! Even though this isn’t as immediate as ‘Gateway’ or ‘Stash’ its a grower, the more you immerse yourself in its dank grooves the more it enlightens you with its THC-soaked wisdom. ‘Sundae Driver’ is a banger in the vein of old-school Bongzilla, while ‘Space Rock’ is a more introspective bong hit, both fitting perfectly into Bongzilla’s modus operandi. The original trio are back and its as if they’ve never been apart, Magma does his usual thunderous job behind the kit while Muleboy switches to the bass and lays down some wonderfully stoned bottom-end. That leaves Spanky to plant the seeds of his mesmerising guitar which grow into massive riffs and gloriously meandering solo runs. Muleboy chips in with his brash weed-parched vocals to supreme effect, his harsh shrieks jolting you from your stoned state superbly. ‘Earth Bong, Smoked, Mags Bag’ is a gloriously stoned 15 minutes that starts off all gentle and chilled before crashing into these almighty riffs of the heaviest weight you have ever felt, crushing and lulling at the same time. ‘Weedsconsin’ is a magnificent album of true stoner doom, no frills just hefty weights of wonderful product. Its so good to have these wasters back!
Crust – ‘Stoic’ (0 – 0 T)
Last year an album affected me profoundly, its intenseness coupled with atmospheres to die for blew me away. Only 1 year later we get its follow-up ‘Stoic’, an album that starts like the most ferocious blackened sludge when the title track blasts forth like Bolzer on a very bad day. By the time you get to closing number ‘Desert’ the whole aesthetic has changed, gentle acoustic passages get you to drop your guard before slamming into you with such force you loose your balance, stumbling around like a zombie. The duo of Vlad and Artur Crust (with help on drums from Igor Prokofyev) make a fabulous racket, their dark sludge rolling over you in waves of hefty filthy guitar and thunderous drums as Artur vents his anger through deep, raw howls of derision. ‘Willow Forest’ is a beautiful acoustic piece which sets up the violently intense ‘Plague’, it slithers slowly around you before striking with a seldom felt fury. ‘Stoic’ is a glorious album that will ruin your day in the best possible way. You seriously need to check Crust out, you are missing out on some feral filthy blackened sludgecore of the nastiest order.
Soothsayer – ‘Echoes Of The Earth’ (Transcending Obscurity Records)
After a couple of ep’s, a split and a live album Ireland’s Soothsayer release their debut full length, and it’s an album that will enrapture you. Right from the confusing start its dark eerie atmosphere swarms around you in a foreboding manner, it chills you to the bone with a real sense of fear. ‘Echoes Of The Earth’ has truly affected me, deeply. Opening trance-inducing dark mantra ‘Fringe’ immediately throws you off kilter, its Blood Of The Black Owl-like eeriness is palpable, completely unexpected way to start your debut album but when it drifts into ‘Outer Fringe’ your hit by an enormous wall of harsh doom, it all makes sense. What a massive impact this opening has, setting the rest of the album up to unfold its ultra-dark extreme doom in a raw manner. There is an influence of the Peaceville 3’s early days hinted at throughout the whole album, like the demo-era Paradise Lost-esque extremeness or the Anathema-like dark groove of their ‘Pentecost III’ days, but these are just wafts of influence as Soothsayer have created something highly original in this album. Liam Hughes puts in a lung-busting performance, his deep bellows and harsh shrieks instilling fear, dread as the rest of the band lock into a very dark, raw rhythm. Marc O’Grady and Con Doyle chip off huge slabs of harsh heart-felt guitar, the riffs slamming into your very soul as they entwine wonderfully together. There are times where the band inject some black metal feralness, as on the gloriously nasty ‘True North’ where these furious sections only accentuate the more sludgy bouts of doom superbly. Soothsayer have come along and delivered an album that is in the running for album of the year, a record that engrosses from the ritualistic start to the barbaric ending. Remarkable.
Fuzzthrone – ‘Temple Of The Fuzz’ (Self-Released)
This was one anticipated album and it has finally landed, the debut full-length from Russia’s Fuzzthrone is a raucous stoner doom rock monolith of huge riffs, sublime groove and an Occult/witchy atmosphere. In other words an almost perfect album! ‘Divine Touch (Intro)’ opens the album up with a short instrumental prelude to ‘Dead Guy’s Town’, where the sublime vocals of Rita Fevraleva join in with the psychedelic-tinged stoner doom and form a glorious old-school vibe. If you took Coven at their peak and added in some of Windhand‘s dark doom you would be close to something like closing number, the utterly intense doom stomp of ‘Divine Touch (Album Version)’ where the band lock into a hypnotising groove of massive proportions. The guitars of Daniil Pavlov and Sviat Martynenko float around you in a fuzzed-up haze as the thick 1970’s bass lines from Evgeny Morozov swamp you with a bowel-shaking fat thump. Not even mentioning the gloriously psychedelic solo runs, they shoot off in all directions with laser-pointed accuracy and a wonderfully flowing ease to leave you breathless and stunned at their magnificence. ‘Temple Of The Fuzz’ is a spectacularly understated album, one that will hopefully attract the interest of a lot of people, the band deserve it and you will be getting a top quality stoner doom album.
Nunslaughter – ‘Black Death Phantom’ Ep (Headbangers Records/Take This Torch Records/Narcoleptica Productions)
Forming way back in 1987 Nunslaughter have been stalwarts of the death metal scene ever since, unleashing an absolute ton of product in the intervening years. Then the tragic passing of long-time drummer Jim Sadist in 2015 made the band re-evaluate everything. Once the grieving process had taken its course, original member Don Of The Dead decided to carry on with the band in Jim’s memory, which was good for us as their proto-death/thrash has always delivered the goods. ‘Black Horn Of The Ram’ is a blistering opening, early sounding death/thrash erupts in a Slaughter-like groove, while ‘Sacrificial Zombie’ has a first-album Death vibe riddled through its putrid being. The guitars of Tormentor are vicious as they slice through the thick thrashing bottom-end, Don’s feral bark as raw as ever as it spits its venom forth. At just over 10 minutes ‘Black Death Phantom’ doesn’t hang around, there is not a second wasted here as the 4-piece rip through their trademark death/thrash with a controlled abandon. After all these years Nunslaughter still deliver!
Son Of Boar – ‘Son Of Boar’ (Stoned Rocka Recordings)
After 2 very promising ep’s, Bradford’s Son Of Boar have released their debut album of very heavy stoner-tinged doom metal that has an enormous groove and palpable intensity. The bands heaviness and immense groove has hints of Crowbar‘s intensity with a Sergeant Thunderhoof groove, ending up as this intensely metal sounding album which not only grooves like a muthafucker, it crushes the breath from your body. There is also a touch of a southern rock vibe going on, ‘Snakes & Daggers’ has a C.O.C./Down groove to it with Luke Oliver having a whiskey-soaked drawl that makes southern rock what it is. And he nails it! ‘Cities Of The Deadeyed Priestess’ has a wonderfully stomping groove, both Lyndon Birchall and Adam Waddell slicing off huge riffs that simply slam into you with a hint of Acrimony’s supremeness. The backbone is immense, thick and heavy, grooving and crushing. Gaz Bates (bass) and Luke Doran (drums) certainly know how to lay down one hefty fucking beat! The UK doom(y) scene is looking very healthy at the moment and Son Of Boar have only added to it with this superb album. If you like a groove to your immense heaviness, then this is definitely for you.
Wode – ‘Burn In Many Mirrors’ (20 Buck Spin)
Four years after their 2nd album ‘Servants Of The Countercosmos’ left us stunned, Manchester’s Wode return with a new album on a new label and once again floors you with its intricate brutality. I don’t know if this is even black metal anymore as there are some wonderfully old-school thrash and even speed metal licks throughout, giving Wode a familiar aura to what is essentially a very unique sound. ‘Lunar Madness’ kicks everything off in chaotic fashion, guitars slash, drums furiously pound and the echo-drenched vocals are straight from the mid-to-late 1980’s nascent death metal scene but you can’t compare Wode to anyone as the Mancunians have this aura surrounding them of true originality. Each and every track offers up astounding musicianship from all 4 members, each doing their jobs to perfection, the likes of the intensely melodic ‘Serpents Coil’ showing in spades with some utterly magical guitar work from M.C. and D.S. who’s intricate runs flow seamlessly from harsh tremolo abuse into gorgeously harmonic solo runs. Breath taking if the truth be told. The sprinkling of keyboards throughout not only enhance the overall atmosphere, they create eerie moments of true dread as they send shivers racing through your very soul, mingling with those wonderful guitars to create something truly earth-shattering. ‘Burn In Many Mirrors’ is quite easily Wode’s best and most varied album to date, shedding its black metal skin leaving something more evil, more sinister and truly vicious behind. Wode have crafted a stunning old-school-tinged blackened death metal album, a certain Dissection would approve.
Haunt – ‘Beautiful Distraction’ (Church Recordings)
Trevor William Church is one talented individual, not only being the mastermind behind Haunt he is also part of the more doomy Beastmaker and the classic heavy rock of Hysteria, both quality bands on their own. He also runs Church Recordings putting out some truly great albums, so it springs to mind how he finds the time for it all? Anyway, its now time for ‘Haunt’s 6th album of classic heavy metal, influenced by the old-school (especially the nascent NWOBHM days) but delivered with a modern sheen. Yes there are touches that remind you of the old guard, such as ‘In Our Dreams’ with its Jake E. Lee-era Ozzy vibes or the glorious Iron Maiden duelling guitars between Church and Fili Bibiano that are lightening fast and absolutely perfect. Church’s voice soars high above the classic heaviness wonderfully, and when they are layered together they become a harmonic delight. There are some photo-thrash excursions thrown in for good measure, like ‘Imaginary Borders’, but even then there is a level of heavy metal class shining through superbly. ‘Beautiful Distraction’ is a glorious album full of galloping heavy metal that will entertain and enthral both the old and new school of metallers. Fantastic yet again, Haunt are simply marvellous.
Chasmdweller – ‘Fossilized’ Ep (Self-Released)
You want filthy, extreme, putrid death-doom? Then you need Chasmdweller and their new ep ‘Fossilized’, it ticks all the above boxes and a bit more besides. The primitive, cavernous death metal on offer is utterly filthy as it infests you, burrowing into your helpless brain with a combination of Tomb Mold’s overwhelming intensity and Canada’s unique extremeness to form a formidable piece of blackened death/doom. ‘The Carnage Below’ rumbles to life on an enormous guitar from ZS (well, he does everything but sing) as thunderous drums batter at your senses, violently. Those putrid vocals are supplied by DG and they make your skin crawl as deep sickening bellows merge with ear-piercing shrieks that emanate from the bowels of the earth. The “man” is a beast! ZS’ use of extreme electronics gives Chasmdweller that extra edge over others in this putrid scene, they add a ferocious level of insanity to what’s already an intense barrage. Just listen to the closing title track for any proof you need of how harsh, intense it all is. Breath taking. This is one extreme release that will destroy you where you stand. Top stinking quality.
Gangrened – ‘Deadly Algorithm‘ (Violence In The Veins/Trepanation Records)
Another very anticipated album, the debut full length from Finnish gloom merchants Gangrened has finally arrived! And it’s an experience that will live with me forever, the sheer magnitude of these mere songs is astonishing as they lull, crush and mesmerise as the album unfolds its secrets. Opener ‘Harrbada’ is just a beautiful guitar drone that gives way to the apocalyptic sludge of ‘Triptaani’ in spectacular style. There is the same level of nihilism present as there is in Iron Monkey’s devastating music, not that the bands sound alike as they don’t, but that grimy dark vibe is also here. If your looking for a comparison how about a psychedelic-tinged Khanate? Check ‘Kuninatar’ where Jon Imbernon’s trippy guitar weaves its way through the darkly intense rhythm to a stunning end result. Mikko Mannisto’s echo-drenched howls of derision install a sickening feeling deep in your stomach, really coming to the fore on closing dirge ‘Triangeli’ where he puts in an unhinged performance of worrying levels. You keep having to remind yourself that this is the bands debut album, its that accomplished. Anyone into ultra-dark metal-based music needs to check Gangrened out now. Stunning.
Fuoco Fatuo – ‘Obsidian Katabasis’ (Profound Lore Records)
Italy has a rich history of producing unique dark metal bands, Mortuary Drape and Schizo being just 2 examples. Now we can add Lombardy-based quartet Fuoco Fatuo to the list, the funeral doom bands 3rd album simply crushes anything in its path, the Indesinence-like rumble slowly swarms around you like a black cloud with the stench of death repeatedly beats its slow morose beats until you give in to its sumptuous darkness. There are 3 lengthy excursions to the dark side interspersed with 3 shorter but no less intense pieces, each one keeping the dread levels high. ‘Thresholds Of Nonexistence Through Eerie Aeon’ has a Disembowelment aura wrapped around it, pitch-black, deathly slow rhythms drown you as Giovanni Piazza and Milo Angeloni’s clean guitars pick out a maudlin atmosphere, then pedals are activated and we descend into Hell itself. ‘Obsidian Katabasis’ is a tortuous album of monolithic funeral doom that sporadically falls into some feral ultra-death metal, the two styles clashing with a vicious intensity. Fuoco Fatuo have delivered a filthy album of glorious pain, doom and suffering.
The Lion’s Daughter – ‘Skin Show’ (Season Of Mist)
The 5th album from St. Louis outfit The Lion’s Daughter is an odd one. At first I thought the drums were programmed when they are not, then the use of synths that seemingly don’t fit sends you off-kilter. But, and its a big but, persevere as the outcome is a splendid album that ranges from blackened sludge all the way to film soundtrack-like sound-scapes. Brilliantly off putting, the likes of ‘Werewolf Hospice’ howl past at a furiously black metal pace, while the glorious synth work brings to mind Emperor at their most grandiose. The image of Genghis Tron jamming with the aforementioned Emperor with Ministry’s Al Jorgenson mixing it keeps flooding my thoughts, and that is not too far from what The Lion’s Daughter deliver; an industrialised black metal with sludge overtones that brutalises as much as it confounds. Rick Giordano’s guitar mercilessly slices through his wondrous synth work to form a strange but compelling, almost noise rock-meets-John Carpenter entity. Truly mind blowing. Then we have the mechanised rhythm provided by some outstanding drum work by Erik Ramsier, he truly bewilders and annihilates through some powerful pounding. If you find the industrial side of heavy appealing; Killing Joke, Ministry, The Body, then The Lion’s Daughter are for you, their hypnotic beats causing bouts of disorientation while brutalising you wonderfully. A very unique album and band.
Ablaze My Sorrow – ‘Among Ashes & Monoliths’ (Black Lion Records)
One of the earliest bands from Sweden that helped shape the melodic death metal scene, Ablaze My Sorrow have never quite broken through from the underground and in 2006 decided to call it a day. Seven years later 3 original members realised they had unfinished business and reformed releasing the comeback album ‘Black’, continuing their supreme melodic death metal as if never been away. Then pretty much silence. Until now, as their 2nd reformation album has arrived, ‘Among Ashes & Monoliths’ has upped the ante as everything has been ramped up to maximum giving us a superbly harmonious and very heavy album of pure Swedeath metal. At times, as on ‘The Day I Die’, an At The Gates vibe surrounds you with gloriously sharp, melodic death metal, then at others a Eucharist or Gates Of Ishtar level of class shines through these wonderful songs. Jonas Udd does a superb job spitting out his venomous vocals as Magnus Carlsson and Dennie Linden unleash some classy, and classic, melodic metal riffs with harmonious, duelling solo runs that simply astound. Alex Bengtsson puts in a flawless performance behind the drums, giving everything a furious thrash-like edge while being ably backed-up by bassist Anders Brorsson. ‘Among Ashes & Monoliths’ is a furious album full of classic Swedish death metal and a high level of sumptuous melody. Superb.
Novae Militiae – ‘Topheth’ (Goathroned Productions/Sentient Ruin Laboratories)
The French black metal underground has been quietly thriving, growing largely unnoticed by pretty much everyone. Recent releases from Pensees Nocturnes, Seth, Les Chants De Nihil have all been of a high quality and have done nothing but advance the scene into areas of new extremity. The older more well known bands such as Deathspell Omega and Blue Aus Nord laid (and continue to do) the foundations for newer outfits like Novae Militiae to spread their sickening black pestilence across the lands. There is next to no information about this truly brutal outfit, they simply let their feral blackness speak for itself, which it does spectacularly. Just listen to the sheer ferocity of ‘Faithfully Reduced To Ashes’ and be moved by the realness of it all, the drums pound and clatter almost out of control while the guitar slashes through the thick, heavy bottom end superbly, then the horrid bellow just tops off the raw, ferocious and down right nasty album. Yes there are touches of their peers, like Mutilation’s pitch-black hatred or Deathspell Omega’s use of synths to create spaced-out black metal, but on the whole Novae Militiae’s 2nd album is an original take on black metal, one that brutalises as much as it draws you into its dark, black heart.
Emma Ruth Rundle & Thou – ‘The Helm Of Sorrow’ Ep (Sacred Bones Records)
Thou are known for collaborations with disparate artists, they have done quite a few but none quite matched the glory of the ‘May Our Chambers Be Full’ record with chanteuse of darkness Emma Ruth Rundle. That album re-defined sludge with some of the heaviest sounds known to mankind, put Rundle’s witching tones over it and we had a spiritual experience. So when I found out about this new ep I was overjoyed at the prospect of more of the same. While the collaboration carries on from where the album left off, these tracks are even more intense, both musically and emotionally, Rundle’s haunting vocals adding an eerie, ghostly atmosphere to such gems as ‘Crone Dance’. Thou have always loved throwing in strange cover versions and they are at it again here, this time with a fabulous rendition of ‘Hollywood’ originally done by the equally eclectic Cranberries, with the collective turning it into something altogether darker, leaving you with a sense of real unease. Quality cover version once again. On their own both artists exist in different worlds, put them together and they create a whole new sound, a sound that is as intense as any sludge you’ve ever heard with gorgeous, lilting, harmonic tones of pure wonder. Yet another release from Thou that crushes your heart as much as your body, with Rundle adding a wonderfully esoteric aura to the bludgeon. Remarkable.
Pandiscordian Necrogenesis – ‘Immortal Initiation’ Ep (Vexations Records)
If its raw black metal your looking for then look no more, San Francisco-based one-man operated Pandiscordian Necrogenesis are here to rupture ear drums and beat the living fuck out of you. There is no subtlety here whatsoever, Ephemeral Domignostika (also of the mind-blowing Ulthar) has gone and created one of (if not the) the rawest releases while still being listenable that has ever seen the dark of night. Each segment is entitled ‘Initiation’ which adds another level of disorientation, so titles are of no use, the feral barrage, the sheer pace of it all never drops below full-on blackness. Yes there are touches of Ulthar’s darkness but they are fleeting, instead you get a Revenant Marquis-level of rawness that permeates through each unholy hymn, pulverising you with a vicious attack. As an introduction (for me anyway) to Pandiscordian Necrogenesis’ devastating fury, ‘Immortal Initiation’ has blown my mind, its naive feralness striking a chord inside my black heart. A fabulously stinking release that will destroy anything in its way with a brutal glee. Not for novices.
Void – ‘The Hollow Man’ (Duplicate Records)
A full decade since their last album, London’s Void blast back with a bewildering album, a concept album based on TS Elliot’s ‘The Hollow Man’ poem, that swings from raw black metal to an almost Bosse–De-Nage insanity landing occasionally in Ved Buens Ende territory! A gloriously befuddling journey unfolds as soon as the spoken intro crashes violently into ‘I: On Reading (The Hollow Man)’, utterly confusing rhythms fly all over the place in a superbly controlled manner, each musician being on top of their game playing with a glorious abandon. Free-form jazz is thrown in simply to accentuate the more structured segments, throwing you through various loops. The overall atmosphere is one of disorientation as the brutal blasts descend into a chaos that Amesoeurs would truly love, leaving you utterly confused but battered by some truly “out there” blackened metal. At times it feels like an evil carnival has set up in your head, blasting their haunting blackness with a real hunger that leaves you done, finished, over. ‘The Hollow Man’ might not be for the purists in the caves but anyone that craves intelligent music should lap this up, Void are back to confuse and conquer once again.
Endseeker – ‘Mount Carcass’ (Metal Blade Records)
True unadulterated death metal has always been a force to be reckoned with, from those early Nihilist and Dismember demos that set the tone for what was to come to Germany’s Endseeker and their 3rd album, the genre has always produced insanely heavy bands. Endseeker are definitely one of the heaviest, their crushing take on death metal rivals any of their peers with the likes of mid-paced banger ‘Bloodline’ really bringing the intensity as it takes your face off. Its not all mid-paced as the sublime groove of ‘Count The Dead’ or the vicious pace of ‘Unholy Rites’ gives Endseeker a varied death metal, one that keeps the attention throughout the whole album. The HM-2 heavy guitars of Jury and Ben are so sharp and incisive they strip flesh from bone, all the while the rhythm section of Torsten (bass) and battering-ram drummer Andre pound out the infectious and intensely heavy beat. This leaves Lenny who puts in one brutal display, spitting his venom forth with a seldom heard anger which only adds to the overall intensity that has been brutally created. If your looking for a no-frills death metal album then ‘Mount Carcass’ is for you. When I say “no-frills” its not meant as derogatory it’s just that Endseeker meat out a no-nonsense brutal death metal of high quality, so you better invest some time in Endseeker!
Mork – ‘Katedralen’ (Peaceville Records)
Thomas Eriksen, for it is he that is Mork, has been creating 2nd wave-inspired black metal since 2004, and with this 5th album he shows no signs in changing his modus operandi. Instead we get nearly 50 minutes of old-school fury that has a trueness, a realness surrounding everything to do with this release; artwork, atmosphere, raw production all gives off that old naive attitude the Norge created. There are some legends involved here as guests, with a certain Nocturno Culto making a glorious appearance on ‘Svartmalt’ doing his usual job of croaking the misanthropic vocals like the pro he is, while Kampfar’s Dolk adds his feral bark to ‘Fodt Til A Herske’ wonderfully. But this is Eriksen’s show and his gloriously loose playing once again makes this feel real, his wonderfully naive drums drive each piece onwards while his harsh guitar abuse scythes through you effortlessly. The use of Skepticism’s Eero Poyry and his sumptuously morose keyboards gives the likes of ‘Dodsmarsjen’ a whole different atmosphere, really getting under your skin. There are also some wonderfully furious moments here, like ‘Evig Intens Smerte’ where Eriksen lets go and truly rips with an almost uncontrollable fury of glorious, pure black metal. ‘Katedralen’ is an album that will please the purists as much as the newer, more open-minded breed, its a resolutely old-school battering that carry’s on in the True Norwegian Black Metal way expertly.
Borstal – ‘At Her Majesty’s Pleasure’ (4 Family Records)
From the moment I heard about this UKHC outfit I was desperate to hear these heavyweights of the UK scene, and it does not let you down! In fact, it reaffirms your faith in UKHC in particular, and HC in general. The glorious gang vocals are in full effect here, so are driving, grooving drums and break-downs galore, live this will cause uncontrollable bouts of pogoing and vicious slamming. I seriously can’t wait! When your band contains ex or current members of Lock Up, Dripback and Knuckledust there should be a high level of quality, which there is here as opener ‘Refuse To Lose’ shows with some glorious old-school-tinged UKHC. Pierre Mendivil lets rip his coarse bark as he spits out the venomous vocals, Lee Kitchener and Jamie Hunter slice coruscating but intensely catchy guitar that slams into you furiously. Nick Barker (yes that Nick Barker) puts in his usual impeccable display, either bringing it down to one grooving barrage to blasting it out at lightning pace, he nails it. Each and every song contained here has its own swagger that is so damn infectious you feel the need to leap around in wild abandon. There is even a wonderful cover version of the old classic ‘King Of The Jungle’ originally by The Last Resort, featuring original member and father of Lee, Mr. Arthur Kitchener, the song showing Borstal’s origins. Listen, you really need this in your life, Borstal are here to ruin your day in the best possible way.
Spectral Wound – ‘A Diabolical Thirst’ (Profound Lore Records)
Canada’s Spectral Wound keep to their schedule of releasing albums every 3 years with this 3rd full length eclipsing not only their breath taking back catalogue, but almost every black metal release this past 18 months. The complete darkness that emanates from the speakers enshrouds you proceeding to slowly suffocate you, wrapping its evil blackness tight around your body so it can unleash all Hell onto the world. ‘Imperial Saison Noire’ kicks it all off in a furious style, guitars slashing through the darkness violently, drums crashing in a spectacularly unhinged fashion and the putrid shrieks are truly horrifying. Illusory’s performance behind the drums is nothing short of phenomenal, his blast-beats out blast anything that has come before (or after?) and when he slows it down he creates a thunderous pounding that beats you into submission easily. Patrick and Sean lay waste to their guitars, the tremolo abuse is severe but ever so harmonious, the harmonies grumble underneath the feral attack superbly. Jonah has a howl that instills fear in the pit of your stomach, like a madman that believes he is not mad. Very dangerous. ‘A Diabolic Thirst’ is a breath taking album that transcends music, becoming a living, breathing entity of hate. It’s also one of the albums of the year without any doubt.
1968 – ‘Salvation, If You Need…’ (No Profit Recordings)
Three years ago I discovered this Cheshire-based band’s debut album ‘Ballads Of The Godless’, it blew my mind with its mix of hefty stoner rock and sublime bluesy doom. Now from seemingly nowhere we have the bands sophomore album and its absolutely fantastic! The wondrous psychedelia-tinged heavy rock washes over you in wave after wave of luscious guitar, a bluesy bass/drums combo that is simply gorgeous and then Jimi Ray’s emotional voice only adds to the glorious whole, ending up as this truly wonderful thing. Sam Orr is a genius on the guitar, he weaves magical clouds of supreme fuzz while his psychedelic solo runs will leave you dizzy and breathless. ‘Rail Road Boogie’ starts it off with some glorious southern rock-tinged stoner grooves, while ‘Trail Of Dogs’ has a sublime Alice In Chains vibe short through its glory. Then we have the straight-ahead stoner rock of ‘Expressway’, where Orr really comes into his own with exquisite guitar noodling, showing 1968 can rock out with the best of them. Closing number ‘God Bless’ drips with an old-school blues groove Stevie Ray Vaughn would have been proud to call his own, again showing 1968’s vast scope. Overall ‘Salvation, If You Need…’ is a big step forward in the bands development, broadening their horizons magnificently. Good to see the UK still produces bands of this high quality. Good thing I got them booked for a gig!
Full Of Hell – ‘Auditory Trauma: Full Of Hell Isolation Sessions’ (Self-Released)
Power violence, grindcore, call it what you will, one thing is indisputable and that is Full Of Hell are at the forefront of the modern movement with their harsh and brutal take on said genres. Every single release takes a new layer of skin from your face with its rabid grind and excruciating power electronics, each new chapter more savage than the preceding one. This is no different, the band captured live in their rehearsal space during lockdown ripping out furious classic after furious classic. ‘Pile Of Dead Horses’, ‘Branches Of Yew’ and ‘Crawling Back To God’ all fly past at the speed of light with a brutality so real your body actually hurts, the violence is palpable as it hammers into you with a venom seldom felt/heard these days. The furious guitar shreds beyond reason, Spencer Hazard tears his fingers to pieces through rabid riffing, while drummer Dave Bland and bassist Sam DiGristine lock into one enormous rhythm of pure violent grind, leaving you literally breathless. This leaves vocalist Dylan Walker who’s shrieks send shivers racing through your body, but its his use of electronics that excel here, the raw power they create added to the vicious grind is utterly face-melting. Imagine the complex power violence of Discordance Axis jamming with the furious grindcore of Nails and you might be close to what Full Of Hell produce. Full Of Hell are pushing grind into territory never thought of before, along with Agoraphobic Nosebleed, Pig Destroyer, Cloud Rat, Pupil Slicer and Fawn Limbs, they are leading this newer wave of grind with this “live” document only supporting that theory. Furiously, viciously spectacular.
Aphonic Threnody – ‘The All Consuming Void’ (Self-Released)
The exquisite funeral doom Aphonic Threnody produce surpasses that genre tag, yes in the early days it was more depressing, dark, morose but now I am not so sure. The classy, silky even, mournful tones glide all around you, enrapturing with their intense heaviness, both musically and emotionally, as they tell their deep, dark secrets. The title of the album is perfect as you feel as if you have been consumed by the darkest void imaginable, then once your there the most lusciously depressing sound-scapes surround you proceeding to break your heart, then soul, then physical being. Opening hymn ‘Restless’ is gloriously gloomy, Daius Corpus unearthing an inhuman bellow that ties a knot in the pit of your stomach with its fear-inducing bark as Riccardo V and Justin Butler lay down thick guitars that smoother you with an impenetrable wall of misery. All the while the epically slow rhythms are superbly kept by Val Atra Niteris and his monolithic drum work. The centre piece here is the near 20 minute epic ‘Chamber Of Parasites’ that starts off with gorgeous ethereal chorus chants before it dissolves into a mouth-watering, awe-inspiring work of glorious funeral doom, the orchestration is beyond reason. In conclusion, ‘The All Consuming Void’ is Aphonic Threnody’s most broad album yet, pushing at the limits of funeral doom with immense success. Wonderfully grim.
Celestial Sword/Erzfeynd – ‘Split’ (Dybbuk Productions)
Raw black metal gets a rough ride in some areas of the music press, these people simply don’t get the beauty in something so raw, so violent, so alive, so they dismiss it as amateur noise. Both Celestial Sword and Erzfeynd play a harsh black metal that abuses your ears with a violent tremolo attack, clattering out of control drums and vocal “talents” that border on the truly insane! First up are American-based Celestial Sword who’s completely raw blackness literally takes your face off. After an intro of lush synth and raw guitar we howl into ‘Devourer Of Light To Behold The Crimson Moon’ at a glorious pace, the tremolo abuse is savage as the drums clatter in that classic early 1990’s naive manner. There is no information on the lone lunatic that has created this cacophony of darkness, one that has drawn me into its ultra-black soul. Fabulous start! Flip the disc over and we have a slightly refined black metal, no less raw, but a touch more structured in its vicious delivery. Once again it is a lone protagonist, this time a certain individual that goes under the name of Nahdrut Herlarecks and he produces a 2nd wave rawness that attacks right from the off. ‘Hasz’ opens things up with a furious beating that is reminiscent of early Darkthrone with a touch of even earlier Immortal, the wonderful underlying groove at work here gives Erzfeynd the slight edge over Celestial Sword, who are still of a high standard but the German entity is just better. One for people who don’t care about subtlety and simply want to be brutalised by some vicious Satanic art.
Rorcal & Earthflesh – ‘Witch Coven’ (Hummus Records)
I have always loved collaborations, especially when the outfits involved come from very different areas of creating music. On one hand you have Swiss sludgecore collective Rorcal who’s planet-splitting previous works have left me flattened. Then on the other hand is ex-Rorcal member Bruno Silvestre Favez adding his raw power electronics to the already intense barrage slamming into you viciously. Featuring 2 lengthy tracks this collaboration is one of the most balanced I have heard, each artist having space to create and expand freely but also clash gloriously with each other, Earthflesh’s harsh electronics giving Rorcal’s sludge a coruscating raw edge that hurts as much as it astounds. Take ‘Happiness Sucks – So Do You’, starts with a vicious clash of harshness before degenerating into a sludgecore masterclass as Earthflesh take over and we end up in a cold electronic nightmare. That is before Rorcal roar back in and we have that glorious clash once again. You really have to experience this for yourself, its brutally disparate sounds are highly vicious and gloriously addictive.
Conviction – ‘Conviction’ (Argonauta Records)
This debut album is the product of doing things the right way, not rushing things, just letting the epic doom metal flow naturally. And its magnificent! Right from the intro’s unsettling aura the hair on your arms stand up, then we pound into ‘Voices Of The Dead’ at a glorious doom pace. The album then proceeds to lay waste to anything within earshot, the majestic doom metal simply rolling over you with a morose glee. Each and every second of this weeps real tears of pain and suffering, the morose guitars of Oliver Verron and current Ataraxie member Frederic Patte-Brasseur ooze a melancholy, a misery that smoothers you with its palpable mournfulness. Verron’s (who is also a part of the breath taking Temple Of Baal) vocals are that of a man who has given up on living, his maudlin tones seeping into your very soul, his wonderfully depressing moans come at you from all angles, breaking you down weeping as you drop to your knees. ‘Conviction’ is an utterly devastating album, especially for a debut, that will affect you mentally, physically and emotionally, its reverential doom metal is quite outstanding.
Old Forest – ‘Mournfall’ (D.T.M. Productions)
Something is stirring in the darkest part of London, legendary black metal trio Old Forest are having a spurt of activity with a 3rd album in 2 years (this after a 4 year period of silence). I’m not complaining as the experienced trio have upped the ante with each one of those 3 albums, culminating in this wonderful blast of true english black metal. The pedigree of every member is immaculate, with them being involved in some of the most ground-breaking black metal; In The Woods…, Ewigkeit, Den Saakaldte, The Meads Of Asphodel and continuing the quest of pure black metal with the resurrected Old Forest. ‘Tyrant Spell’ starts it off in a very grandiose manner, Kobold’s heart-wrenching croon dominating the almost gothic black metal, but following track ‘The Anvils’ sees him revert back to his unholy growl to massive effect as the vicious attack doesn’t let up. There are some glorious harmonies shot through these epic hymns, Kobold’s sumptuous synths mingling with Beleth’s melodic guitar to create an almost pop vibe at times. The acoustic glory of ‘Red Sky In Mourning’ beautifully sets up the melancholic blackness of ‘My Haunting Vision’, giving off a sort of latter-day In The Woods…-meets-the 2nd wave nastiness. ‘Mournfall’ is a wonderful album that will appeal to the staunch old guard as much as the newer, freer black metal fans of today. Overall another fabulous album of true British black metal.
Kong Lives – ‘Thy Kingdom Kong’ (Self-Released)
Having caused quite a stir 4 years ago with the release of debut ep ‘Kong Saves’ then promptly disappearing, Newport-based band Kong Lives have delivered a debut album that has surpassed any expectations after that ep and produced a contender for album of the year! The post-doom-sludge is breath taking, the way they switch from atmospheric post-isms to crushing doom is remarkable, especially as this is the bands debut full length. The album starts with the haunting ‘Dragons & Space & Shit’ where dual vocalists (also dual guitarists) Kane and Dai send shivers racing through your spine with the foreboding refrain of “Someone’s watching”. The story unfolds beautifully as the album progresses through some atmospheric doom that borders on Hail The Void’s majestic doomness as well as a crushing sludge Thou would be proud to call their own. My personal favourite here is the epic, classy, emotion-filled ‘Night Of The Longmen’, this track is the perfect way to end a live set as it leaves you gasping for more. Just listen as Kane and Dai chisel off massive riffs as Dibble (ex-Lifer) and Luke batter your senses with a huge, thick bottom-end. I have been completely blown away by Kong Lives and their debut album, an album that crushes you physically as well as emotionally. You all seriously need this album in your lives. Now!!
Verbal Aggression 