The Mist - Phantasmagoria (Reissued 2017)

Brazilian thrashers The Mist actually have a bit more going for them than the previous Brazilian thrash act I reviewed this week, Mutilator. The most important thing that I can say about the reissue of this 1989 debut album is that it definitely has quite a bit of variety, refusing to stay in the same tempo or even the same style of music that many thrash acts never leave. Also,  frontman Cassiano Gobbet sounds a stickler for legendary Death vocalist, Chuck Schuldiner. Keep in mind that even if these guys were inspired in part by Scream Bloody Gore or Leprosy, they would have to be direct inspirations as the band were more than likely recording this album in '88, around the time that Leprosy would have released. I'll throw in the fact that parts of this record also structurally sound like some of Death's later releases, just because there is almost a progressive sense to these pieces that you wouldn't have expected in thrash. Keep in mind though, this was very close to the nineties and progressive elements were creeping in left and right.

The record has an uncanny 90% score (one review) on Metal Archives, which is one point higher than Leprosy (twenty-two reviews), if you can believe it. Oddly enough, the band are still heavily compared to acts like Sepultura and Mutilator, (which means that their style must have simplified as they went on) which I'm just not hearing here. Like I said, I'm hearing more of Death and Sarcofago with more thrash elements. When the band aren't playing straight-up thrashers, they seem to be at their very best as songs like “Smiles, Tears and Chaos”, “The Enemy” and the title track seem to display very well. It's not that they can't thrash, because they can – and better than a lot of bands, even Metallica during this era. I'd certainly say it's a more interesting and ferocious album than Kill Em' All ever was and despite how much I absolutely love Metallica's early compositions; they were never overly frightening. It's great that these guys actually managed to put a little bit of horror into these tunes with some noticeably creepy vibes throughout and that works for me. The record isn't filled with dread and terror, but it doesn't shirk away from that territory either, still managing to hold a thick steel mallet of pure-bred thrash behind it's back by which to pummel the listener until they are nothing but a gelatinous pool of blood and bone matter. Thrashers are still getting a great thrash album, which I might even want to say is a real lost gem in the genre. If you like thrash metal in any capacity and have not gotten your hands on this one, then you definitely need to do so and as soon as possible. I'm not sure how many copies they will have left, and this is a definite treasure. Not to mention that the remastering on the disc sounds absolutely brilliant, and I can discern ever bass lick and guitar lead as I find myself sucked into a record that I just cannot stop playing. If you've always wished for a thrashier Death, then The Mist might just grant that in spades.

Two guitarists really helped to make the band as melodically great as they are, which would be Fabio Andrey and the now deceased Jairo Guedz, who seems to be a real loss to the world of metal as a whole. He died nearly sixteen years ago, but when you hear just how great his playing on this record is, you might even regard him in the same territory as great axemen like Cliff Burton or Randy Rhoads. Judging from the later albums however, the band could simply not keep up the momentum as this 90% later became an 82% with their next release and then a 58% where the band's legacy ended with their third album. An EP was also released, but it received an unexpected 35% so it must have been rather rough. In any case, Phantasmagoria is literally as good as it gets from these guys and though I'm definitely tempted to check out sophomore The Hangman Tree, not even I think that this recording can be topped. Run, don't walk to the nearest record store and see if they have this one in or might be able to order it for you. This isn't just a great Brazilian thrash record, it is an essential piece of thrash metal history, lost no more. 

(10 Tracks, 39:00)

9/10

Agresiva - Eternal Foe (Reissued 2016)

Originally released back in 2012, this new version of the Spanish thrashers' debut recording contains two extra tracks in addition to the Spanish language version of “Hell Town.” These are “The End Of The Game” and “Sent To War” respectively. Judging the record as a whole, I feel that the three reviewers on Metal Archives got it right, and it currently stands at a 71% even though I'd place it just a few points higher. The early (but should we now say current?) Belladonna era of Anthrax seems to be a major influence on the piece, with fontispiece Samuel being a near emulation of the classic vocal style. You can tell that these blasted the living hell out of Among The Living when you pop in Eternal Foe and that's just fine. They know what kind of band that they want to be, and frankly there's enough firepower and differentiation in riff-structures to make for something of a pleasant listen. As of this review, I'm on my third play of it tonight as I'm trying to really hammer down what I think the issues are.

As far as the musicianship is concerned, I feel that this very much resembles Anthrax at their mightiest, and it may even offer a bit more bite than the records that influenced it. There are also some sections that differ from the thrash formula and tinge maybe a little on prog. The drumming offered up by Chus Maestro is quite proficient and the flurry of varied riffs that we get from guitarists Miguel Coello and Eduardo Chamón more than make up for the slighty lackluster vocal approach that Samuel offers in some areas, especially when wonderful solos come into the mix. The band utilize a slew of soundclips within the performance, but never directly in the songs, which is a major plus for me. All I want to hear in thrash is the guitars, drums, bass and vocals and that's pretty much it. This record gives me exactly that, along with some real energy – the kind that Metallica haven't offered in quite a while. But you can't even really compare a band like this to Metallica, because they borrow so much from early Anthrax and don't even seem to have so much as a bone in their body that resembles Metallica. With an atmosphere that feels warm, yet clean – we get something that is not much offered within the thrash metal spectrum, and that is a bit refreshing. It's a bit less fierce than the two other thrash releases I've covered this week, being Mutilator and The Mist respectively; but it is still a rather rough and tumble experience that fans of the genre need to check out, especially if they miss old-school Anthrax. Daniel Villaseñor's hefty bass is certainly well pronounced and provides a firey overtone to the production here, but there is just enough space within the recording that I can actually make out nearly every melodic lead and drum tap. This is fantastic, because songs like “Pale Horse”, “Hell Town” and the especially progessive title track are only made the better because of this production decision. This record could have been produced with a focus on raw thrash, but it would have sounded like crap and at the same time, would have harmed the band a great deal. Thankfully, that was not the case here.

Again, we don't get many independent thrash albums where the band can breathe and many sound like they're in some kind of box or garage plugging out inaudible tunes with amps that have been turned up far too loud for their own good. I have no idea who mastered this one, but they did a hell of a job with it and they deserve about fifteen medals. I don't know what kind of medals, probably those chocolate medals from the Mario books. In any case, what we have here is something quite profound and promising in the house that thrash built, and I hope that the band's sophomore release The Crime Of Our Time (2014) came out just as good as this one did. If not, throw it to this guy and let him master it as well. I don't care how much money it takes, this is a real bang-up production job and it shows that these guys have some real power in the scene. If they were able to deliver just as good, or even better of a performance with the second one, then I'd be more than willing to hear it.

These guys were independent for a while, but Minotauro Records picked them up and created this version of it, so if you liked the independent release, you owe it to yourself to grab this version of the disc. It contains some nice cover artwork as well, and looks like a truly professional product. There's an undead shogun on the front of it and that works for me! Very cool stuff, guys.

(12 Tracks, 55:00)

7.5/10

Mutilator - Immortal Force (Reissued 2016)

Originally released back in 1987 but reissued in 2016, we have the debut album from Brazillian thrash act Mutilator for the first time ever in a CD format. You may not be all that familiar with these guys as they broke up shortly in 1990, never to reunite again. In that time, this record was released to a solid 80% (five reviews) on Metal Archives, followed by the band's sophomore and final album Into The Strange, which released a year later to a 73% (four reviews) on the same site. If you happened to catch Metallica last night, then you'll soon come to realize that the thrash here is much different than what Lady Gaga performed on stage. Here we have a rather warm and hard-hitting thrash, that actually sounds like thrash metal. Rapid-fire riffing combines with a ferocious amount of drum punch and shouting vocals on the front-end to introduce a band that absolutely defines the very genre compared to what the aforementioned put out last year. Not to mention the fact that we have blazing guitar solos, which are an absolute staple of thrash.

Not surprisingly, Mutilator also seem to have a similarity to Brazillian thrashers gone technical groove/thrashers Sepultura, but during their most respected days. Records like Arise and Beneath The Remains come into mind, as well as efforts like INRI and Rotting from Sarcofago. So if you love Brazillian thrash in it's most classic element, you'll love this to. Rodrigo Neves simply pounds the living hell out of the drumkit sometimes, so it's admittedly a little difficult to hear some of (now deceased) guitarist Alexander Magu's leads as well as Kleber's melodies, despite the fact that his vocals are incredibly defined and voracious inside the mix. These guys played thrash the old-fashioned way, long before the Black album and long before Slayer thought they would try to go a bit mainstream and then jump back into their old stomping grounds. This also predates John Bush's arrival into Anthrax, which produced the (still memorable) White Noise album and certainly it comes before Sepultura's Roots (which they're doing an entire tour for). Though the album will undoubtedly knock listeners on their ass, much can't be said for varitey and song structure. Much of the record feels like one big thrash song, which is the same way I felt about Slayer classic, Reign In Blood. If you're looking for more varied thrash, look elsewhere. But if you're looking for hard-hitting thrash that never lets up and doesn't go into ballads or acoustic bits of atmosphere, then you'll find just what the doctor ordered here.

Unfortunately, not even one song stands out above the others, but I'd be a fool to tell you that it wasn't performed with enough bravado and raw power to leave a mark. Maybe Metallica or MetalliGaga should sit down and listen to this one, so they can kind of get a taste of what the genre they made waves in back in the eighties, is supposed to sound like. Without question, Immortal Force comes in as a reminder of what thrash metal music is supposed to be. It's debatable as to whether or not the new sound of thrash is an evolution of devolution, but for you old-school thrash heads that remember what this thing was like on vinyl, now you get another excuse to pick it up and relive the raw energy available on this disc. By the way, it comes with two bonus tracks, “Evil Conspiracy” and “Visions Of Darkness” which are both shorter than any of the tracks here, but are worth checking out in their own right. Obviously these are a bit lower in quality and were taken from a demo recording. Even so, it's great to have them as part of the package now.

(11 Tracks, 42:00)

7/10

Sagorah - Control and Create (2016)

Arriving just last night, the sophomore release from this Italian death/thrash and certainly groove metal act was offered to me via social media. I simply posted in one of my notoriously ranty opinions that I was a bit tired of cookie-cutter acts that all sounded the same, and having listened to thousands of albums over the past couple of years (you people should know this quite well if you choose to go back into our Archives and over at the Tower domain backup, where I did the majority of music reviews) you get to the point where you only want to deal with something fresh, unique or just plain awesome.

Well, Sagorah answered my call, and while they are an Italian death metal act; we are not looking at another Sadist unfortunately. That isn't a problem though for me, as these guys have potential. They are at least showing signs of an attempt at more than the hum-drum death of some many other acts, and even if it does inhibit L.D. 50-era Mudvayne grooves at times, there's still quite a bit to chew on despite the disc's short length. For the most part, listeners are getting groovy death metal with slightly unexpected progressive sections, and some bits of thrash in an attempt to literally pepper the pot with as many spices as possible. It's this attention to detail that keeps frontman Iwan Holzer on his toes, as we notice several moments on the disc in which he has to be alert enough to change his vocal sapproach and tone to match abrupt changes in tempo.

With “Imagintation Imprinted” we're getting mostly a display of groove, but that quickly changes into prog and thrash later and is appreciated in that respect. The title cut throws in some nice rock solos (which are mostly unexpected at this point) and then rolls into slightly technical chug. That's a nice way to balance out the grooves, especially because it shows that these guys are capable of many different styles within this death/groove and that they'll be able to take it much further as they progress. Axemen Bryan James Bertoldi and Daniel Slaviero show their Six Feet Under worship on “Face Down” where Holzer makes a great stand-in for Chris Barnes, amongst some slightly core breakdowns and air-raid sirens in the piece. Though the piece is a real hunk of meat, there's a rather unexpected and quite melodic tinge to it's opening that doesn't even entail to the listener the kind of song they're going to get at first – which again, is a real piledriver. Now I know that there's some obvious breakdowns here, but they're not enough for me to get too upset about and these guys are a little younger and probably grew up around some of those core acts as well. It's the presentation as a whole that really works for me, and being a lover of great grooves, Sagorah does just that for me. There's a section on “Fire” in which some blasts are incurred, but a solo also manages to sneak out as well. When we get to “Sleepwalker” that's where I actually noticed the L.D. 50-era Mudvayne grooves, but there's nothing wrong with that, I feel. Especially since they're pumping those grooves in with intriguing bits of melody and yes, some thrash as well.

The most unexpected and promising piece here for me was a song called “Disequilibria” which actually relies heavily on piano keys, synths and melodies, showing again the hefty guitar end of this band. There are no lyrics, it never becomes expanded upon and doesn't do much else unfortunately – but it shows that there's a possibility for these guys to do even more than what they're offering. Even the intro to the record “We Are Cancer” features some electronic vocal filtering and effects that are never heard again. Why not? Same with the keyboards and the piano synths. Why not? Same with the beautiful melodies? Why not? Would it be an absolute sin to take a solo node like in “Disequilibrium” and put it somewhere in the title track? I understand that they wanted to isolate it, as they felt it was such a good piece on it's own, but I think it really would have been better used as the instrumental section of a shorter song. There are already three tracks on the disc that approach the five minute mark, so it seems really odd that the first two cuts are average single length and could be doing much more with their time.

The record itself isn't even thirty minutes long, and the band consider it a full-fledged sophomore instead of an EP which is how I would consider it due to length. The normal length of an LP is about forty minutes or so, which Control and Create simply does not compare to. At the end of the day, the record feels full of different ideas and has some real potential as I've said – but we're not there yet. I simply can't consider this record as anything more than another EP in a band's journey that will hopefully end up in a debut LP after they've truly found their place. Control and Create is a great experimentation that fans of death, groove, thrash, Six Feet Under and a little bit of core will certainly find something here.

(6 Tracks, 25:00)

7/10

Suppressive Fire - Nature Of War (2017)

North Carolina's Suppressive Fire are back with their sophomore outing and from what I've heard, there's nothing really wrong with it. We're getting a very solid offering of black and thrash metal that feels raw, dirty and truly authentic. I'd definitely recommend it to fans of acts like Toxic Holocaust and Goatwhore. The vocals come off with a menacing snarl, coupled with malicious drumming and screaming guitar solos – loads of them. Maybe at sometimes it can feel a little muddy, but that's to be expected with this approach. I'm just glad that some melodies are given a chance to shine here, and that the man behind the kit decided to do much more than simply give us blast beats, of which he never really offers on this album and I'm thankful for it. Suppressive Fire sound more like an angry thrash band, rather than a black/thrash act and they seem to put more grit and grime into their approach than a lot of the thrash acts out there who are merely looking to copy the legends over and over again. There's a little bit of Testament, Overkill, Anthrax, Exodus and Sarcofago to be found within this one which will make it a worth offering for any thrash fan.

Unfortunately, what you see is what you get here and there are no real prog elements or melodic interludes to be found. Though is that really such a bad thing in retrospect? When I pick up an album from a band that mixes the raw grit of black metal in with thundering thrash, I'm more or less ready to accept that package, even if that comes live. I saw Goatwhore for the first time around the end of last year, and they delivered pretty much the same performance that I feel Suppressive Fire will offer on the stage too. Only difference is that there will be far more guitar shredding on this one than I think I've heard from practically any Goatwhore record, and far less blast beats. Though similar, Suppressive Fire have taken more of a thrash approach than their peers and I feel that will be much more appreciated by the thrash community than the black metal hordes out there.

Regardless, I feel that Nature Of War is a record for metalheads. It's just plain metal for fans who love it. I don't feel that anyone is going to have a problem with it, nor do I think it'll be the best album of the year. I do feel that it's a band doing exactly what they should do, and exactly what they want to do. So definitely grab a cpy of the disc and go seem them live, where this music truly thrives.

(8 Tracks, 39:00)

7/10

Deathblow - Demolition Deployment (2016)

With the single from this Utah thrash act, I feel that I'm getting a good mix of Slayer style thrash along with some extra fixins in lieu of structure that even Slayer have yet to offer these days. I'm talking about muscular guitar where it matters, taking what could have been basic thrash plodding into a slightly more listenable and intriguing experience. I especially loved the band's old school Motorhead cover of “Mean Machine” which changed the whole playing style that I heard in the beginning and really worked to show their old-school grit.

When you first hear the opener and title cut, you're immediately going to want to cast these guys off as Slayer knock-offs, and that's definitely a bad move. Both instrumental sections on this song alone seem to deliver and change the whole feel of the piece in a way that I feel paints a much better picture of the kind of thrash band Deathblow want to be. Sure, they're a thrash act. That's not going to change. But like so other few thrash acts out there, these guys want to do a bit more than cookie-cutter thrash and they prove it in the way that classic bands have always done, with memorable riffs and melodies flowing throughout this composition, sometimes so quickly utilized that you'll wind up having to play the track again to understand what I'm talking about. “Implements Of Destruction” is a little more straight-forward and almost feels like a slightly more technical Slayer, but I've always found the more technical and progressive thrash acts to be my cup of tea.

You know, when I first listened to this thing, I didn't think much of it. But now that I'm sitting down with it again, I can see where there might be some real talent, and the kind that you just don't hear in thrash these days. Not even Testament's latest carried such soundscapes within the compositions as these do here. Sure, Testament might be good at writing hard-hitting thrash cuts, but they never wrote such highly spirited and truly dynamic pieces as the one's I'm hearing here. There were never any truly technical or proggy bits to their song structures and that of course is expected. Overkill never did the same either, as it's just not something that people were into at the time. It was about making music sound raw and aggressive, not artistic. I think thrash acts like this were trying to move away from the more technical and progressive epics that bands like Iron Maiden and on occasion Judas Priest, were creating. Sabbath in those days was pretty much a prog rock band without Ozzy, so you can kind of understand why thrash had to be the way that it was. But this is 2017 and thrash doesn't have to sound the same way that it has since 1980. I hope that this is just the start of progressive thrash movement, because in all honesty; I can only count a handful of bands that did anything remotely similar. And when I say that, I mean bands that have progressive elements, rather than just mixing the two together. DAM is a good example. I'd like to see these guys get to that level, and then outright surpass it.

In any case, Demolition Deployment is a short but very sweet single release that I think showcases a possible grand slam in the thrash department. These guys do what so many other thrash bands just don't these days, and that says something. I am going to say that perhaps they need to tone down just a little on the Slayer worship and sort of take it outwards towards their own unique style, but sometimes you just have to accept that it's tough to write new thrash without incorporating the roots of the genre. Like trying to raise a plant without soil.

(3 Tracks, 12:00)

8/10

Metallica - Hardwired...To Self Destruct (2016)

Well, guess I have to listen to this one again. Yeah, that's probably the worst way to start a review, but it goes especially for this one. Now we all know Metallica as a thrash act and we were even sold three songs by the mainstream media: “Hardwired” came first, followed by “Moth Into Flame” and finally “Atlas Rise” which came so close to the release date that it didn't matter. As “Hardwired” and “Moth Into Flame” were both clearly different than “Atlas Rise” (even though I thought it was a fairly strong Iron Maiden influenced track) the majority of the songs on the record that we were sold are vastly different than what many of us might have expected. When we get to the disc, we find that “Hardwired” is really just a three-minute thrash track. When I first saw the video, I thought that it had been edited and thought that Kirk's solo was just a little on the short side. I assumed that when I'd get the full disc, maybe it would be a bit longer. There were two discs after all. Alas, Metallica fucked us again. The full playing time for this “epic two disc release” is actually seventy-seven minutes, which would have fit perfectly on one disc. Not only that, several of these pieces are in fact blown out of proportion, which often gives them unnecessarily long intros and long instrumental breaks. Most of these should have been cut-down from their garage jam lengths into something a bit more bearable.

To be honest, listeners are actually getting what feels like a dose of Load/Reload in the vein of blues and groove rock tunes that aren't all that thrashy. Some say it might be the record in between ...And Justice For All and The Black Album, but I'm willing to consider it the album between The Black Album and Load. It isn't that the record won't be enjoyable to fans of Metallica's more mainstream material, but it definitely has more of a modern approach that sort of rides the coat-tails of their most celebrated moments in the limelight and not so much the early thrash days that metalheads know and love. In addition to that, James Hetfield really wants to try singing on this one, which is definitely done with a more commercial quality. Don't go into this thinking that you're getting any hint of a thrash disc. After all, the only other thrash cut you'll get is fan-favorite “Spit Out The Bone” which I didn't find as interesting as others did. I will say that on a second listen, I can kind of see the appeal that black-era songs like “Dream No More” might have for others, but I've already heard that kind of material and wasn't necessarily interested in a rehash.

I also found it odd that the Lemmy tribute song, “Murder One” didn't have any actual Motorhead influence. I would have at least expected something of a Motorhead style solo from Kirk on this one. I guess this is Metallica's attempt at another grab towards the mainstream after not hitting so hard with Death Magnetic even though I found a couple songs from that one, including “That Was Just Your Life” and “Judas Kiss” to be among some of the band's best. Unfortunately, I can't really say that about this one which doesn't feel like the Metallica album I felt that I was marketed – a thrash record. The band shot a video for every track on the disc, even the B-Side “Lords Of Summer” so it's a little odd that they would lead us on with two thrash cuts first. Why couldn't they just have skipped the whole “Hardwired” cut and given us “Dream No More” or “ManUNkind” instead? These songs would have been more indicative of what kind of experience we were getting and I was quite dissatisfied with what felt like it was supposed to be something that it was not.

Comparing this to a video game marketing campaign, No Man's Sky also showcased itself as a product that it was not and upset several fans in the process. Oddly enough, because there are two different types of Metallica fans out there (those who prefer the thrash and those who prefer the more modern hard rock) the dissent between these groups has almost gotten to a near-political level, with others saying that it is outright terrible and others claiming that it's one of the best albums they've heard all year. This second listen has made the record a bit more listenable, I think – but I'm not going to say that it's one of my favorite Metallica discs by any means. Once again, I think that if most of these songs had been cut by about a minute of two at least, we might have had a more soluble listen that could have even done a bit better with the fans.

Keep in mind, some people just outright hate Load, Reload and The Black Album so this isn't going to sit in their wheelhouse at all. I've also noticed online especially, that there's a lot of fighting between this and Exodus's latest album, Brotherhood Of The Snake. I haven't gotten a chance to hear that record in it's entirety to back up the proof that it is superior, but I can say that as far as a thrash record is concerned, Megadeth's Dystopia barrels over this one. Metallica do manage to prove that they still have it, but the problem is that it's nothing really all that new. Hardwired...To Self Destruct is very safe and doesn't even seem to blend musically well with it's moniker. If you see the cover and look at the title, you might even expect a thrash disc. But just remember, there's more crunch here than we've heard from Metallica since the mid-era and that might not necessarily be such a good thing. I don't hate the album, but I certainly wouldn't consider it something of a modern masterpiece. Since it's in the mainstream media pop/rock category, you can pick it up at Best Buy for ten dollars. Or you can just watch the whole thing online in video form, which might actually be better than listening to the record itself. Some of the videos I'm told are quite interesting, so that would definitely give this record a bit more merit than other albums without such a heavy visual component. Of which there are several.

Regardless of what I say, you're either going to listen to it, have listened to it, or will never approach it at all. So this is just my two cents and you can do whatever you like. Not terrible, but not mind-blowing either... and what in the hell is up with Lars' drum sound on this one? Seriously.

(2 Discs, 12 Tracks, 77:00)

7/10

Assailant/Ubiquitous Realities - Bringers Of Delusion (2016)

We have here a split between two acts from Costa Rica, the first one being Assailant which is technical thrash metal with Ubiquitous Realities which is technical death metal.

Assailant reminds me a bit of Sepultura fused with latter-era Death and with maybe a hint of Cynic. Most of you are going to hear the Death influences though, which I think are quite apparent and show just how well these guys can play. Not only is guitar work completely abstract, but the drumming seems to line-up perfectly with what can be some rather bizarre compositions at times. Assailant have a vocal end as well, but he's not doing anything that I haven't heard from Chuck Schuldiner before and the band make a better instrumental act. It just depends on how you like your technicality. I can say that I would rather listen to the hard-edge of Assailant over a mainstay like Voivod which just bores me to tears and that's saying something. Yes, I'd rather listen to an act that just started out than one who's been around for decades because I think that the act sounds better than the legend. There, I said it. Crucify me. I had the chance to see Voivod live and walked out. They just were never that interesting to me and these guys seem to capture the essence of technical thrash much better.

Next we have Ubiquitous Realities, which is by and large different from the Assailant. First of all, these guys aren't just technical death metal – they're technical brutal death metal. After a slight movie quote, the record takes off into what can be considered the most extreme realms for the heavy metal genre. The bands that you know for playing this kind of music are those that have surgical procedures as monikers and intense gutturals. Also, I might mention that Ubiquitous Realities aren't a one-trick pony. The songs here actually have depth, and even some solo numbers. Opener “Bringer Of Malevolence” at one point had a sound that made me think the frontman was grinding his teeth, an approach I haven't heard in this genre before, even though it sounded pretty silly. There's definitely a lot of kick-drum here, but the fact that I am hearing a slight bit more than that makes these guys a bit more interesting. Sometimes they dip into breakdown or djent territory, but at least they're thinking out of the box. Especially on the spacey instrumental closer “Alterated Perception II” which I don't think anyone wwill see coming. If you like acts like Fallujah and Animals As Leaders, you'll find something there too, but they're still a BDM band. I promise!

Such an extreme partner on the disc makes for an odd split, I must say – but neither band disappoint and there's something for thrash and BDM fans here that I feel both will be happy with. I tend to like the Assailant part more as I think I've heard several better technical BDM acts like Wormed and 7.H Target, but these guys aren't half bad and at least it isn't the same old shit. I could see myself really getting into these guys after they've gotten a full-length out to show what they can really do. Yes, I'm saying that there's something in Ubiquitous Realities that could be very promising if they stick with it. Definitely give this record a listen, as this is a very strong Costa Rican split that just very well might surprise the living hell out of you.

(8 Tracks, 31:00)

9/10

Detonation - Reprisal (2011)

Netherlands based death/thrash and melodic death metallers Detonation sent me this all of the way back from 2011. It's also the last disc they released before going on a long hiatus, by which another full-length has not yet appeared. I don't think we'll hear anything else from these guys again though, especially seeing as bassist Otto Schimmelpenninck van der Oije is now in a very famous female fronted act by the name of Delain and guitarist/frontman Koen Romejin is is currently playing in four other bands right now. There's still a possibility, but will it ever sound this good? The best of Dark Tranquillity, Dissection and a little bit of Opeth are here, along with some groove bits that really stick. Fans of At The Gates and Nightrage will also find something here in Reprisal, as Detonation will sound like long lost friends that you never knew you had. Without question, everything that I love about melodic death metal is here, but the disc is not overly beautiful. Instead, it's main concern is to plunge your carcass directly into the ground with no remorse or even a hint of a clean vocal. Yes, this is melodic death the way we remember it, albeit with just a few injections of modernism.

These guys are ill-reviewed on Metal Archives, almost as if someone completely forgot that they made two records in 2005 (Portals to Uphobia) and Emission Phase (2007). Their debut (An Epic Defiance) has an astonishing 90% however, which makes me think that it must be even better than the disc I'm reviewing, which only has a 70%. That being said, only one person reviewed each album, so that's a very biased opinion to judge I feel. Autothrall did provide the review for this one however, but he can be a bit biased towards some of the discs I like, himself preferring a much different quality of metal than myself, apparently. I can guarantee that if I sat down with the guy and listened to some of the records he gave 100% to, I'd probably find something wrong with them, or that they aren't quite so good. The likewise could be said about some of my favorite albums as well, because reviews are merely opinions and only resonate with listeners that feel the same. This is just my opinion, it is just my observation. I always encourage people to listen to the discs themselves.

This disc is pretty damn old and from what I can tell, it's certainly not a reissue. Hell, the sound quality is low for this promo, so it's awful fuzzy to begin with. Too bad, because these guys are good and they don't even have a proper Bandcamp. They have a Facebook and ReverbNation as well as a home page, where two of their records have been sold out for quite a while. (They're also the two that have not been reviewed on Metal Archives, strangely. Does anyone have these fucking records?) Apparently, you can buy this disc for thirteen euros along with the debut which only sells for eight. If you don't want to do all that, you'll probably just listen to the damn thing on YouTube. The band's home page hasn't even been updated since 2013 and that was just a “we're not dead” update, so go figure. Anyway, these are a great bunch of tunes in the old school style of melodic death metal and maybe they'll make some more of them in another ten years or so. If you want to hear what the frontman/guitarist is up to now though, you can check out Apophys which released their debut album Prime Incursion last year. They play tech-death, so it's a little bit different than this record though. Give them both a listen, I'm sure they're worth it.

(8 Tracks, 35:00)

8/10

Aggravator - Sterile Existence (2016)

Note: The following release is cassette only as of this review.

This is the second full-length from Texas thrashers, Aggravator and it's far from aggravating. But I'm sure these guys have heard that one before. In any case, this is the kind of thrash I like. You can hear the Slayer, Sodom, Metallica, Destruction and company influence on the record, but Aggravator are the kind of band that come forth with more force than acts like Slayer have in years (not Sodom though, they killed it this year!) especially with the blood-curdling rasp offered up by frontman Derek Jones. I love it when metal sounds evil, and I think his Jeff Walker approach to the genre comes off completely ravenous. But it's not all about Jones, as the other three dudes in the band show that they can play thrash with the very best of them.

Let me tell you why I would prefer a band like this to something like Death Angel, for instance. First of all, the last Death Angel record I heard just sounded like the same couple of riffs repeated over and over with no real rhyme or reason. There wasn't anything about the record that really appealed to me and I felt that listening to it was a waste of time compared to the new Sodom or something like this. Aggravator are the kind of act that I'm not even sure if I should call thrash or death/thrash, with influences that sometimes seem to veer in mid-era Death territory. They definitely mainly play thrash, but they play thrash with enough attention to detail that you're not completely bored.

To thrash purists, there's probably not too much going on here that they haven't heard and I'll meet them on that end. Yet you have to take notice of some of the little interjections that will appear on a cut like “High Impact Homicides” for example. I always preferred thrash acts like DAM and Vektor who tried to do something a bit more with the genre, rather than rehashing what has already been done on each additional output, which is what Aggravator are trying to attempt here. I never said it was perfect, but it's better. I'd much prefer them over an act like Warbeast, but wouldn't shy away from seeing both Texan based acts in a show together.

If you like to hear the sound of angry guitars and dueling solo efforts (Jesse Lopez delivers well in that area) as well as as barrage of drums (Martin Cortes) and classic bass nodes (Tristan Hernandez) then you've certainly come to the right place. It won't quite reinvent the wheel, but it certainly makes a mark among several of the thrash acts I've heard this year.

(9 Tracks, 33:00)

7/10

Excuse - Goddess Injustice (2016)

I thought we were going to have another electronic album on our list, but it seems that is not the case. For this record from Finnish natives Excuse only begins with a slight electronic glimmer as it transforms into a level of thrash that is right up there for fans of Sodom, Slayer, Sarcofago, Destruction and you know the rest. This being said, these guys really do kick some ass and I do mean that in the most tasteful way possible. Thrash bands are literally a dime a dozen and it's tough to find the kind that really break the mold, but these guys do exactly that, at least where composition is concerned. Sometimes there's a bit of black metal tinge and I even recall hearing a little bit of triumphant folk on the disc's opener “Obsessed... With The Collapse Of Civilization.” But don't get it twisted, because this is still a thrash record at heart. Goddess Injustice doesn't mind building layers to add more of an experimental quality to some of these pieces, which are of course, to my liking. I'm nearly tired of thrash acts that all seem to sound the same, so just the mere noting of a little more to the formula as I've heard here, is worth talking about. Finishing the review out, “Invitation From Beyond” works as a great instrumental opening to the unexpected seven-minute cut, “Baphomet” even though I'd say the track is just a straight-forward thrash cut, albeit with a killer solo. Worth checking out if you're sick of old thrash outputs that you've already heard, Goddess Injustice is like a breath of fresh air in what is increasingly becoming a rather stale thrash scene.

(4 Tracks, 18:00)

8/10

Chronic Hangover - Neo Inferno Italiano (2016)

Chronic Hangover are an Italian act that seem to mix what I'd consider a bit of rock, thrash, and other modernisms into the mix – one I particularly do not care for. But it's not the mix in general where the problem lies, it appears to be in the frontman's approach to screaming. Or I should say, his constant screaming. I also found it quite ironic that his name is Jacopo, who is also the name of the character in the visual novel The House In Fata Morgana that I always hated, even during the redemption stage. Odd remembrances aside, I'll agree that these gentlemen do pack quite a punch with their oblong approach to rock music which even reminds me of an act like The Murderdolls. There's definitely some air of a punk rock vibe going on here, but with more of a thrash edge and some surprisingly rocking solos courtesy of Mattia. In a way, it's more of a punk rock/thrash, except when it's not. Some unexpected blues rolls into “Sociopatia” and equals out to a punky blues, but still retains a hard-edge. Even though I don't like Jacopo's vocal approach at first, I feel that it does go with the act and after awhile, perhaps I could enjoy it. During this second listen, I'm finding that it isn't necessarily unlistenable and Mattia handles the guitar well-enough to keep my attention in spite of the vocals. The band almost feels a bit like grunge rock, but they don't really seem to play too often by the rules and it does make for a performance that shouldn't grate on one's ears. A track like “Regreludio” even features some non-screamy bits from the band's howling frontman, which is a welcomed paced after so much of his voice in my ears. At least he's got spirit though, which is going to count in spades when these guys take the show on the road.

Getting back to the record, we also get a bit of psychedelic doom (or that's what it seems to me at least) in “Alamut 2112” which seems to continue into an untitled instrumental piece towards the end. If I could sum the whole thing up, I would basically consider Chronic Hangover to be the kind of band who mix in rock with a little bit of grunge, punk, doom, blues and whatever else they feel is necessary. They're the kind of act that definitely have mainstream potential, but I just can't quite get over the vocal edge. Even so, there's enough intrigue within Mattia's guitar compositions, Fabrizio's thick bass chugs and Charlo's proficient drumming to make this an act worth checking out. Yes, you heard me right – even though I'm not entirely crazy about some of the lengthy vocal howls utilized here on the piece, I wouldn't shy this one away from rock fans due to the sheer amount of effort put into it. It comes in at forty-three minutes of playing time, which tends to stretch out a bit further when you listen to it, for better or for worse (depending entirely on the listener.) Go listen to a few tracks on their ReverbNation page and give it a listen for yourself to see if you dig it. There are about three tracks from this release here, though I am not sure if they were mastered the same way. Even so, it should give you just enough to chew on before you decide to take the plunge and pick up the record when it comes out later this year.

(10 Tracks, 43:00)

7/10

Maleficence - Realms Of Mortification (2016)

Boasting two tracks on this 7” these Belgian death/thrashers deliver a memorable performance right form the start. After some atmospherics that remind me a little of hell, we get right into the thick of it with driving rhythms, razor-sharp vocal lines and pumping leads. This is the way that The Crown and other acts have done it for years, and damned if I'll complain about it. It's raw, rough and rowdy; which I'd simply have no other way. But that's just the first track. After the death/thrash ensemble, we get into something with a little bit more groove and melody. Obviously these aren't pretty melodies, giving us a record with that same sense of dread and bite that we'd expect. Oddly enough though, it takes about two or three minutes before the vocals come in and I'd almost thought I was listening to an instrumental cut. Then wouldn't you know, these guys go right back to thrashing. What I've gathered here is a death/thrash act that wants to play out of It's comfort zone a little bit, which might be a tough sell for some; albeit a godsend for others. From listening to the album during a quick refresher I can already tell that these guys can play, and they manage to put on a pretty pleasing performance even when it's all said and done. The band's use of atmosphere works very well to bring them in, while the unexpected dips into other metallic territories give them a chance to shine beyond the thrash. As we know, almost anyone can thrash with death metal vocals these days, but only a handful of bands can actually get it right. Maleficence are definitely one of those bands, with this short offering being a great sampler to what will know doubt be an even stronger performance in the future. It's definitely a promising little 7” vinyl and I think you're going to want to get your hands on it.

(2 Tracks, 11:00)

8/10

Black Absinthe - Sounds Of Denial (2016)

A mix of thrash, blues rock, alternative and even death metal, we have something rather unexpected from Canada's Black Absinthe. Apparently this is a bit of a new direction for the guys as their Metal Archives definition is considered to be Heavy Metal/Punk Rock and I'm hearing something completely different. Let's take, “Is This Life” for instance. It starts up almost with a Metallica style thrash, but then rolls into something that sounds more like chorus friendly radio rock. Maybe a little like Fozzy. Then you've got the fiendish death growls which seem to come out of nowhere. Technically this doesn't make them death metal, but there are a lot of thrash bands out there with death metal vocals. “The Wild” opens the disc with a sort of southern blues rock, while we hear a sort of progressive touch on “Berj Khalifa.” Maybe it's a bit more melodic, like the Police. Whatever the case, there's definitely some experimenting going on here and it's working for them. Jack Cerre isn't the best vocalist in the world by far, but he's a great guitarist and really seems to be stepping out of his comfort zone with this one. “Now” definitely shows one of his best sing-along moments, proving that this debut (it's not actually an EP) has the band with their feet in the right direction. No one needs to point it out, they're already there. I have a really funny feeling that an act like Black Absinthe could become very popular due to the type of formula they have here. Now this is just me speculating, but I'm going to break it down for you.

First, I've noticed that these guys have a very commercial vibe when it comes to compositions, but they still manage to stuff it with just the right amount of raw meat in the vein of extreme metal (Winter) to appeal to the metal community. Those heavy parts, as sparse as they might be on this disc, are just enough to appeal to metal fans and will make the act loosely fit the metal genre tag. Cerre even employs a darker tinged sort of riffing in sections that kind of sounds like black metal and that's usually enough in itself. That being said, they still have that very commercial, very marketable aspect and could have some songs play on alternative rock radio. “Now” would work for that, which brings a very catchy chorus right into the hands of new listeners that will more or less purchase the disc just for it. But none of these casual listeners would expect the band's powerful display of darkness in “Winter” which hopefully is a sign of much greater things to come.

Early Signs Of Denial is the kind of disc that can reel you in and keep you entertained on mid-era Metallica/latter-Trivium/current Avenged Sevenfold style pieces, but will also come with a slight bite in the realms of more evil metal (some of the people that unexpectedly hear these utterances will not be familiar with them and will consider them evil, after all I just had a guy ask me if Stephen King was the devil at work earlier this evening) which many of those casual listeners might not be expecting and will open up to. It's a possibility, just as BabyMetal has opened the doors to an entire genre for non-metal listeners. Necessary evils, I'd think. While not quite as extreme as you like, or not quite as family friendly, you'll definitely get a great variety of material here with the record and it's definitely not the kind of record that would upset members of your religious congregation. These guys are very much in the same vein as Metallica as far as I'm concerned and they're mostly quite harmless. Just be careful, because it does bite.

(6 Tracks, 27:00)

8/10

Colemesis - Viviseccion (2016 Rerecorded)

Costa Rica's long running death metal act Colemesis are back with a new album, which I think I've listened to this three or four times already. It is actually a rerecorded version of the band's demo, which isn't something you hear from bands all that often. If you like acts like Sepultura, Testament, Slayer and Brujeria, then you'll more than likely love the performance being offered here. The album's intro is a little long, but once you get past that (trust me, it's in no way a band note) we'll start getting into more metallic territory. The disc has that feeling of pounding, chunky death metal with bits of technicality that give it a little more edge after all these years. These guys have been around since '92 and have only released two full lengths, this record in fact being considered something of a single. It's much longer than a mere single though, with a total running time of twenty-five minutes, especially with an extra cut “La Malediction De Malinche” tacked onto it. For the most part, the record is well enough performed but it can grow a little bit tiresome on the ears after awhile, which is in most due to the extremely lengthy sections of vocal roar from the band's frontman Fabbian Bonilla. Though he's a seasoned player and can really craft a few striking portions on the record along with Gabriel Morales (also guitars) this elongated vocal approach can sometimes just feel a bit overbearing to me and can get on one's nerves – it just kind of sounds like it's there, with no real emotion or thought put into the pulverisation.

There are definitely a few tracks here that benefit from this traditional death gone technical, but the real hit on the record is actually the disc's bonus track which adds a native touch to the work and gives off a decidedly Latin American vibe to the metal that these guys play. There are acts that do it far better, but these guys have been around for decades and this record shows that they're not ready to give it up just yet. Aside from the vocal nitpicks, there's nothing that I couldn't recommend here and death metal fans will be just as pleased with the band's attention to detail as well as their dedication to the dirt and grit that makes this brand of death metal as memorable as it is. You're getting a rough release, but you're going to want it rough and heavy, which is just what these guys manage to do.

Colemesis aren't the best Latin American death metal act I've ever heard, but they're still worth checking out and giving a listen for fans of the genre. You'll find some great things here if you're a fan of that mid-era Sepultura sound as well as other thrash acts and the death metal of Brujeria. Worth a listen.

(7 Tracks, 25:00)

7/10

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

Nuclear Hatred - Nuclear Hatred (2016)

Originally called Zamboni, the band decided to change their name at the last damn minute, which makes me glad that I decided to wait to review them. A band that I can immediately recall after hearing “Killer Croc! Hit him with a rock!” (Batman fan here) these New York/New Jersey punk/thrashers actually caught my attention with this debut album, which had been riddled with delays and personal dilemmas. The band itself is rife with drama, so it's good to see that they managed to get something out, even if it was two years later than originally planned. You see, the recording began in 2014, but it hasn't released until now which is quite odd because this is only about twenty minutes of material. It's the same length as one of their EP's to be honest, but is still interesting. Crawling out of the ashes of thrash act Obliterator, Robert Orr seems to carry that same thrash mentality here, except watered down a little more for a more in-your-face punk approach. Chris Butera handles the vocals here in just that sort of fashion, with a real middle finger in the air sort of vibe that lends it's way to powerful punk anthems. I don't usually like punky stuff, but this is one time that I'm actually a bit interested. The one thing that you'll notice about these guys is that they sound a bit classic and don't opt for the pop-punk emo crap stuff we've got these days. We do get some pretty heated guitar solos, and even though the drums are programmed, it's really tough to tell. They've got a good software program to make for such an authentic sounding kit and that's surprising as you can normally tell when the drums are programmed. When you pop in this disc, it'll hit you hard. It's not overly brutal, but it's definitely full of aggression and perhaps some comedy as well. Themes for wrestlers, zombies, supervillains and other such meanderings appear on this record, which shows that these guys have obvious dedication to their craft and will only get more refined with time. If they're able to release another recording at some point. It might be 2034 before we hear another one of these, so I wish these guys luck with the new moniker and what does feel like a proper release. Though they think of themselves as the most awful band of all time, I'm sure none of these guys have heard Cat O' Nine Tails Records biggest secret, Flowers Of Disgust – the literal worst band of all time. Though admittedly, I like them as well. Just can't get over song titles like “Man In Hot Dog Quandary.” That being said, give the record a listen and please try to support this act, which barely even got it off the presses.

(9 Tracks, 21:00)

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

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

Occult Burial - Hideous Obscure (2016)

At first listen, this record sounds like it might have come out thirty years ago, but it's actually brand new. Yeah, I know. It's hard to believe that three dudes from Canada were able to unearth the spirit of eighties black/thrash in a fucking basement somewhere, but that seems to be the case. Obviously you can already guess who inspired this band, acts like Holocausto, Venom and Sarcofago among many others – although I admit I'm hearing an awful lot of venom from this performance and that's just fine. This is actually the band's first full-length album and I'm enough of a believer in it to think that it'll even make old heads believers too. I'm just amazed by how lofi the production value on this thing sounds and how classic each track comes across. Joel Thomas is a hell of a scowler, who puts a lot of passion into his work. I'm even hearing some Mercyful Fate there when he hits the highs. You could also consider Mercyful Fate an influence here, and by all means early Bathory as well. Did I cover all the bases? Good. Dan McLoud's riffs sound literally like the very best of this genre, bringing in all the memorable thrash and gallops of the eighties roaring right back at us in all of their retro quality. Again, this record sounds like it was made in 1983, which is also why Dan Lee's drums sound like rat-tat-tats throughout the performance. The eighties weren't necessarily about destroying the kit, they were about really showing what you had on the guitar and delivering a great performance overall. You had to have riffs, because you couldn't get by with some of the other things that you can get by with in metal now. If there's one other musician that I think would dig something like this, it would be Sigh's Mirai Kawashima. He absolutely loves shit like this and posted online asking for some band requests a while back. So Mirai, if you're reading this; I can assure you that you're going to dig this one. It might be a new band, but these guys have truly captured that whole raw aesthetic that heavy metal music used to be. The songs aren't bland either, they actually have structure and purpose instead of just trying to utilize the same tempo or style for every piece. The fact that I am once again hearing real “riffs” make me very happy, in addition to some really incredible and quite audible guitar solos, despite the crackly production. If you're interested in getting your kids into metal and showing them what the music really is, and what it sounded like in it's prime, give them a copy of this. Occult Burial captures all the best of the genre's golden age in just a little more than a half an hour. I'd definitely give it a listen, even just for a history lesson. These guys show us what happened before Nu-Metal, Core, Djent and all that other stuff. Occult Burial is true heavy metal, hands down.

(9 Tracks, 31:00)

9/10