Category Archives: Reviews

Behemoth’s “I Loved You At Your Darkest” Explores New Styles

Anyone who knows me well knows that I’ve been calling out the extreme elitism of those who attempt to smear the unholy of name of Behemoth for years. The band’s last full length effort, “The Satanist,” held rank as a favorite of mine from Behemoth, especially given the album marked the band’s seeming return to their black metal roots. Naturally, when I found out Behemoth was releasing a new album, entitled “I Loved You at Your Darkest,” I jumped on the opportunity to review it.

The album starts out strong, with a fittingly blasphemous incantation, entitled “Solve.” This intro leads right into the crushing “Wolves of Siberia.” Things seem fine until track 4. That’s when the album goes in a strange direction.

Ecclesia Diabolica Catholica” has a bit of a softened feel to it, as do many of the proceeding songs. There’s an emotional atmosphere that almost attempts to be palatable to a larger audience. While the technical musicianship is present, many of the tracks on “I Loved You at Your Darkest” lack the crushing quality Behemoth is so well known for.

That’s not to say these songs aren’t catchy in their own right. If Nergal has learned one thing throughout his nearly 30 career, it’s superior song writing. That said, some of these tracks struck me as odd. “If Crucifixtion Was Not Enough,” for example, almost had a punk air to it that seemed out of place within the context of the rest of the album. It was as though they were attempting to create a sort of black thrash feel but failed miserably.

As a mentioned earlier, there is a softness to this album that I haven’t heard in previous releases. When one considers the title of the album “I Loved You at Your Darkest” one can only surmise this must be a concept album. It leads to me wonder whether or not Nergal returned to his black metal roots in an attempt to broaden his musical range and experiment with more diverse styles.

That’s not to say this album entirely lacking the crushing breaks and blasphemous chanting that have become Behemoth’s signature. The more emotional aspects overpower the classic elements, however. I can’t help but feel “I Loved You at Your Darkest” will alienate some fans, even if the song structure is good overall . I also think that, at this point, the guys might not care.

“I Loved You at Your Darkest” will undoubtedly attract a broader fan base than Behemoth’s previous albums have, and given the band’s over the top image, it won’t be difficult for them to attract attention. Have they gone soft on us? Nah. I think they’re just experimenting with different approaches to their sound. Will the die hard fans be content with what “I Loved You at Your Darkest” has to offer? That remains to be seen. All I know is that I was a bit confused by this effort.

6.5/10

  originally published at All About the Rock

Advertisements

Deicide Goes Back to Their Old School Roots With “Overtures of Blasphemy”

2018 seems to be the year of the comeback for many classic bands, Unanimated returned to the spotlight after a nine year hiatus, Judas Priest released a serious banger entitled “Firepower” and even more obscure older bands, like Trauma sprung from their states of hibernation to produce some seriously killer new albums. Deicide can easily add their latest release, “Overtures of Blasphemy,” to the list of killer comeback albums in 2018.

“Overtures of Blasphemy” is the band’s 12th full length release since their formation almost 30 years ago, and the first album they’ve released in over 5 years, and despite receiving some negative feedback from major media outlets such as Banger TV, I have to say that this album was basically worth the wait.

The CD opens with a catchy, grooving track aptly titled “One With Satan.” Singer Glenn Benton hasn’t softened his militantly anti-Christian stance one bit, despite writing music for almost 3 decades. More interestingly, however, this track is truly ear catching. It immediately drew me in with its slow build up in the beginning followed by a kind of calculated intensity and blistering yet melodic solos.

Much of the album continues on this trajectory. It seems that, over the years, the guys have honed their songwriting abilities and deliver every time. Yet, while previous releases were a bit techy for my tastes, “Overtures of Blasphemy” has an air of returning to the bands roots. The feel of this album is old school through and through – just with better production.

What really stood out for me was the guitar work. This makes sense given the introduction of new guitarist, Mark English, of Monstrosity fame. The solos and riff magic was ultimately what drew me in on tracks such as “Seal the Tomb Below,” “Excommunicated” and “Defying the Sacred.” Mark’s riff mastery and shredding made up for Benton’s somewhat lacking vocal on this effort. Benton is known for his vocal range, high to low, but his tone was pretty monotone on this album and really and left much to be desired.

Despite this minor complaint, I don’t have much negative feedback for this release. I think this album was better received than some of Deicide’s previous releases by most of the metal community, and I think that’s for good reason. It’s a banger through and through. “Overtures of Blasphemy” stands out because I doesn’t try too hard. It simply thrashes hard and induces head banging.

It’s rumored, in the underground scene, that this might be the band’s last effort. If that’s the case, it makes sense they would choose to go out with a bang and a nod to their roots. I think that’s what they did here. Overall, good stuff.

8/10

*originally published at All About the Rock

Ennui Conjures a Sense of Mysticism with “End of the Circle”

Ennui- End of the Circle (Album Cover)

According to Webster’s online dictionary, the term ennui refers to “a feeling of listlessness and dissatisfaction arising from a lack of occupation or excitement.” That definition is a perfect way to summarize the Georgia based funeral doom duo’s latest effort “End of the Circle.”

As is expected from any funeral doom release, Ennui’s latest LP, “End of the Circle” requires patience from its listeners. Each track is upwards of 20 minutes in length and contains several progressions throughout the mix. Still, for those with a stalwart attention span, the fruits of this listen are truly rewarding.

One element that stood out for me on this release were the infusions of ambiance generously sprinkled throughout each track. Where other funeral doom bands descend into gritty territory pretty quickly into the mix, Ennui’s style captured a more mystical atmosphere because of their liberal use of ambiance and even kvlt elements throughout each track. I say kvlt because I don’t get much of strictly black metal feel on this album per say, primarily because of the lack of Cartoonish aspects.

That said, I would be lying if I were to suggest this release didn’t emote the same expressions as Rundgang um die Transzendentale Säule der Singularität by Burzum. Ennui certainly employs a specific blackened style on this release that lies in tandem with some of the more emotional DSBM bands out there. I think this fusion of different genre elements is what caught my attention to this LP and will catch the ears of others who don’t typically listen to funeral doom.

Ennui is a band that takes themselves seriously by emanating a cerebral air in their sound that demands full attention from the listener. There is something truly magical about the entirety of the release. “End of the Circle” is intended to be digested as single unit; each track complementing the last. With that said, my favorite track was the self titled, first track. With progressions designed to lull the listener into a hypnotic, dream state, “End of the Circle” delivers a truly mind expanding experience, complete with ambiance that would move even the most staunch thrasher with musical ADD.

The unique experience that is “End of the Circle” continues in the proceeding tracks “The Withering Parts I-II,” as Ennui takes its fans on a 40 minute interstellar journey into the heart of a dying star. There is a sense of order in these tracks despite their length. Each element builds into the next seamlessly in order to create a mood. The vocals remain simplistic, low end growls that don’t detract from the music or the atmosphere; instead complementing it perfectly. You’ll be compelled to close your eyes while listening to this – it’s that affecting.

Overall, I really enjoyed this effort. I am not typically a fan of funeral doom, but Ennui’s latest release had enough momentum to keep me entertained for the long haul. “End of the Circle” is must have album for 2018.

https://non-serviam-records.bandcamp.com/album/end-of-the-circle

9/10

 

Could The Spirit’s Debut Be Album of the Year?

This band propped up out of nowhere and unleashed an icy fury upon the hardened souls of cynical metal fans everywhere. German foursome, The Spirit, re-released their debut “Sounds From the Vortex” on Nuclear Blast earlier this month and melodic black/death metal fans are throwing up the horns in praise of this awesome album. Despite this band being young – only forming in 2015 – “Sounds From the Vortex” is the best damn thing to come along since Vinterland, Necrophobic or even Dissection.

The Spirit- Sounds From the Vortex LP
Sounds From The Vortex LP: Purchase Here

Although most of The Spirit’s debut hearkens back to the era of the 90s in which Stockholm ruled the world, the band does throw in just the right amount of technical flair to keep their sound fresh in the modern era. The band’s true strength, however, lies in their ability to temper icy dissonance with intense emotional melody, to create a sound that cuts through barriers and demands the listener’s full attention.

They open “Sounds From the Vortex” with an ominous self-titled intro that is pervasive in nature; only to immediately pummel the listener with the cold blistering melody of “Cosmic Fear.” The Spirit has a real sense of flow and melody and every tempo change and progression melds beautifully into the next without becoming predictable.

Another element that really stood out on this debut was the band’s ability to create memorable hooks. The vocalist, in particular, focused on classic songwriting elements that foster the almost arcane compulsion to hit repeat track. The track entitled “Illuminate the Night Sky,” in particular, had a bridge and chorus with discernibly clear lyrics that beckoned singing along.

Burning streams are flowing; fatality! Souls screaming out in agony! Curtains of fire rising high! ILLUMINATE THE NIGHT SKY!

It’s not difficult to envision a sea of black clad fans throwing horns and chanting along to a chorus such as this. In true black metal fashion, The Spirit focuses on mystical themes in their songwriting which temper well with the icy feel of their sound.

The only criticism I have for this band’s debut is that I wanted more. At only 38 minutes long, “Sounds From the Vortex” was a bit short. I trust the band’s sophomore release will offer a bit more meat for the listener. That said, this album packed a ton of quality into that 40 minutes. These Germans sound as though they came right of the coldest mountain tops in Sweden. When I say this is the new Dissection, I mean it. The Spirit’s debut is a serious contender for album of the year.

10/10

href=”https://thespiritmetal.bandcamp.com/”>https://thespiritmetal.bandcamp.com

*originally published at All About the Rock UK

Destroyer Attack’s Latest Release Could Open the Gates of Hell

destroyer

The black metal community collectively celebrated in response to Ecuadorian black/death metal band Destroyer Attack’s sophomore release last month entitled, “Solve et Coagula” and for good reason — this album is fucking heavy!

Destroyer Attack are the kind of hardened war metal band you might expect to find posing with firearms. Clad in bullet belts and steeped in terrorizing aggression, this bestial foursome employs the best elements of war metal — in the vein of old Blasphemy — on their newest release.

The band doesn’t hold back or ease in the listener in any way; instead immediately attacking the listener with an onslaught of intensity within the first seconds of track 1, entitled “Communion of the Black Pest.” In fact, “Solve et Coagula” never wanes in aggression once. They pummel and blast from the first track to the last.

The first thing I noticed about this release was, despite their heaviness and aggression, Destroyer Attack has a great sense of melody. Many other bands in the same, war metal-esque vein — band such as Bestial Warlust or Black Witchery — have a tendency to succumb to noisiness and slop in their pursuit to create a “wall of sound.” Destroyer Attack, however, manages to maintain the tenets of good song writing on the LP; ultimately creating a neck breaking listening experience.

The production on this release truly stands out as well. Unlike other raw black/death albums, Solve et Coagula does not blur into a single angry fuzz — all instruments are clearly audible and the vocals  shine through at perfect volume. The drums are just audible enough  be impressive, but not pushed so far to forefront they drown the sound of the shreds. Overall, the LP maintains an aura of extreme anger while never forgetting to employ the kind of melody you could lose yourself in. Promo track “Purification Into the Internal Fire” is a perfect example of this buzzing melody put into action. The chorus and bridge are practically hypnotic despite maintaining an ugliness only found in bestial black/death metal.

The band’s roots in thrash metal might have something to do with their ability to inject complex melodies beneath the overall blasting intensity. Indeed, many tracks on the album, such as “Burying the Name of the Messiah” or “Ectoplasm” employed thrashier elements within them. This addition added to the melody in a positive way. Still, Destroyer Attack maintains that blasphemous and aggressive appeal throughout. The sound is pummeling in a way that conjures images of an erupting volcano spewing hellfire from the bowels of Gehenna itself.

This is the kind of album to listen to when you have become so cynical nothing sounds heavy enough for you anymore. Solve et Coagula is almost subversively intense. What makes them stand out, however, is their ability to maintain a whiplash inducing melody beneath the bludgeoning aggression. This is really great stuff here.

8.5/10

Order Solve et Coagula here: https://morbidskull.bandcamp.com/album/solve-et-coagula

 

 

Is WITCHGOAT’s “Umbra Regit” the Heaviest Demo This Year?

witchgoat

Ahh Morbid Skull Records; a label continually delivering the ugliest, most terrorizing forms of thrash and death metal to the black-clad masses worldwide. El Salvadorian blackened thrashers “WITCHGOAT” are no exception.

Their debut to the world, demo tape “Umbra Regit” is blistering thunderstorm of intensity and sickness. If I were, like, 50 years old I’d be talking about how these bullet belt clad, Hispanic beasts brought me back to the tape trading days. The reality is, all true metal heads feel they were a part of the tape trading days despite their age, and a band like “WITCHGOAT” has the momentum and  ferocity in their sound to catapult them right there.

The first adjective that comes to mind upon listening to this honestly killer demo is hungry. From the first blustering notes of “Emanations of the Underworld,” “WITCHGOAT,” sets the tempo for a raging thrash experience that’s steeped in technical virtuosity while maintaining that primitive ambiance that kvlt thrashers crave.

“Umbra Regit’s” production is clean enough to sound professional without stripping the band of their intensity. Their effort here was perfect and allowed for their cool, Destruction like riffs and emotional solos to really shine through. The drumming, while pushed into the background, was still audible and complemented the guitar heavy atmosphere on this album incredibly well. I thought it was perfect. I mean, these guys aren’t “Archgoat” or “Revenge.” This approach worked well for them.

What was really cool was the way the raspy growling vocals sounded over the dual shredding. The blueprint here was perfect for creating that nostalgic feel that brings you back to the golden age of extreme metal. “WITCHGOAT’ is more than just a tired band that’s copying the reverberations of their thrash forefathers, however. The closing track “Towards the Gulgalta” proves these guys are killer musicians with a versatile range. It’\s slow, acoustic ambiance really sets the tone on the album in a cool way.

I have very little negative feedback for this effort. The only thing I might say is that they didn’t bring much new to the table in terms of sound. But with the weird, post-metal direction a lot of bands are going,  a balls to the wall blast from the past is refreshing. I honestly loved this demo and am looking forward to seeing more from these guys in the future really soon. Share this and buy their stuff. It’s always a drag when good bands peter out because of lack of support. Let’s not let that happen.

9/10

 

666 The Best Death, Black, and Thrash Albums So Far This Year

Tons of metal zines have posted articles highlighting the best albums of 2017 so far. They all did this back in June, which I suppose makes sense.  Unfortunately, none of these lists have met the expectations of Underworld Zine.  Once again favoring a band’s popularity over substance, the mainstream metal magazines have failed to highlight some of the greatest metal of the year.  I’m writing this article in response to that trend.  Underworld Zine has always been dedicated to covering truly underground bands.  These are Underworld Zine’s top six black, death, and thrash albums so far for 2017.

Death Metal

6. Warpath- The Ambience of War

Brutal death metal never sounded so good.  Hailing from murky Irish wilderness, Warpath are a band you probably haven’t heard of or listened to but you should familiarize yourself with them immediately and prepare to have your faced melted.  Unlike the menagerie of brutal death metal bands that have listeners struggling to keep their eyes open halfway through the album, Warpath manages to keep their latest EP, The Ambience of War, interesting from beginning to end.  Pummeling blasts, emotive and technical solos, and absolutely sickening vocals meet to create an onslaught of brutality.  The production value is top notch.  While you can clearly hear all the instruments, the grimy quality of old school death metal isn’t lost in the clarity.  This is sickening brutality at its best.

5. Desultory- Through Aching Aons

No death metal listicle would be complete without the inclusion of a proper, melodic Swedish band. Swedish death metal pioneers, Desultory, take the number five spot with their truly ferocious comeback album entitled Through Aching Aons.  The LP has that classic Swedish feel that pays homage to At the Gates, respectably. But, dare I say it, Desultory has gotten heavier with age.  They always had a bit of a melodic groove to their sound, and that isn’t lost on Through Aching Aeons, but this album is pummeling all the way through.  Their combination of brutality and catchiness is what sets their sound apart from others in the Swedish horde.

4. Contaminated- Final Man

Australia’s Contaminated is possibly the heaviest band to make the list.  In the vein of early Autopsy or Convulse, Contaminated has perfected a kind of doom and gloom death metal aggression on Final Man with guitar tones that sound like they were dragged through muck and vocals akin to gargling blood.  Being a relatively new band, Contaminated’s 90s feel is utterly convincing.  Proper use of downtuning and crushing, doomy passages make Final Man truly memorable in 2017.  This is some seriously heavy shit.

3. Necrot- Blood Offerings

In an age of five string basses and blistering technicality, sometimes simplicity can be refreshing.  This is certainly the case with Necrot’s latest release, Blood Offerings.  There’s been a lot of buzz about the band’s latest album and rightfully so. Necrot have forgone the tech death trend, instead opting to create death metal in the vein of Dismember, early Goreguts, or even Death.  This is driving brutality through and through, with catchy riffs, gritty production, and an overall sickening ambience.  The kind of stuff made for circle pits and the wall of death.

2. Undergang- Misantropologi

It seems old school death metal is making a massive comeback.  Undergang’s fourth full length release exemplifies this trend perfectly.  Not that it’s really a trend.  Misatropoligi would scare the pants off an Avenge Sevenfold fan.  This shit is grimy to the core.  D. Torturdød’s are some of the sickest low grunts I’ve ever heard and A. Dødshjælp’s blasts will figuratively rip your face off. Simplistic riffs are masterfully arranged on Misantropoli to create a captivating experience for listeners.  Misantopologi is hard not to fall in love with.

1. Immolation- Atonement

The number one spot on the list is going to the old school masters of death and destruction, Immolation. Atonement doesn’t ease listeners into its glory, instead punching them in the face from the very first crushing riff.  It’s always a relief when a band from the 90s can still destroy and Immolation does just that.  This album holds no punches.  With a victorious and powerful feel, enunciated lyrics, unrelenting brutality, perfectly timed solos and sqeals of the guitar, and melodic technicality, Atonement does not disappoint. But then, when has Immolation ever truly disappointed us?  With Atonement, Immolation shows us how American death metal should be done, and we’re thankful for that.

Black Metal

6. Sinmara/Misþyrming- Ivory Stone/Hof Split

If I had to pick one scene in black metal today that’s touching on the originality of the early Norwegian scene, it would the current scene in Iceland.  The black metal movement in Iceland is bursting with creativity and bringing a new, chaotic approach to black metal that hasn’t been seen in years.  Sinmara and Misþyrming are leading the pack in Icelandic black metal and this year the two powerhouses teamed up to release a split.  The album delivers a blackness and chaos of a black hole and conveys a message of sheer insanity. Sinmara are the real innovators on this EP as their track is vast improvement in quality to the tracks on Aphotic Womb.  But Misþyrming brings it hard as usual with their addition to the split, Hof.  This is cool.  This is kvlt.

5. White Death- White Death

This band just creeped up out of nowhere.  I’m glad they did because their self titled release is comparable to Satanic Warmaster or early Behexen.  The Finnish foursome has seemingly mastered the aesthetic of early, orthodox black metal and brought it to audiences in a fresh and exciting way.  Gloomy passages pair with dissonant riffs, and screeching vocals effortlessly.  Even the occasional fist pounding rock and roll beat or acoustic lick can be found on the band’s self titled debut.  This album is a must have for anyone who loves straight forward black metal done well.

4. Irae- Crimes Against Humanity

Irae is another orthodox black metal project, deriving significant influence from the early, Norwegian sound, but also paying an obligatory nod to the black thrash pioneers.  Irae is a one man project out of Portugal, spawned from the ominous mind of a man known only as Vulturius.  This is good stuff. Fist pumping hard rock licks meet with blackened dissonance, and thrashy interludes to form a truly killer, and old school sounding LP.  Vulturius doesn’t overdo the ambience on this, making for a heavy black metal experience spawned directly from the pits of Hell.  This will scare the hell out of your neighbors.  Really fantastic.

3. Noktunal Mortum- Істина (Verity)

The first black/folk metal band to make the list, Nokturnal Mortum are quite deserving of their position here. Simply the way the first full length track, entitled Мольфа kicks in, with that beautiful string arrangement that builds up into sheer aggression, is enough the moisten your underwear.  This album is a beautiful mix of ambient folk passages, triumphant battle cries, and sheer ferocity wrapped into an hour and fourteen minutes.  The Verity experience is orchestral and you almost lose yourself in the beauty of it.  Is this Nokturnal Mortum’s best release?  Nah.  But it still blows away many other bands under the same moniker.  I can’t stop listening.  Keep at it guys.  Slava Ukraine!

2. Goatmoon- Stella Polaris

Findland’s Goatmoon seems to improve every year.  Stella Polaris is a far cry from Death Before Dishonor in creativity and overall beauty.  The intro is a beautiful acoustic piece that’s consuming and immediately demands full attention from the listener.  Every song  is more beautiful than the next, as BlackGoat Desacrator focuses on building atmosphere with gorgeous, melodic riffs. Stella Polaris is probably his most melodic release so far, matched only by Varjot, but with a fuller sound and better production.  The second to the last track, entitled Overlord, is the one that really stuck out for me.  The final track, entitled P.A.I.L. was interesting, to say the least.  Almost an attempt on a black metal ballad, the track works surprisingly well.  Overall, a win for Goatmoon.  Hail!  Victory!

1. Wode- Servants of the Countercosmos

This band is probably the most surprising on the list.  A new band out of the United Kingdom, Wode is knocking the socks of black metal fans with two stellar releases.  Wode’s sophomore release, Servants of the Countercosmos has a sound that’s almost legendary.  To risk sounding presumptuous, can you say the next Dissection?  Not that this is another Dissection rip off, far from it actually.  It’s just that their sound is so highly memorable that it harkens back an era of musical perfection only matched by Dissection.  Every song is better than the next, as Wode pummels into your soul with an unrelenting ferocity not seen since the 90’s.  The melodic nature of the sound and clean production is reminiscent of the early Swedish black metal sound.  All this greatness spewing from a band made up of musicians virtually unknown to the black metal scene.  What a fantastic record.

Thrash/Speed Metal

6. Lich King- Omnomniclasm 

Lich King makes the number six spot on this list for their newest release entitled Omnomniclasm.  The sheer improvement of the band over the years has people starting to really take notice.  Omnomniclasm is standard thrash metal done at its best.  Focusing on speed, aggression, and ferocity, the new album holds true to original thrash metal vision.  Halfway through, Lich King even hails its speed metal predecessors with a slow and triumphant display of power in the song Civilization.  Think in the vein of Priest.  What Lich King has always focused on, however, is having the coolest riffs and playing faster than anyone else.  Omnimnoclasm delivers sheer speed like few others in the new wave of thrash and perfects the sound with good production and riffs that will crush your skull.  Lich King is basically Vio-Lence reborn and for that we’re all thankful.

5. Power Trip- Nightmare Logic

This album has been getting a lot of hype from metal elitists this year and I can see why.  This is crossover at its best. While I don’t hear a huge amount of hardcore influences on Nightmare Logic, the ones that are there are tasteful.  Ultimately, this is aggression and speed perfectly executed through buzz saw guitar tones, face ripping riffs, rad tempo changes all spawned from the first crunchy riff.  Nightmare Logic is a fist pumping masterpiece complete with anthemic choruses and some of the coolest riffs I’ve heard all year.  Power Trip is good shit.

4. Witchnight- Unholy Speed Metal

Witchnight is a brand new blackened speed metal band out of Argentina but their sound, name, and overall image may as well be out of 1987.  These Argentinian shredders go straight for the jugular with their unique brand of black speed in the vein of Tormentor or demo era Destroyer 666.  The fifteen minute EP entitled Unholy Speed Metal is marked by its utter intensity, lightening fast riffage, and cool DIY production.  This is the kind of album I can imagine procuring in cassete form from a truer than thou older friend who partied with Jeff Hanneman back in the day.  The entire EP drips of blasphemy and rage.  Unholy Speed metal is Witchnight’s first EP, first anything ever.  I really hope this band succeeds.  I need more.

 

3.Bloodlust- At the Devil’s Left Hand

Three words: Australian blackened thrash.  Bloodlust is a relatively new band that has old pro chops.  At the Devil’s Left Hand is the band’s second full length release but the structure and execution of the album is so perfect you’d think Bloodlust had been at it for decades.  I could chalk this up to expertly executed D666 worship but honestly, Bloodlust bring their own unique flavor to the table. The most notable positive on this album is probably the tempo changes, which are so succinctly placed that you’re transported in a sort of thrash metal void upon listening.  Just be careful when you’re listening to AT the Devil’s Left Hand.  You might just break your neck whipping around to their paralyzing riffs.

 

2. Blood Feast- The Future State of Wicked
The blood thirst is real this year. Blood Feast are old school motherfuckers from Jersey who haven’t slowed down a lick.  The band split back in 1991 and reformed in 2007 coming back with a vengeance.  The Future State of Wicked is the band’s first full length release since reforming and it slays harder than a good majority of the youngin thrashers attempts at reviving the old school. Everything from the chilling artwork to the riffs that cut through you like chainsaw to Chris Natalini’s penetrating screams is as heavy as thrash gets.  It’s as though they reformed just to show the new horde how it’s done.  This albums just kills, plain and simple.

1. Hellripper- Coagulating Darkness

Forming only three years ago, the UK’s Hellripper has already redefined the meaning of speed with break neck riffs and blistering solos.  This is an impressive feat for a one man project.  The band’s first full length release, Coagulating Darkness is more than simply unadulterated speed though, the execution is masterfully coherent and the tracks are catchy and memorable.  This album just sounds evil.  Guitar worship reigns supreme, as it should, on Coagulating Darkness as the solos are masterfully placed and the riffs are as cool as Destruction’s.  Despite being from the UK, Hellripper’s music has an unmistakable Teutonic ambiance about that you can’t help but fall in love with.  Really great stuff.

 

Disclaimer: Before anyone gets their panties in a bunch because I missed something, remember this is opinion.  That said, if there’s anything you think I missed, please post it in the comments.  I listen to a lot of metal but I can’t listen to everything. Also note, Underworld is not interested in anything PC, so if you have a problem with one of the bands on the list keep it to yourself and off my site.  That’s all I’ve got.  Stay trve!  Hails!