Earth Rot - Cthonian Virtues (2016)

Formed by two former members of Advent Sorrow, this four-piece act crafts a sort of chuggy groovy death with some black stuff mixed in. Aside from tremolo riffs, we have a hammering drum performance as well as a vocal front by Jared Bridgeman that switches between hoary grunts and fierce rasps. Earth Rot aren't simply just a bunch of death chug and tremolo riffs though, as Tom Slaughterhouse performs several ripping and memorable solo performances in manners that we just wouldn't expect from an album of this nature. Aside from that, Slaughterhouse also seems determined to not stick to any one single style, which gives us both the thunderous title cut and the blackened “Martyrdom Unsealed” on the same record. Earth Rot are yet another sign that the metal scene in Australia is not to be missed, as they rip and tear through every performance as if their very lives depend on the quality of it. These gentlemen released a full-length back in 2014 of which I don't remember ever remember abusing my eardrums to and I feel rather shameful for that.

There's only fifteen minutes of music here, but it's definitely worth listening to, with my only complaint that it should have been longer. I really hope these Aussies have another full-length planned for us either this year or the next, because I would have been fine with holding off on these four quality pieces (and I do mean quality, the record sounds even better than I can give it justice) until that particular album. I'm not sure what's in the future for Earth Rot, but as far as I've heard, I enjoy them quite a bit more than Advent Sorrow and hope this won't be the last I hear from them. These guys could really become something in the next few years, and with a record like this, I'm sold.

(5 Tracks, 15:00)

9/10

Enlighten - Illvmantithis (2016)

The second EP from this Portuguese black metal two-piece, Illvmantithis certainly sounds different, and that's in a good way. I have no idea as to what method they're employing to make the riffs sound so oblong and twisted in the mix, but it's definitely working for me, almost as if Cynic played black metal. The scowls feel absolutely feversome in the mix, with K really nailing it there and giving me a rather bleak and misanthropic performance that seems to go hand in hand with his bizarrely progressive playing style. A is the drummer here, pretty much giving you the kind of tap tap tap performance that you would expect from the kit, the real star being in K's wonderfully bleak and awesome melodies. Yes, this is the reason why I chose to review this one as you all know how much I love bleak leads in black metal. Though we only get “Pallor” and “Shroud” here, it's enough for us to go on and gives us a feeling for what these guys might offer with a full-length. They don't want to play the same old black metal, especially now, with a record that feels nearly removed from traditionalism and seeks more dreadful and depressing territory. I'm fine with that, just so long as a K doesn't switch to a godawful howl. They have a bit that they could work on, but I certainly wouldn't turn this EP away either. It just depends on how you like your black metal, which can be as different as how you take your coffee. Usually depends on the person.

(2 Tracks, 11:00)

7/10

Volker - Self-Titled (2016)

Featuring members of Otargos, Noein, Demented, Lifestream and Regarde Les Hommes Tomber, this cold wave/dark metal project is certainly worth checking out for the mere surprise of it all. Though it's just a sample, these eleven minutes offer something unlike anything we've heard from any of the previous bands these guys have been in. It's definitely metal, but with an angry feminine tinge to it that sounds like something from modern American female fronted metal. I'm reminded of a black metal version of Kittie by this, which will make a few of you want to rip your hair out, I'm sure. It definitely has that sort of angry pop/punk vibe that I shouldn't be recommending, but this reviewer thinks the disc is more of a “hey, this project actually exists and I wonder how far they'll get” than a “I think this is going to be the next big thing.”

Jen Nyx screams and sings and whimpers throughout the disc, making it sound like a weird mix of Christina Aguillera and Otep Shamaya. Ulrich W. plays Satyricon friendly modern black metal riffs, making for a weird mix that I could only consider a sort of black/pop/punk, if you can believe it. I'm not sure where such a band will go in the future, but if Kaotoxin is looking for more exposure in the mainstream metal scene, then this is definitely that goldmine band to do it. A lot of people wouldn't touch it with a ten-foot pole, but it's not terrible either. I'm actually curious to the final product, but this EP won't be for everyone.

(4 Tracks, 11:00)

6/10

The Lion's Daughter - Existence Is Horror (2016)

It's very difficult to get around the three word bands these days, as many of the poppier and trendier acts are using three word monikers and in the process turning off metal fans. It's become a sort of tag, telling listeners “you'd better be careful with that act as it has three words in it's name” but sometimes that isn't the case. Trust me, I felt that I was in for the same mediocre vapor music when I looked at the name of this Missouri based progressive blackened/sludge metal act, but it seems that that was certainly not the case or I wouldn't have spent my time reviewing them. A three-piece made up of Erik Ramsier on drums, Scott Fogelbach (Bastard) on guitars and bass and frontman Rick Giordano (Ssothm) on guitars and vocals, these guys sound like what would happen if members of Dark Funeral and Marduk got in a fight with EyeHateGod, Between The Buried and Me and early Mastodon. Most commonly compared to another great US act by the name of Coffinworm, these guys certainly provide both chilling and extremely dirty atmospheres. Check out the riff oddities that appear right in the middle of “Nothing Lies Ahead” and you'll see a band that's not afraid to experiment as electronic static somehow finds it's way into the mix as well.

Giordano doesn't use a scowl or anything even close, instead preferring a brutal man growl, which sounds kind of like a bear bellowing because it's been caught in a trap. Though I'd simply expect nothing more from such a sludgy and quite intuitive act as this one, where the tremolos one hears are often accented by dark progressions that one might not expect (thus where I get the BTBAM influence) right before taking us right into Mayhem friendly territory, because why in the hell not? It's 2016 and if these guys don't want to have boundaries, then we won't give them any boundaries to play by.

For some of you, this style might prove too much as it is more experimenting and sludge madness than actual blast beats and tremolo riffs, but it allows the band to stand out a bit more than if they had just been black metal and sludge period. As a matter of fact, it says to me, “hey, someone's actually going to remember The Lion's Daughter because they stand out.” Take for instance the nearly clean shouts of “Four Flies” where it seems like Giordano is trying his very best not to go full clean and might try that on the next record. Even so, that would not be a detriment to me. Why hold yourself back? You've already kicked yourselves firmly out of the black/sludge corner and are moving into something a bit more interesting. Even Metal Archives seems to think so, with a 90% so far for the entirety of the record proving that The Grim Lord knows what the fuck he's talking about when it comes to these reviews and if I could, I'd split myself into four identical versions of myself, each with a laptop and the rest of the albums I couldn't cover.

Digging through all these can be an absolute nightmare, but when you find an act like The Lion's Daughter that really seems to make their presence known, you know that you're doing the right thing in this industry. I feel it's almost unfair to completely explain such a textured and volatile release as this one, but I can say that whatever experimental sludge record it is that you're listening to right now, I can guarantee you that this one's better. Season Of Mist signed these guys for good reason, and I really hope that enough people get their hands on an act like this as they should. To me, The Lion's Daughter sounds like sludge metal evolved into something far more intellectual and unique, rather than just dirt for dirt's sake.

Existence Is Horror is the kind of record I'd nearly bathe in, but I just don't quite have the time to give such an enthralling listen as much time as it truly deserves. This is an act I'd love to see live and I'd hope they head by my neck of the woods soon (and I can actually get to the venue as well) so that I can see this experimental black/sludge mindfuck in action. If you're sick of a lot of the same old things when it comes to metal and are looking for a crushing album that still speaks to you on some otherworldly conscious level, you might want to pick this one up. It's been out for a while now, but that's no excuse to pass it by if you're a fan of this stuff.

(10 Tracks, 40:00)

9/10

Hordak - Padre (2016)

Though their name was taken from a famous villain in the He-Man universe, these Spaniards have been since crafting a style of Celtic influenced pagan metal that they would consider very close to the Viking scenes of Scandinavia. Pagan metal has it's way of spreading throughout the world, as some people just seem to prefer the ancient archetypes to the more modern ideal and that's perfectly fine with me. Utilizing many of the same folk-influenced structures that bands like Moonsorrow, Einherjar, Enslaved, Forefather Helrunar and many others have adapted into their music, this five-piece is definitely blazing a trail for the scene in their respective country. I wouldn't have expected to hear much metal in this style from Spain, but things have a way of changing greatly with the passing of time. Padre is by no means the band's first album either, as they've been active since 2002 and have released three records prior to this one. I can't say much for those as I've apparently been hiding under a rock, but as far as Padre is concerned, this is definitely a great interpretation of the genre. The production might be slightly rough, but the acoustics shine rather brightly in the mix and definitely allow some light to come through in the midst of what can sound rather dark and frostbitten. The band is composed of a whopping three guitarists, which consist of Winter (ex-Folkearth), Autumn who also performs the rasps (Last Deception, ex-Folkearth) and L. Mansilla (Last Deception, Gotteron.) We also have A. Mansilla on bass (Frozen Dawn, all the other bands that these guys play in, ex-Folkearth) as well as J. Sierra on drums (Last Deception, ex-Folkearth, ex-Dawn Of Tears) rounding out the act. As you can see, many of these guys play in other bands together, so that might be another reason for the long wait, as they were simply working in other acts. That being said, this lineup hasn't changed since 2011's Under The Sign Of Wilderness, so if you enjoyed that one, you're hearing the same guys go at it once again. That being said, it's been a five-year gap in between this record and the last, so fans should definitely though that from what I've heard here, that time spent patiently waiting was not in vain.

Aside from the frostbitten folk metal tremolos, blazing drums and cheery acoustics, we also have some absolutely killer and somewhat out of place guitar solo efforts. As there are three guitarists, this makes a lot of sense, and I do feel that in most heavy metal acts a great solo can really bring out the best in your work. They've got the formula down as you'll hear here, and it sounds like a lot of work went into this composition. Perhaps “Sol” kind of sits there as a break from all the heaviness, but aside from that lighter number the band basically perform a very traditional form of black/Viking metal that truly embraces the black metal side of the performance. Sometimes the raspy scowls are accented to bring an even fiercer tone to them, which reminds me heavily of Bathory and even classic Burzum. You also have these rock n' roll solos in place that as I've said, spice things up a bit and really show that these guys are in love with traditional heavy metal just as much as classic blackened folk metal. I don't know about you, but tacking on a wonderful solo effort like the one they've used on “Eklepsis – Devourer Of Gods” and “Soaring” for example, are just the kinds of things that really get me interested in a band. I love leads, I love melodies, but I love to hear when bands really go out there and add such an uncommon element to the genre as of late in there, which is what the listener gets here. I should also add that Sig Ar Tyr did the same thing with their latest album Northern, which basically says to me that more bands are finding interest in spicing up their classic Viking anthems with a little bit of old school heavy metal. It doesn't hurt, and truly manages to make what already comes off as a great album, even better. When you hear the acoustic backed narration from guest Wulfstan on “Bloodline Of The Wolves” you'll get even more into the spirit of the material. In addition to the metallic instruments, we also will hear familiar bagpipes and flutes, truly bringing what I'd consider a real Viking metal experience form a place that you might not have expected. The Spanish metal scene can truly shine with an act like Hordak, who despite their rather odd moniker, show that they can successfully craft a brilliant and almost uplifting style of Viking battle anthems that I surely couldn't forget. Maybe you're not a fan of all the solos, but I'd simply have it no other way. If these guys are going to continue to beef up the genre in such a memorable style as they have here, then I'd wish them only the best of luck (which I'd wish them anyway) and hopefully we can hear an even more bombastic effort next time. Even though to be honest, this record is plenty good enough that they can rest on their laurels for a bit before rolling out another one, or work on other material in the numerous other acts in which they comprise. In other words, you've done a great job, men! Now you can go out there and kick some ass live before jumping back into what I'm sure will be great albums in other styles of heavy metal music. If you love the sound of classic Viking metal, you really can't go wrong with this one. I don't review the genre much, but seldom do I get an approach as noteworthy as this one. Go out and get it, it's been out for a while now!

(10 Tracks, 49:00)

8/10

Schammasch - Triangle (2016)

Swiss avantgarde black metallers Schammasch have returned with their third full length, which actually comes packed with three discs this time around, making me think that the next release will have four and the one after five. I say this because the band's first album was just one disc, with the sophomore being two and this one being as I've stated. There are some of you that may have seen these guys get rather upset with me last time in the form of a comment on our domain site, but that was removed by some means of which I am not sure (and certainly did not ask for.) This is because I was quite an inflamed conspiracy nut back then and had tied much of this to the mysterious conspiratorial buzzword “Illuminati.” These days I hold a slightly different worldview and understand the occult nature of this act a bit differently. Some acts do the whole occult thing for an image, but these guys are very deep into it and I have no idea how far that goes into the private lives. In any case, Schammasch is something of a ritual and that's quite clearly seen here. Just in the first ten minutes of this listen I'm definitely getting that French occult black metal feel, albeit with obvious Behemoth-influenced death metal drumming and an approach that doesn't come off as a scowl, but a bit of an angered roar. Chris S.R. (ex-Totenwinter) handles the vocals and guitars, reminding me a lot of Nergal albeit with a very dark croon that sounds like it could find a place in Tiamat or Type O Negative. The minute I heard this vocal touch first used, I noticed an evolution in the band and I hope that maybe these guys will veer off into a little bit of Goth rock as he definitely has the voice for it. “In Dialogue With Death” is the main track to where this really comes right out to me and shows that the act have a lot more promise to be had than what was merely showcased on Contradiction.

Since there are three discs here, we will obviously talk a little about each of them and I've already delved a bit into the heaviest disc first, as that's the one that metal fans will want to hear. But is this completely metal, or is it something else? There's obviously a lot of weight here, as well as a great deal of brackish firepower, but the fact of the matter is that these gentlemen are crafting multi-layered songs and are more concerned with creating art than just music. Yes, you'll bang your head, but you'll find the listen fascinating as well. It almost begins to feel like one song, as M.A.'s solo piece on “Diluculum” sounds like it belongs tied with “In Dialogue With Death.” Don't expect much from the first disc, because it is only about EP length, but that's not a real issue as there's enough meat here to sell the Deathspell Omega worship and vere away from the slight core influences by which this band have almost completely shed. If you heard any core on that first disc, please let me know as I surely didn't and I think the band are much better for it. In other words, if you've put these guys aside for awhile because of their other works, it might now be time to pick them up. Prosthetic have dealt with a lot of core acts in the past, I am aware of their past just as much as the rest of you – but please believe me when I say that the label are transcending their core worship and have really cemented that with Schammasch. In just a little more than thirty minutes, these guys have offered a lot more depth than what I get from similar occult acts, which I feel makes them well worth checking out merely from the first part of the listen.

The second disc here takes us down a much different path and lends more into ritualism. Aside from some droning doom riffs, “The World Destroyed By Water” even features some unexpected industrial elements that I didn't notice the first time around. Boris A.W. (Cold Cell) does occasionally kick up the drums a little, but the listen almost brings us into something not unlike a more metallic Dead Can Dance. “Satori” is a ritual, which is apparent from the second I listen to it. It features a mantra which is repeated nearly in a fashion similar to Gregorian chants. That becomes even further relevant when the music is removed completely, leaving only Chris's vocals as the focal point. It almost becomes meditative at this point, even though we haven't even gotten to the real meditation. “Metanoia” is probably one of my favorite songs on the album, wherein a clean vocal fronts a blasting drum kit. Chris has the vocals to do this perfectly, and it feels pretty goddamned surreal. Chris and M.A. (Blutmond) truly deliver here, as these melodies really help to broaden and expand these powerfully ritualistic pieces even more. It's not just here, if you've noticed – they've been working very hard to turn the guitar into something of an ethereal instrument by which more than metal can be observed. If we continue to observe the former, we'll find that it has almost gone completely into synths, which feel deep and yes, meditative. Yet again, we haven't even reached the meditation yet. Next we have “Above The Stars Of God” which begins with a rock influenced guitar solo section that doesn't even sound a bit like black metal, and I can honestly say that I accept that wholeheartedly. I like the melody that M.A. plays with here while the vocal chants are being utilized, and it's quite catchy save for the fact that it ends and become a very difficult to hear series of spoken word sections. Maybe they went a bit too far here? In any case, the final vocal moment of the piece is uttered in a short acoustic piece called “Conclusion.” Spoken word decorates this, but no catchy clean vocal sections. Instead we're brought some very powerful leads and solos by which are a good note to end the experience.

Though we're not finished yet, as one more disc remains in this listen. This, is the meditation. Do not expect to hear any fiery guitars, blastic drums, vocals or metal on this one. It's a atmospheric meditation by which some metal fans will either love or loathe, depending on their tastes. You must leave your elitism at the door if you choose to traverse this record, as it's very much like the material I cover from Malignant Records (who just sent me two records in the mail today, as a matter of fact.) Most of the tracks here will either feature industrial synths or tribal chants with both male and female vocals. I am not sure if any of any of the band members are chanting here, but I can assure you that nothing here is metal, though it is highly deep meditative trance that fans of Dead Can Dance's more upbeat material will love. It's the kind of tribal atmopshere that you can dance to when things aren't quite so droning and cold, mixing two different soundscapes together in a very weird and difficult to understand manner. We do hear some electric guitar and Chris's vocals on album closer “Empyrean” which comes with a spoken vocal section and an ending chant that I feel I can discern much easier. It's quite deep, very spiritual and may put some people off – but that's fine, as not all art is meant for all ears. I quite enjoy it and I feel that you will too. The riff melodies are nothing special, they are meant as mantric as the trance and it's more about creating a soundscape in which to escape, rather than a catchy little song that you can raise your fist to. I don't feel that anything here will really come across in that fashion, as Schammasch have never been that kind of band. The lyrics here are very personal, transformational and without a doubt, ritualistic in a way that you only have to hear to believe. I feel that Triangle is a big step over Contradiction, and feel that whatever these gentlemen deliver in the future after this one will be by and large different. I feel that I'm ready for anything else that Schammasch will have to offer and would definitely consider it one of the best releases of the year. The listener gets three sides of the band, one of which no one ever saw coming. That's worth your hard-earned money, folks.

(16 Tracks, 103:00)

9/10

Dark Funeral - Where Shadows Forever Reign (2016)

Here we have the almighty Dark Funeral, a name well known in the realms of black metal. We can easily put them alongside acts like Darkthrone, Emperor and classic Burzum. Needless to say, this marks their sixth full-length release and first album in nearly two decades. Only Lord Ahriman remains as the only original member of the band, but guitarist Chaq Mol (Mordchrist) and drummer Dominator (Eldkraft, The Wretched End) both continue from Angelus Exuro Pro Eternus (2009). New to the band is Heljarmadr (Andreas Vingback) who you might also remember from Cursed 13, Domgard and a few others. He has a very common approach for the genre, sounding not unlike Dimmu Borgir's Shagrath and sometimes almost completely like him. This might be a turn-off for some fans as it might feel like Shagrath is in Dark Funeral now, but I can say that if this is what you think of the new Dark Funeral album; then it's definitely the most black metal disc that Dimmu Borgir have released in a while.

As far as these songs are concerned, it is very true to form and we're getting loads of frostbitten melodies, making for an atmosphere that comes off equally grim and positively chilling. Where Shadows Forever Reign reminds me of the days when black metal was still scary, and not a corpse-painted gimmick, which I feel is necessary for a genre that is dwindling in it's traditional format. Some might still say that this record is too produced, and doesn't feel as raw as the classics, but it is no longer '96 and in 2016, this seems a natural transformation. No one is forcing you to listen to it, but if you do decide to leave your corpse-painted elitism at that door, you'll find what I consider to be a very solid and well-meant black metal. Does it sound perfect? No. Will it reinvigorate the genre? Probably not. But what it will do, is to bring the sound of classic black metal screaming into the modern age. Dark Funeral have certainly not given into trends, making for a record that still feels very much like what we'd expect for them, or any classic black metal band. The blasts and tremolos that you were looking for are here, and for that you should be thankful. These guys could have went in so many different directions, but the fact that they at least tried their best to stick to their roots is something that I feel is going to appeal to fans most.

I'm not sure how Dark Funeral fans are going to take this one and I don't think that it will be a record that they'll play as much as some of the earlier and more treasured releases in the band's catalog, but it's definitely not a wash for me and I definitely don't mind listening to it. Perhaps there might be a few new things tried here and there, but this is a new age and thus, a new Dark Funeral. Take it or leave it, as they could have made a far worse recording than this and it's a good start for as long an absence as they've taken. I can't tell you what kind of direction they're going to go to with the next album, but if you're looking for something more traditional in terms of black metal, then you'll like what has been offered here.

(9 Tracks, 45:00)

8/10

Entropia - Ufonaut (2016)

Of the several acts with the name Entropia out there, (I found about seven on Metal Archives) this Polish five-piece creates a style of music that is considered “black/sludge/post” even though I'd certainly throw in experimental and electronic. With the exception of guitarist Kuba Colta, these guys have been together since the very beginnings back in 2007. Most interestingly about the band is their use of both a keyboardist (Damian Dudek) as well as a sampler (Michal Dziedzic) that makes for a pretty interesting mix of progressive sludge riffs and slightly spacial electronic elements. Sometimes the bass (Marek Cenkar) and strong drumming (Patryk Budzowski) can completely drown out the electronic elements, but that's to be expected with a sound as thick as the one I'm witnessing here. Entropia utilize vocals (Cenkar and Dziedzic) but they're often not necessary as this is the kind of record that is so textually superior that it doesn't even need working verses or a chorus. Ufonaut is an experiment in the very sense of the word, it is an atmosphere and it draws you in fairly quickly from it's out of the box and rather bizarre approach to something that I can't even call black metal. Other than Budzowski's occasional use of blast beats, there's very little here that I can even consider to be black metal – at all. I mean, if you're hearing black metal in some areas, that's fine; but I feel that with this release the act have become something far more than just black metal. There are very few acts that I just want to sit down and enjoy on a musical level like these gentlemen have delivered, and even if some of the leads and electronic bits have a rough time peering out from the thick sludge of it all, I still want to open my ears up to what I can discern as a rather potent and memorable sound. Why no one else really gave a damn about this one, I'll never know. I guess there were other things going on in January, like best of lists and whatnot.

That being said, anyone who purchases this record is in for a trip. It might sound cruel that I could literally care less about the vocal or lyrical element of this album, but I just consider Cenkar's screams to be part of the music and they don't have any bearing on the rest of the performance. Even when these guys utilize djent riffs I don't feel that I mind, because they're actually using the riffs in a style that focuses on more than just those damn riffs. Again, I feel that these guys have a few mixing issues but it could very well be my laptop speakers and you might be able to discern other things on your first listen. Ufonaut is definitely the kind of listen that I'd want to experience more than once, and at forty-three minutes you're not really devoting an awful lot of your time to it. Just don't go expecting anything familiar in terms of classic black metal and you'll be alright. I did hear some tremolos here and there and felt some nihilism in the vocals, but I wouldn't compare this to anyone else out there in the black metal scene. With some exceptions, I still stand behind my earlier observations and feel that it is very hard to consider an act like Entropia to be black metal unless they're trying very hard for that style. It's a shame that this one had to wait for so long, but I mean to cover as many of the older releases that stood out as I can. It's quite obvious that Entropia did and I'm really not in a hurry for them to release another one. They don't really have anything else that they need to prove after this sophomore and I think you'll agree that the material here on Ufonaut is good enough. Entropia are a good band and this a good album. That's a pretty simplistic description, but the album itself is most certainly not. Please give it a listen and experience it for yourself. I really hope that this one isn't too hard to find, considering that there are so many bands with similar monikers. Perhaps these Polish mad scientists will one day become the definitive version of that moniker, as this record definitely feels promising enough for them to do so.

(7 Tracks, 43:00)

8/10

Sarcoptes - Songs and Dances of Death (2016)

Having named themselves after mites, these Californian black metallers certainly have some fight in them. It's a bit unfair to call this style just plain old black metal however, and we see once again where the Metal Archives genre-tagging process could use a little work. The band have been around since 2013, to which they released a demo simply entitled Thanatos. Three years later, we have their first full-length embodiment in Songs Of Dances and Death which I can describe on many facets. As a matter of fact, what appears to have a quite simplistic cover is actually a very textured and intriguing product the whole way through.

“The Veil Of Dissolution” sounds like a mixture of twisted black metal, thrash and Gothic choirs that remind me as much of Emperor and Mayhem as early Graveworm. Following that, we have the continuing efforts of Sean Zimmerman's guitar licks, bass lines and keyboard orchestrations as drummer Garret Garvey (Jack Ketch, ex-Gary Busey Amber Alert – WTF?) also performs all of the vocals for this album. His performance on the kit is just as memorable as his performance on the mic, which features memorable scowls (that you can actually understand) that I'd consider right up there with some of my personal favorite black metal vocalists. “The Fall Of Constantinople” has some rather eerie keyboard leads in sections aside from it's thrashing assault, which make for a track that not only charges with a fervor, but delights in Gothic atmospheres that seem fitting for the subject matter. We hear the same things creep up during “When The Stars Hide Their Fires” as it continues to pound with an insatiable fury. The final two cuts on the record are “Barbarossa” and “Within The Labyrinth Mind” which both feature more of the same, though at this point, we're certainly not tired of it. Perhaps the airy keyboards are graining on you a bit by now (they do become redundant after a while) but when other samples are used, these pieces can become quite invigorating. As far as the tremolos and drum blasts are concerned, these seldom change pace, but the band obviously are interested in producing a symphonic style of black metal that has an obvious Gothic tinge to it. There's an unexpected section in spots of the album's closer “Within The Labyrinth Mind” that actually features real choir samples and truly shows how memorable these guys would be if they could find a literal choir to take the place of the keyboard sample they've used to death on this one.

In the end, I'm quite satisfied with the performance uttered forth here, but I still feel that it needs some work and I would love to see how this act evolves in the future. As much as I love what they've attempted here, I would love to see it pushed forward to levels of grandiosity unlike never before seen, bigger, bolder and even louder. I know there are those of you who think this might sound better without all the keyboard synths, but let's give these guys a chance as I think that something very promising is about to bud forth from this project and I'd like to see it reach fruition. These gentlemen are certainly skilled and I seem to enjoy the performance a bit more with every listen, so I'd definitely consider giving this one an ear.

(6 Tracks, 42:00)

8/10

Ordem Satanica - Ventos De Odio (2016)

Coming back to this one, I think it's the kind of record that I only really enjoyed for the atmosphere. Basically these three dudes from Portugal decided to combine ridiculously raw black metal (and yeah, it's really tough to hear much of anything) with quite audible atmosphere that sounds better than anything you'll hear from the band on a musical level. Familiar tremolos along with muffled scowls and squeals, attempt to do battle with a drum kit that hasn't seen a single speck of mastering since they recorded all this on a four-track somewhere. I've recorded on one of those, so I know what they sound like and this is pretty damn awful. Friends don't let friends release albums recorded on a four or eight-track tape recorder. I've got demos that sound like this, but they'll never see the light of day, which is the same I can say for Ventos De Odio. You'll hear the ungodly hiss from the amps, the barely audible riffs and the overwhelming barrage of static. It's pretty fucking bad, folks. I don't care how raw you like your black metal, this is a record that really could have done with some fixing up. As I said, I've recorded shit like this too – which sounds exactly like this – but I'm not sharing that stuff with anyone for good reason. It sounds pretty fucking awful. Do I recommend this? No. I actually recommend taking all the atmosphere off the record and cutting and pasting it into one track. I have no idea why the atmosphere was recorded at such a clearer level than the music itself, and there's a possibility that it was even lifted from other sources. There are places where we look before we leap and we definitely want to make sure that we leap over this Ordem Satanica demo.

(2 Tracks, 35:00)

3/10

Tombs - All Empires Fall (2016)

New Yorkers Tombs have returned with an unexpected EP release that looks like it has an evil Christmas wreath on the front of it. After an equally unexpectedly rocking intro, “Obsidian” begins with a mixture of thrash and black metal that comes off a bit more rough-edged than what the band have done as of late. People that remember the old Tombs might be a bit thankful for this kind of track, which rolls into the foreboding atmosphere of “Last Days Of Sunlight” as something closer to the band's current style comes in. Perhaps one might even say that the feeling ascertained from this one is that of meditation. It begins with a rather creepy notion, but becomes something a bit more hypnotic, like I'd expect from Neurosis. “Deceiver” continues that slower atmosphere for a minute, but it then switches to something that sounds just a little more black and groove, perhaps even some sludge – which is fine with me. There's a backing growl in addition to the frontman's scowl here, which gives the band another element. I'd really have loved to see them genre-break altogether and throw the backing growls to the front, giving us a dose of groove-death on a black metal album. I will say that the chorus is extremely overused to the point of fucking ridiculousness, and it seems like maybe they could have written a couple more lyrics? When I go into an album, I always write more than what I need, just in case. I'd rather just get rid of some lyrics than have to write more for a piece. I mean come on guys, that's damn near phoning it in. You really can't come up with something other than “Dark deceiver! The mirror!” for fucking three minutes? Keep in mind, this is also the longest song on the album, which means that we get more than enough choral reverberations. The last track is entitled “V” and gives us a bit of a Goth gone black metal feel that I can certainly accept. Problem is, it seems that maybe the frontman is a little nervous about this approach. His scowls come off rather menacing, but when he does the Goth croons, they seem a bit muffled in the mix. It seems like he's not so sure how well this approach is going to come off, so he purposely stifles it. There's a very heavy section near the end, where the record ends. The disc pretty much calls it quits after that. In the end, Tombs have given us a rather interesting, albeit confused blend of music from a band that might be wearing a bit thin. These guys should probably take off for a few years before getting to work on a new record, because I think they've been at it for a bit too long and rust is starting to appear.

(5 Tracks, 23:00)

7/10

Rapid Terror - Speed Metal Bastard (2016)

This Swedish two-man project was formed by a member of Runemagic, Heavydeath, Necrocurse and others who simply goes by the name Terror. Along with bassist Basstard, the two play a very stripped down style of blackened speed metal that comes without a hitch. It sounds warm, but not like an inferno, still sounding like it needs just a bit of work. The guitars are audible, the drums are stable and the vocal performance is quite ravenous, just as we might expect. There are some good riffs here and there and overall it seems like a pretty good demonstration of what these guys can do. It's pretty short and not an absolute must, but you'll like it if you dig the whole black/speed scene and similar acts. It's short, sweet and to the point. You're getting under twenty minutes of a performance that pulls no punches and literally is what it is. If you don't like black/thrash you won't like the disc, but if you do, it's worth checking out.

(4 Tracks, 15:00)

6/10

Gallower - Witch Hunt Is On (2016)

Poland's Gallower play blackened thrash, and they like little epic intros as well. Some might actually look at “Intro” and feel that it's two minutes they could have left off the album. This is a minor gripe, and I think some of the old heads are going to agree with me on this one – but don't you like it when you can just throw on a record and the metal starts right then and there? After the pomp, we finally get right into thick of it with “King Of The Ashes” which is a little rough, but that's what you want. Gallower sound like they recorded this in an underground bunker somewhere, but I know that you'd simply have it no other way. The drums hit hard, the riffs are audible and the vocals can get pretty fierce. Maybe the frontman isn't the best there is, but you really don't care when you listen to the act and hear that they have a definite kind of passion and firepower. It's not a long record, you can hear the Sarcofago a mile away and it more or less does it's job at being black thrash. Maybe these guys need a bit of work, but for right now, this it's pretty decent. At least you know what you're getting from a record that pulls no punches... well, except for that intro (which in listening to the rest of this record now, seems completely out of place.)

(7 Tracks, 22:00)

6/10

Formless Devotion - Sparks Of Separation (2016)

South Africa's Formless Devotion are a black metal act with a decidedly raw production value, albeit a definite sound and fury that I think will appeal to fans of work like early Darkthrone or even Portal. They seem to revel in soundscapes, making for an almost grave-like sound. It doesn't feel quite like DSBM, but is still quite forlorn in some sections while being terribly threatening in others. From opener “Aeonik Devotion” I could say that such a band would appeal to fans of raw, pure black metal; but I can no longer say that as soon as the experimenting that comprises “Resonance” comes into view. Here is where we'll experience the kind of electronic influenced atmospheres that sometimes turn people off of black metal albums, but with a sort of tribal nature this time. When “Prana Of The Drakon” comes into play, we soon roll right back into that familiar black metal territory, where melodic leads really seem to have their way with the piece. That's perfectly fine by me, as it shows that these guys really can play and put on a real performance, despite the fact that it can still be a bit hard to fully discern everything in the mix. “Phosfire” doesn't really give us an electronic feel, but it does give us a sort of evil hypnotic instrumental as we pour into “Illuminate My Temple” which starts right off with a rather nice lead melody. Maybe things are still a little muddy in areas, but the thick growls of the frontman seem to take this into an almost death metal (I said Portal) direction sometimes, which I can't say that I mind. Tremolos are definitely a large part of this performance, but Formless Devotion are an act not tied down by invisible genre restrictions. They're the kind of band that should appeal to those who love the sounds of sullen death and despair just as much as cold black melodies and I think they're doing a phenomenal job with this little atmosphere of dread. It really makes the hair stand up on the back of my neck sometimes, which isn't something I feel that I can say often. The lyrics seem to be of an occult nature, and from the sounds of this they are most certainly fucking with something I wouldn't. That intrigues me, as it should you.

(7 Tracks, 33:00)

8/10

Ofghost - Of Sound Mind (2016)

Finland's Ofghost continue to make their atmospheric style of black and death metal on this third full-length album. Fans of the band shouldn't expect much to veer from that formula, even though the recording is a little lo-fi and sometimes it's a bit hard to discern the background synths over the programmed drums. It considers itself “riff-driven” and I can certainly hear that here in the mix. There seems to be quite a bit of riff progression, and things almost get to a level that can come off as quite technical in retrospect. Even though the record does feature synth atmospheres, Ofghost certainly stick to more extreme metal territories, particularly that of black metal, which I've noticed a bit more than anything else (apart from doom passages.) The record is performed completely in the band's native Finnish, but that shouldn't deter you from listening to it. These Finns do embrace electronics from time to time, so if you absolutely cannot have even a hint of an electronic beat in your black metal, then Ofghost may not be for you. Oddly enough, the band also employs the use of unexpected clean vocal chants, which sometimes are not even accompanied by any sort of musical backing at all. It's bizarre, but different and most notably Finnish. With a very successful DIY effort put forth here, I think that adventurous fans of extreme metal will quite enjoy this disc. You've just got to be ready for it, because like most Finnish experimentalism, it creeps up on you and can see one song changing quickly to another. I'm quite pleased that they reached out to me with this release and the end result is a very solid and satisfying effort. Three discs under their belt, and plenty of promise here. I'd certainly like to hear what the future will entail for these gentlemen.

(7 Tracks, 26:00)

7/10

Vredehammer - Violator (2016)

Though admittedly short, this Norwegian black/death act's second full-length is something that I feel definitely caught me by surprise due to all of it's sheer badassery. These guys cannot only play a ripping blend of black, death, melodic and thrash metal, they also showcase that they have skills where it counts, which sometimes come in the form of absolutely stereoscopic guitar solos. Take the first track, “Light The Fucking Sky” for example. The ungodly melodic solo pieces used there remind me of twinkling stars, or what I like to call “night time solos.” Despite the fact that the piece is additionally ungodly heavy, it also contains such a masterful and rather classy section within that air of night that you just wouldn't expect. Especially when the song that comes right after (Spawn Tyrant) literally threatens to bash your skull in.

Upon looking at the man responsible for most (but not all) of this awesomeness, I see that mastermind Per Valla is also in Allfader, which from what I recall was yet another awesome band. They came out with a record back in 2011 called Black Blood Flux, and that was one of my favorite albums of that particular year. It's Viking metal, but far more entertaining than the bland junk that Amon Amarth have been putting out as of late. It makes perfect sense that Valla would continue that awesomeness in this other act, and it's especially refreshing to see that he his skills are just as sharp as ever. Take the black thrasher that composes this record's title track, and you'll once again see why I have such praise for this man and his body of work.

I do need to reiterate that while Valla can literally write solos that lift you twenty feet up in the air, the band is only strengthened by such a strong arm on the drums (Felix) and hefty bass lines that add more meat and muscle to the performance (Stone.) Stone in particular really gives the kit a pounding, which makes so many of these pieces sound much more furious in the mix. He's the kind of drummer you want in this kind of act, playing as if he's played for decades, despite the fact that he's only been in prog-deathers Canvas Black beforehand. I guess Valla just listened to the guy and knew he would be a perfect fit for the band, and lo and behold he is. Vredehammer still utilize a lot of things that we might expect to hear on one single album, including grim tremolos, bits of progression and technicality (Deadfall) as well as melodic death metal pieces like “Ursus” that remind a lot of the stuff that Amon Amarth used to do, back when they were more concerned about structures instead of commercial viability.

Violator is certainly a finely structured album, and I think that it'll appeal to many different types of metal fans, regardless of what your favorite sub-genre might be. Each one of these seven songs are played beautifully, with no need for extra bonus tracks or B-Sides. Vredehammer literally gave you the very best that they could offer and felt that you'd get exactly what you were after in a mere thirty minutes of playing time. I could justify this as a shortlist record, but I didn't feel that it could wait until tomorrow's shortlist post and had to be brought to your attention today. You know, I think I've listened to this thing about five times already and I can honestly see myself listening to it about five more. It's just the kind of record that I feel delivers on all fronts and is the literal definition of a near-perfect heavy metal album.

I haven't heard much from Valla since Black Blood Flux and didn't even know that this band released a debut (Vinteroffer) back in 2014, but I can honestly say that Violator does what I haven't heard from a lot of bands in the black/death scene lately, and that makes them a cut above the rest. Vredehammer just play metal. Call it black, death, melodic, technical, whatever – it's just really satisfying and I'd recommend it to anyone.

(7 Tracks, 34:00)

9/10

Abisso - WRNSS (2016)

Abisso is an atmospheric black metal project that I can only describe as a mantra of bitter darkness. Hailing from Sardinia, the two man group is composed of G (Alzheimer – Really, there's a band by that name?) on guitars and M (ex-Cold Empire, ex-Crowned In Thorns) on vocals. One of these gentlemen also programs the drums and effects as well, because I'm certainly hearing them and I'm quite sure they didn't employ ghosts. In any case, what the band has considered to be black metal often sounds to me more like a sort of soundscapey death metal.

Obviously there are more tremolo riffs than thick death metal grooves (you'll be really lucky to hear any of those here) but G's vocals are a bit thicker than I'd expect and give off a much grittier death metal tone. The listener will be getting a very slow, yet calculated meditation here which does in fact contain some rather grandiose sections, in addition to places where the drums are piled on a bit thicker and the performance feels a bit livelier. It almost feels as if a bit of trudging doom found it's way into this mix, melding in perfectly with the tremolo melodies in order to give the experience a decidedly grim and menacing feel.

Once again, the record does feature bits of speed, but Abisso seem to be more interested in crafting rather forlorn melodies, instead of blasting your damn head off with a machine-gun drum approach. WRNSS is definitely a record with a sense of purpose, so it you like it slow and yet still vicious, chances are that you're going to want to put this five section piece into your collection. I must admit, this is a rather promising debut for a band that hadn't even released a demo under this moniker and I'd like to hear what they'll be doing with this style in the future. It's a little bit of black, doom, electronic and even some death I think – and that's what will draw people in. Give it a listen.

(5 Tracks, 36:00)

8/10

Mourning Soul - Ego Death Ritual I (2016)

Like many black metal projects, Mourning Soul have actually been around for a while (2003) yet have just now released their debut album. Sometimes it really takes a while to get your footing and that's what these guys show off pretty well here. The record was originally a one man project helmed by Sacrifice (Rovina, SID) but has since become a stronger three-man project with the addition of Decrepit (Legione, Tul, Velchans) on guitars and Nocturnal Fog (Exaltatio Diaboli) on drums. That leaves Sacrifice to handle the bass and vocals, which he does a fantastic job of. The vocal style here isn't the raspy sort of scowl you might expect and features a bit more depth and meat. It feels more mature and almost reminds me a bit of Nergal's vocal approach in Behemoth. Though the music is definitely a bit different from that of Behemoth, even though we're obviously hearing a black metal act that doesn't mind mixing in grooves and thrash instead of just tremolos and blast beats all the time. I like these kinds of records, because they give me something more to chew on then the same damn thing I'm offered time and again. One time a listening session comprised of three “classic style black metal acts” which all sounded the same and literally went in one ear and out the other. Yet when I hear an act like this, it's even tough to call it black metal and it might even piss off the purists, which is good. They need a little change every now and again, and another shade of grim. Again, I feel that what Mourning Soul is doing here is definitely more mature and surely more textured than the vast majority, even adding in all those French Deathspell Omega emulations. Just in listening to “The Cold Embrace Calls Me” I'm hearing several different layers, every one of them sounding no less forlorn or morose than the others. You can definitely bang your head and get a lot of frustration out with this sort of sound, even though you might hear a glimpse or two of keyboards. Granted, these aren't the starlight galaxy kinds of keyboards that create an atmosphere either. They're just there to add a little more depth to the performance and you might not even notice them. There's also a sort of demonic moan utilized on the record at times that make Sacrifice sound like a vengeful spirit.

Mourning Soul are also the kind of act that like to play around with electronic soundscapes in order to make things sound even more frightening, and I love that about them. There are some definite atmospheric pieces here like “Ultima Solitudo” and the unsettling closer to the album that follows after “The Judgement Of Gehenna” that will make the hairs stick up on the back of your neck. But even if you don't like these sorts of things on other albums, I think you'll appreciate them here. As I said, this is what I would consider a very mature and truly grim black metal release that sounds exactly like what we should be doing in 2016. It's also very thick, almost sludgy and definitely carries a bit of fog with it. The leaflet here recommends these guys for fans of Marduk, Temple Of Baal and Watain, but I don't think you even have to be a fan of those bands to like Mourning Soul. They stand on their fucking own and make the kind of music they want to make. If we weren't talking about the Tongue-In-Cheek notions behind our site's moniker and literally focused on records with a grim atmosphere, than Ego Death Ritual I would most certainly be one of the most grim and adventurous records I've ever heard. I repeat myself, if you're wondering what black metal should sound like fifteen years after it's birth in the mid-nineties, then look no further than what has been achieved here. Mourning Soul are by far one of the most interesting acts I've heard in a genre plagued with copycats. They're one band that I can say don't care about traditions or trends – they just want to play music, and they do a rather fine fucking job of that. Definitely one of the year's best black metal releases.

(9 Tracks, 45:00)

9/10

Palace Of Worms - The Ladder (2016)

The Ladder represents this Californian black metal act's first full-length effort in six years. After years of splits with Mastery (good in small doses), Botanist (good, depending on the kind of album he releases) and Thoabath (I've never heard these guys) the one man project finally decided to release something a little bit different than his work in Botanist. Yes, Balan here is also the mastermind behind Botanist and he's giving us something much different than we'd receive in said act (of course.) We start out with “The Twilight Divide” which definitely gives off that black metal atmosphere and attitude, though it also injects some actual atmosphere into the mix, as in a lengthy middle-piece in which to contemplate. Then we have “From The Ash” which seems to be a little more simpler and does it's job. After that, things begin to change and genre hopping soon begins. Death/Doom is heavily explored with “Nightworld” even though it defaults back to black metal (as well as some unexpected female chanting and vocals) yet once again goes back into the cold and forlorn tones of doom once again. An electronic piece comes in shortly thereafter, seeming a bit out of place and perhaps like something that might play during a science-fiction based FPS, but that rolls back into what I would consider an even more sullen form of metal in “Strange Constellations.” Like most compositions here, that doesn't quite stay the same and soon involves progressive sections as well as another moment of silence and some more good old doom. Then we get to “Wreath” where things start to take a major turn, which isn't black metal at all. As a matter of fact, it reminds me a little bit more of the Gothic rock of mid-era Antahema or even Sisters Of Mercy. Didn't see that one coming did you? But I certainly can't say that I'm upset with it, because finally this guy gives me something that I can really sink my teeth into. We get one more black metal cut in the form of “Ephemeral Blues” which isn't really blues at all. Despite it's length, it's pretty straight-forward, a bit bland and I could have done without it. Just sounds like a track I've heard before done by a different artist.

In any case, the performance here delivered shows a much different and far bleaker side from Balan. Apparently he's going through some rather difficult things in his life right now, or has been exposed to the very worst of Tumblr (either will drive one to insanity) but the end result has been one of presence, it feels very much alive and evokes the sort of personal sense that one can only get when they're making a record that isn't only coming from their ideology and worldview, but from their own sense to explore the medium of music in a much different way than others might expect. Those who know this gentleman by his real name know that he's an experimental black metal artist (well, some of them – I doubt his grandmother knows) and probably never would have suspected such doomful dirges to ready their approach into familiar frostbitten corridors of which most listeners are quite familiar. It's still black metal, I suppose – there's definitely the black metal/doom/experimental tags being thrown around here and that simply goes without saying. Though compared to his work in Botanist, I'd consider Palace Of Worms by and large more interesting. I hope it won't be another six years before we get another helping. Balan needs to let his plants soak in the sun lamps for a while, and tend to his, uh... worm-ridden palace. At least I tried, folks.

(7 Tracks, 46:00)

8/10

Enthean - Priests Of Annihilation (2016)

Coming out of South Carolina, fans of Dissection, Frosthelm, Dimmu Borgir and Emperor need to take notice of technical black metallers Enthean. Priests Of Annihilation is their debut release, coming three years after the band's demo Tombs Of Desecration back in 2013. The album is a thunderous, yet rather grim and evil affair that utilizes as much of the keyboards as it does clean vocals and thrash riffs. There are also some symphonic nodes of atmosphere here, which sort of purvey the whole “epic” feeling such a band wants to embody. From the eerie synths and the blackened melodies, we can tell that these guys really love their symphonic black as much as they like their melodic blackened death. Yet there's also that groove/death kick, which none of us might be expecting, as well as some really tasteful and quite plentiful solo cuts that show a band not afraid to do some technical shredding. Brian Kingsland and Adam Broome make up the guitar and vocal section of the act, while Mitch Moore handles the drums and it's more or less a twin guitar solo frenzy akin to the Amott brothers on a couple of these tracks. We also get some rather tasteful progressive rock influence on longer tracks like “Before You, I Am” and the album's closer “Invalesc De Profundis” which injects a classic rock solo into the mix, just before we're pounded with a hefty triumphant march. I'll admit that it's a bit odd to hear more of a growl vocal on this record and I think I might have personally liked it more with a scowling black metal touch. That being said, I certainly think there's a lot of talent to be had here and that's in the playing in general. When the record sounds this good on an instrumental level, the vocals really aren't so important in the long run. Many people like to ask the question, “Well, how well can they play?” and my answer to that is “Very well.” Enthean play on this record as if they've been playing for decades, even if there are still some kinks to be worked out in all the symphonic stuff. This is the kind of band that's all about substance, regardless of the whole “epic synth” thing. Even if you removed all of that influence from the record, it will still perform just as strong as it does with the orchestral flair. There's quite a few symphonic death metal acts that I don't think would be as strong without their synths and orchestras, but these guys aren't one of them. Priests Of Annihilation is still a bit rough around the edges, but it's still worth picking up and certainly worth supporting. These guys don't even have a label yet, but after a performance like this one, they should soon. If you like technicality and orchestral flair in your black/death metal, then you owe it to yourself to embark on this musical adventure.

(8 Tracks, 46:00)

9/10