Tag Archives: Thrash Metal

Five New Bands You Should Be Listening To This Year

5. Grotesque Ceremonium

Turkey isn’t exactly the first place you think of when it comes to extreme metal, but Grotesque Ceremonium is putting Turkey on the map.  A one man project out of Ankara, Grotesque Ceremonium play satanic old school death metal with a blackened edge and a listenable groove.  Think Abhoror but more easily palatable.  The band released their first full length album entitled Demonic Inquisition with the up and coming label Satanath Records last year and the album kicks ass beginning to end.  This is a band you need to familiarize yourself with immediately.

 

4.Limbsplitter

Anyone in the Cleveland area knows Limbsplitter isn’t exactly a new band. They’ve been touring and playing fests since 2013.  2017 is when they really started to take off though, releasing their first full length album, Chloroform Cocktail.  Aside from having the most brutal album cover in history and hilarious song titles (Drenched in Menstruation anyone) Limbsplitter brings in hard with their musicianship. This is brutal death metal with a grindy feel and even some thrash and technical elements.  They’ve been praised in Metal Injection and featured on a number of fests.  Sick shit here.

 

3. Contaminated

Slow doomy death metal anyone?  Seriously, Australia’s Contaminated blew me away with their debut album, Final Man.  I can’t stop listening. This is some of the heaviest shit I’ve ever heard.  Contaminated coalesces the suffocating thickness of doom metal with the intensity of old school death metal to create a dense and truly massive sound.  What really resonated with me was how convincingly 90’s their debut sounded.  Final Man may as well have come out alongside classics like Autopsy’s Severed Survival.  Truly old school and original; Contaminated’s sound is simply crushing.

2. Degotten

For the life of me I can’t figure out why there hasn’t more buzz in the underground metal community over Degotten’s debut Hexentrost.  This is indisputably masterful blackened thrash with a power metal edge. With a sound that’s both colossal and dark, Chili’s Degotten are proverbial thrash metal warriors heading off to battle, six string axe in hand.  This album is thrash metal perfection, complete with cool riffs and shredding solos, but what sets Degotten apart from others in the black/thrash genre is the nod to classic heavy metal and their melodic undertones.  Original as can be, Hexentrost is a must have for 2017.

 

1. Cemetery Winds

I find it fascinating that such a perfect debut has managed to remain shrouded in obscurity, virtually uncovered by popular extreme metal music media. Cemetery Winds is a Finnish one man black/death project (at least I believe they are a one man project because J. Lukka is the band’s only listed active member).  Their style is melodic on an enthralling level while remaining unequivocally Scandanavian death metal.  The band’s debut, Unholy Ascentions, was released in February of this year.  What sets Cemetery Winds’ sound apart is that instead of drawing on black metal’s rawer elements, as has been the most recent trend in BM of the 2010’s, they follow the old horde and draw on the more melodic elements of the genre.  They achieve this while maintaining their originality and not falling victim to At the Gates worship. Unholy Ascensions is every bit as intense as any gritty Australian death metal band with the ambience of the most memorable Swedish black metal. This is truly incredible stuff.

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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!

Vomit of Doom- Magnus Cruelty

When I first started this blog four years ago, my intention was to support good underground bands that had been largely ignored, even by the underground metal elite. Obviously, the site has grown immensely since then, but today I’d like give a throwback to the early days of Underworld by supporting a great band that I haven’t heard anyone talk about on metal forums or at shows.  Argentinian thrashers, Vomit of Doom have been shrouded in obscurity since they formed back in 2009 and for no good reason.  The band kicks ass.

Aside from the fact that I love the band’s name, as it harkens back to a simpler time in heavy metal history, not so pretentious and reliant on medical dictionaries and esoteric grimiores, a time when Bill and Ted and Beavis and Butthead defined what it meant to rock, Vomit of Doom lives up to the coolness of their name by writing neck breaking unapologetic thrash.  Vomit of Doom describes their sound as blackened thrash.  I think these days, blackened thrash has just become a fall back genre for thrash bands that write uglier riffs and can’t be likened to the upbeat bay area sound that has defined the genre.  Not that we don’t love you Vio-Lence.

But Vomit of Doom has created a sound that’s truly old school.  While I don’t hear a huge blackened influence, there is definitely a rawness to their sound that’s reminiscent of extreme metal’s beginnings.  They sound like they came right out of 1987, not like they’re trying to.  They just are.  The band’s most recent EP, entitled Magnus Cruelty, can be compared to the sounds of early Sepultura, or Poison (the German band not the gay ass glam band).  There’s even hints of early death metal sprinkled in the sound, think Death or Possessed.   Tracks are short, generally under three minutes in length, and each one pummels the listener with pure, bludgeoning ferocity.

Vomit of Doom achieves their perfected aggressive sound with slightly dirty, lo-fi production, piercing solos, and sickening riffs that will punch you in the face.  L. Warpig Venomous Abominator’s vocals are absolutely disgusting, high-end growls that will leave you wanting more.  Adding to the band’s classic thrash repertoire is the anthemic quality of each song.  This is definitely the kind of music to pound your fist to while screaming NO DIVINE!!! at the top of your lungs.  Every song on the album is memorable but the interlude in the middle left me, as an American listener confused. Other than that, Magnus Cruelty is practically a perfect old school thrash album, aggressive and fast as fuck.  Even the intro and the outro were perfectly tied in with the rest of album, only adding to the nostalgia of the band’s uniquely old school thrash sound.  But listen for yourself.  Happy listening.  Hails!

9/10

Decade of Death: An Interview with Jim Roe of The Primitive

Jim Roe

From iconic death metal gods Incantation, to Goreaphobia, Disciples of Mockery, Terror, Womb, and more; Jim Roe has drummed his way to legendary underground notariety.  There isn’t much going in the midwestern/east coast metal scene that Jim Roe hasn’t had his hand in.  With over two decades of experience under his belt, he has certainly built the impressive resume.  And thankfully for the fans, this workaholic shows no signs of slowing down.

Jim Roe’s current focus has been on his solo project, The Primitive, which he aptly describes as “pounding death metal”.  His EP “Founded in Hell” is an old school death metal fans’ wet dream with its blugeoning blasts and sickeningly heavy death metal riffs.  I chatted with Jim Roe to talk about his inspiration for The Primitive, his involvement with Terror, and his plans for the future.  This is what he had to say.

Underworld– You have quite a lengthy heavy metal resume. Tell the readers a little bit about your involvement in various bands. How has playing a variety of different styles of death and thrash metal influenced your writing?

Jim Roe– Yeah. I guess over the years I have played in some different death and thrash bands. I don’t think I approach it very differently. I just play. It seems to me whenever you create music with other people, you get a glimpse into how they view music and where they are coming from. I think everybody walks away with a different angle on music.  At least people that are open to it.

Jim Roe

Underworld– It’s definitely important for a musician to be adaptable.  So, cliche question, but who are your biggest influences as a musician?

Jim– Celtic Frost, Bonded by Blood era Exodus, Slayer, Death, Autopsy, Dark Angel. Other than death metal my earlier influences  would have to be Bill Ward – Black Sabbath, John Bonham- Led Zepplin, Ginger Baker – Cream, Blind Faith, Alice Cooper, Peter Criss- Kiss, Rock n Roll Over was a big influence when I was very young. Steve Gadds drumming on Steely Dan’s Aja really blew me away and still does.

Underworld– Nice!  A lot of great stuff there.  I’m a huge Kiss fan too.  So, tell the readers about your involvement with Terror. Are you still with the band?

Jim– Yes, I’m still working with the band.   Brian and J.J (RIP) have been friends of mine for many years. We have some shows coming up, June 9th in Detroit and June 10th in Chicago. I will be drumming for Terror. I played on the last 7” Hells Headbanger put out for Terror. We redid some classic Terror, Legions of Gore and Carving Techniques and we are talking about some recordings in the near future.

Underworld– That’s great to hear!  So, what brought on your interest in pursuing a solo project?

Jim– I just really love making music, making metal. Bands seem to come and go, at this point in life I have a little more time for music so learning more about music and playing more instruments and thinking of words and concepts is really great, it keeps me sane. Playing in a band when things are good is great, but when things are bad…its really bad. The Primitive, I can always do. It wont fall apart because four or five grown men can’t get along.

Goreaphobia

Underworld– That makes a lot of sense. I think fans of yours through Incantation, WOMB, Disciples of Mockery, Goreaphobia all knew you as a drummer. When did you start learning to play other instruments and do vocals?

Jim– Not too long ago, I would say when Goreaphobia started to go from everything being really great to everything being really bad. This was the time I started thinking I need to make my own music.

I had done a lot of contributing to the music with Goreaphobia, not the concepts or lyrics, however, because Chris is a master at that. At that time I couldn’t play guitar at all.  I had never tried but I would play the drums and when I did, a melody would kind of happen in my head from the pattern/rhythms I was playing. I would sing or hum these melodies to Alex, mostly, and he would work out the parts on the guitar.  Together, we would turn it into music.  The songs Apolcalyptic Necromancy, and a couple others were done entirely like this.

I had a big part in creating and writing music in all the bands that I have recorded with; WOMB, Incantation, DOM, Goreaphobia. So to do all this over and over again and then just have it all fall apart just gets exhausting. It seemed to me like the only thing to do was pick up the guitar and start trying to play those melody/rhythms myself. So to make a long story longer, I bought my first guitar in 2013.

Underworld– Wow!  You really picked up fast then!  You described Found in Hell by The Primitive as “Pounding Death Metal”. Tell the readers a little bit about what you mean by that.

Jim– I guess I am just aiming to play the type of metal I like; hard hitting, beating the crap out of the drum set death metal.

Underworld– Do you think The Primitive will ever have session musicians and play live?

Jim– Yes, I have two shows booked now for this June. The guys from Terror will be helping me get it done.

Underworld– Great!  So, what are your thoughts on the current Midwestern metal scene? A lot of musicians have complained the scene is waning. Do you think things could be looking up in the coming years?

Jim– To me the scene has always kinda been the same. People talk about the early 90s like the scene was so great, “The Glory Years”. I don’t remember it being much different then now. There are a lot more bands now but the shows are about the same.

Underworld– Finally, what can fans expect to hear from you in the coming months? Any shows?

Jim– Lots of music to come and hopefully many live shows. Cheers and thanks for the interview.  Metal!

You can purchase Founded in Hell and The Primitive at https://theprimitive.bandcamp.com/.  For now stay true!  Hails!

 

Curse of Denial- The Thirteenth Sign

curse

Born from the ashes of the instrumental trio, Pawns in Chess, Curse of Denial are yet another super group to come out of the infamous Cleveland metal scene.  Curse of Denial features former members of Descend as well as famed Decrepit vocalist, Rob Molzen.  Their debut, The Thirteenth Sign, which is due for release on February 3, is a thrashy and epic call to the old school death metal sound Cleveland is known for.

The album begins ominously with an intro entitled Ophiuchus the Winding Serpent, effortlessly setting the pace for the remainder of the album.  The whispering chant in the intro is a bit cheesy but in an endearing way.  Curse of Denial’s sound is an interesting mix of old school death metal, with hints of blackened melody, and even an injection of Iron Maiden like epic-ness.  Tracks like Curse of Izebel, Premonition, and the aptly named Pawns in Chess, really set the tone for the overall feel of this release.

I was a bit disappointed in the lack of blast beats on this album, which I felt, took away from the aggression on this album.  I think the band was attempting to produce a more mature, old school sound but it was somewhat lacking the violent ambiance signature of the old school death metal sound.  Jeremy McLellon’s blistering solos scattered neatly throughout the album make up for any lack in brutality, however.  Overall, I think this is a solid release from a promising band emerging from the Cleveland scene.  I look forward to hearing more from Curse of Denial.  Pre-order their CD on Redefining Darkness Records website.

7/10

Baphomet’s Blood- In Satan We Trust

baphomet's blood

It’s taken me an abominable amount of time to get around to covering this album but, with all due respect, this release just sort of snuck up on me.  I honestly can’t thank Youtube enough for recommending this to me, as In Satan We Trust could easily be one of my picks for album of the year.  Italian born thrash/speed metal outfit, Baphomet’s Blood began perfecting their signature brand of Motorhead inspired, satanic speed metal back in 2003, and I must say that they have come a long way since their humble beginnings.

Everything the band has released thus far has been epic, but In Satan We Trust takes epic to another level.  The very first thing I noticed about this album was the production.  Despite being a new release, this album sounds like it came out 1985.  It possesses all the elements of a great, classic speed metal album from the 80’s: grittiness, raw energy, and power.  Put this album along side Hell Awaits or Onslaught’s Power From Hell and you wouldn’t doubt that it came out the same year.  In addition to having that old school gritty quality to their sound, Baphomet’s Blood’s production remains polished throughout, with every instrument audible and clear.

In Satan We Trust kicks off with a gitchy, horror movie like intro and pulverizes listeners without warning with a Slayer-esque opening riff.  The very first riff will have you digging around for your bullet belt and pounding your fist.  Yes, this is fist pounding, headbanger shit to the core.  Necrovomiterror’s vocals are an endearing throwback to Lemmy Kilmister’s gravelly stylings.  Dual guitar solos, charmingly satanic lyrical themes, catchy riffs, and anthemic choruses will have you giving yourself whiplash within the privacy of your home.  It’s kind of crazy how much this album rules.

Tracks like Hellbreaker, Triple Six, and Whiskey Rocker are sing along classics in the making.  Infernal Overdrive and Triple Six in particular have almost awe inducing beautiful solos that harken back to the old school days of NWOBHM.  It’s as though Lemmy Kilmister fucked Cronos from Venom and made a baby, then fed it nothing but Slayer and Razor riffs after injecting it with a solid dose of rock and roll.  It’s that good.  I seriously can’t say enough good things about this album.  I know, I’m gushing, but fuck……..10/10

 

 

 

Destruction- Under Attack

destruction

German thrash metal institution Destruction’s fourteenth studio album “Under Attack,” released by Nuclear Blast in May, further solidifies the band’s position as a reigning force in European metal that keeps reigning regardless of whatever internet publications try to sell you the next trend is. Period. The follow up to their thirtieth anniversary album “Spiritual Genocide” that featured a shmorgasbord (no pun intended) of guest musicians including Tom “Angelripper” of Sodom fame on guest vocals and plenty of speed metal slaughter, “Under Attack” goes right for the jugular and doesn’t let go until your corpse is hollow and a distant memory. One of the few bands that seems to benefit from modern production techniques, the chemistry between longtime leaders Schmier and Mike Stifringer is showcased throughout and the solid and powerful drum production really brings out the power of Wawrzyniec “Vaaver” Dramowicz.

While most classic metal bands (and plenty of newer bands trying to capture the “retro” vibe) adhere to the “rawer the better” formula, Destruction relies solely on having cooler riffs than your band, something that hasn’t let them down since their inception. “Dethroned” will have your neck snapping with headbanging power and a slick combination of groove and punch while “Elegant Pigs” will have you opening up circle pits in public places in no time. Groundbreaking? Hardly, but it doesn’t need to be and no one ever said they expect thrash bands to be progressive minded virtuosos. This is a fun thrash album full of speed, heaviness, and plenty of attitude. Perhaps its strongest quality, “Under Attack” is free of pretentions and exhibits a youthful passion and energy, something so many veteran bands in all genres of music seem to lose as their namesake becomes an institution. Destruction continue to demonstrate that the spirit of thrash metal is not only alive and well, it’s arguably gets stronger with age.

8/10

by: Joe Reed