This is the second album from German Death Metal band Slaughterday.
Slaughterday already have a couple of solid releases behind them, (their début album, Nightmare Vortex, and an EP, Ravenous), and this new album continues the trend with 43 minutes of quality, timeless Death Metal.
The band have a talent for writing enjoyable leads and solos, as well as meaty rhythm guitars. If anything, they’ve stepped up their game on this release, with the flowing, grim leads and electrified solos especially.
Featuring a slightly more morbid overall sound than previously, Slaughterday reek of the grave and these songs once again show that the band continue to unleash high-value Death Metal on the world with every release.
As always, I like Slaughterday the most when they play on the slower end of the spectrum. It’s not that there’s anything wrong with their faster work, it’s just that I really enjoy the slower/mid-paced riffs and the moods that these parts evoke.
The singer’s voice is just as guttural as ever, accompanying the well-written music with merciless growls. The overall impact is that of a focused and complete album, with everything where it needs to be and sounding like it should.
This is a very enjoyable release, and I’d recommend this for anyone who has a taste for the old-school.
Hailing from Denmark, Piss Vortex play Grindcore and this is their latest EP.
Piss Vortex return, subjecting an unsuspecting world to more of the angular, dissonant Grind that we so enjoyed on their self-titled début album.
As with their début, this EP is filled with interesting and inventive riffs, alongside a decent amount of Sludge influence in their killing sound. Piss Vortex don’t do things the typical way, which is only to be commended, of course.
Future Cancer is 12 minutes of savage experimental and exploratory Grindcore. There’s plenty of brutality and mayhem on offer, which the band do in their own inimitable way. These tracks focus on causing as much damage as possible from as many different directions at once, it seems.
I can’t help but be drawn into the odd time signatures and atypical riffs that the band use, and these tracks have a lot to offer someone who’s into their Grind with a side order of modern violent Hardcore and nasty Sludge.
Here we have some Scottish Black Metal; Ifrinn’s début release.
This is raw Black Metal that nonetheless doesn’t restrict itself to the generic, Darkthrone-esque classic style, as many bands of this nature do. The album cover should give some mysterious clues away; this is music that mixes in the esoteric and occult into its vicious, spite-filled delivery.
After a dark and menacing ambient intro track, the music soon reveals itself to be equally dark and menacing, albeit also layered in distortion, speed and hateful invective. Ifrinn embrace the core nature of Black Metal and turn its simplistic pleasures to their advantage, wallowing in their self-generated atmospheric and moody soundscapes.
The music is darkly spirited and the songs wallow in the mysterious, otherworldly ambience that they create. The third track, (Sulphurous Oscillations), is another mood-piece, reinforcing the feeling of something strange and unsettling going on.
We end with a final song that shows a good grasp of bleak melodics and primitive auras, showing the mastery of shaded blackness that the guitars in particular employ .
Screamed vocals that frequently turn into agonised groans are a tortured accompaniment to these tracks, fixating in the listener’s mind the idea of something unhinged and tormented, barely concealed beneath the surface of the reality that the music allows you to glimpse.
This is a quality release. The music has an atavistic atmosphere that is a joy to revel in, without the emotive content becoming maudlin or stale; it’s warm enough to be inviting and cold enough to be strong and unforgiving.
This is the latest EP from Chaos Moon, who are a US Black Metal band.
Having previously enjoyed their 2014 album Resurrection Extract, this is a re-released version of their 2015 EP of the same name, with two extra tracks added on for a total running time of 44 minutes spread out over 6 songs.
Chaos Moon’s music is atmospheric and raw, with elements of Shoegaze and Dark Ambient. Theirs is Black Metal with character and a grimy, occult lustre that marks them out as something a bit special.
Obscure melodies and sinister vibes are never too far from the blackened action, and the relatively subtle keyboards are artfully hidden just the right amount behind hateful distortion, which allows them to come to the fore when the guitars are absent.
My favourite track is probably the title, (and opening), song Amissum. It’s one of the bonus tracks and is a seething mass of blackened bile and repressed atmosphere. It’s an impressive piece of music and as the newest song here it bodes well for their upcoming album.
The rest of the music here is no disappointment, mind, with the remaining songs showcasing the band’s mix of aggression, mood and blackened sensibilities. Each track has something a little different to offer the listener and taken as a whole it’s a very well-rounded package.
Overall the band’s songwriting is suitably strong, and Chaos Moon are definitely improving over time. This latest release keeps up their high quality levels and exceeds them in some ways, producing an album-length EP that is extremely enjoyable indeed.
Vredehammer’s second album Violator is an incredibly enjoyable 35 minutes of blackened aggression that I can’t seem to stop listening to. Wanting to know more, mainman Per Valla provided me with some more information…
For those who are unfamiliar with your band – introduce yourself!
We are Vredehammer from the north of Norway. We play extreme metal. Some people compare our music to Decapitated, Keep of Kalessin and Testament etc.
Give us a bit of background to Vredehammer
I started Vredehammer as a soloproject in 2009 without putting too much effort into it really, but when people seemed to like it and I had several offers from labels, I decided to start taking it more seriously. Before we started doing live shows Vredehammer had already released 3 EP`s. After this we signed to indie recordings and started releasing albums and doing tours etc.
What are your influences?
Probably the same as for all metalheads my age I would say. Testament, Pantera, Metallica, Megadeth, Sepultura and so on.
What are you listening to at the moment that you would like to recommend?
At the I am listening a lot to the new Dream Theater album “The astonishing”. I definitely recommend it. A real masterpiece!
How do you feel that you fit into the wider Black Metal scene?
Personally I don’t think we are a black metal band, but more just an extreme metal band. Given that we live far north in Norway we don’t really associate with the rest of the Norwegian bands, this way I think we have more freedom to do our own thing and create our own sound with time. Besides that I feel we offer the same amount of quality as other established artist in the genre.
Give us a bit of background to Violator – any particular concepts or ideas you want to discuss?
The music was inspired and written after having done a couple of tours with Six Feet Under. I was never really into their music until I saw them live, and the power they distribute with their groovy material. I wanted to adopt this feeling and offer a more groovy sound and feeling live. The lyrics are mainly inspired by books from Stephen King, war and some personal lyrics where I share my views on ignorant people and the state of the world.
Tell us about the album artwork
The album artwork was created by Remi Juliebø and Indie Recordings. They thought it looked cool and so did we hehe.
How do you go about writing your songs?
I write all the raw material and the lyrics. In the studio all members of the band put their personal touch on the songs through their instruments.
How did the recording process go?
This time the recording process was insanely smooth. No bumps in the road plus we had a really great studio technician Stamos Koliousis. Basically I tracked the guitars at home, sent the files to our bass player who did the same, and in the end our drummer Felix tracked the drums in a studio in Oslo.
What’s your favourite song on the album and why?
My favourite song is Deadfall. It’s a heavy motherfucker!
What does the future hold for Vredehammer?
Hard work and quality releases. That’s basically what we can offer. The rest is up to our listeners, promoters, festivals etc.
This is the second album by US Grinders Morgue Supplier.
This is rabid, brutal Grindcore that takes some Death Metal influences into its nasty embrace, resulting in 41 minutes of punishing Deathgrind.
Fast and intense, the band launch into their assault with glee and these tracks are not for the weak.
An album of this length could get quite boring though in the wrong hands, which is where the Death Metal influence comes in; there’s more than enough tempo changes and slower, groovy riffs to provide additional variety and substance to the aggressive mix.
Scathing screams, sickening shouts and ugly growls provide the vocal contribution and, alongside the well-recorded music, makes for a very satisfying listen.
This is a really enjoyable album. The songs are well-written and provide much more depth and content than a lot of Deathgrind bands aspire to. It has the chaotic mayhem of unhinged Grindcore and the controlled slaughter inherent to Death Metal. Blend these two together and you have a recipe for a winner. It doesn’t stop there though; also add in some atypical, interesting riffs and ideas, and you end up with an album that has far more staying power than most.
This is the second album from Israeli Death/Groove Metal band Ferium.
Ferium’s début album Reflections was a lively and enjoyable album that mixed Death and Groove Metal in just the right amounts.
The first thing about Behind the Black Eyes that strikes me is that it’s a far more focused effort than their début; the total playing time, total number of songs and individual track lengths have all been pruned, showing a band who have gained experience in the last few years and have trimmed away the fat to leave a lean, aggressive Metal machine.
The band essentially employ the same format as they did previously – heavy riffs and groovy beats interspersed with elements of modern Metalcore and underscored by a Death Metal base – but this time it’s tighter and more direct. That’s not to say there’s no depth of songwriting here, rather, the band are now closer to the style they clearly want to play and are playing it as they know how best to do; with angry brutality and poised aggression.
The singer growls and barks his way through the tracks. He seems to have improved on his already very satisfactory earlier performance and on this latest release appears to have settled into his role even more comfortably than previously. His voice is quite versatile, with his many different vocalisations all intent on maximising aggression.
All of the songs are well written and demonstrate a band coming into their own. Interesting and nuanced riffs rub shoulders with simpler bruisers, resulting in satisfying songs that may take a direct approach but provide enough content so as to be worth returning to over time.
Well, Reflections was good, but this is better. Well done Ferium.
Highly recommended for fans of Whitechapel, Gojira, Lamb of God, Job for a Cowboy, Thy Art Is Murder, Meshuggah, etc.
LLNN are an atmospheric Sludge band from Denmark. This is their début album.
Mixing Hardcore, Sludge and synths, the band create a dark sci-fi themed album that is quite apocalyptic in scope and feel.
Passionate, acidic screams ring out over a tide of crushing distortion, while relatively subtle sound-enhancements add texture and mood to the onslaught of heaviness. Lonesome backing cleans appear occasionally like a ghost in a maelstrom; spectral and mysterious.
Think Will Haven mixed with early Cult of Luna to get a good idea of where the band are coming from. It’s a dark and malevolent Post-Hardcore take on Sludge Metal and is almost as creepily atmospheric as it is oppressively heavy. Almost.
LLNN offer a hypnotic nihilism driven by a fatalistic acceptance of the fate of existence, which, paradoxically, also ends up being bleakly uplifting and empowering by the end of it. This is music to fall in love to at the end of the world.
This is the latest EP by Rats of Reality, who are a Blackened Crust/Thrash band from the UK.
A short EP at only 11 minutes in length, Rats of Reality manage to have an unexpected start to this release which throws me slightly, before proceeding to demonstrate that yes, they may play some gnarly, crusty, fast-paced blackened grimness, but they do it in unusual and unexpected ways.
On paper, bands like this are plentiful and there’s sometimes very little to differentiate them from each other. As mentioned though, Rats of Reality are a bit different as they also use riffs that are a whole lot more emotive than most bands of this ilk write. They don’t always do this, (Leeches, for example, is a much more straightforward proposition), but when they do the melodies sometimes border on something you’re more likely to get from a Post-Metal/Shoegaze band, and at other times definitely are. Deafheaven plays Crust? Kind of.
Regardless, it’s an interesting and unusual slant on a well-worn sub-genre and overall Obsequies is enriched by these more melodic, emotive guitars. The ugliness of the core style is still here, but now it’s a beautiful ugliness. Or something. Just listen to it, you’ll get what I mean.
I’m pleased by this, as Rats of Reality have surprised and impressed me. I always enjoy it when a band does something a little different, especially if you weren’t expecting them to, and this certainly qualifies.
Rorcal are a Blackened Doom band from Switzerland. This is their fourth album.
Rorcal are an intriguing band. Having produced a lot of Doom/Sludge/Post-Metal music over the years, their last couple of releases have shown an increasing Black Metal side to their sound, which they now seem to have fully incorporated into their repertoire, (see their split with Process of Guilt, for example). In fact, they’re pretty much at the point now where you could describe them as a Black Metal band and not raise too many eyebrows.
This latest album sees the band offer forth four new tracks spread across 53 minutes, each one a monster. κρέων (Creon) once more demonstrates the band’s mastery of Extreme Metal in all its guises.
The Black Metal elements are present and correct, as are the Sludge, Post-Metal and Doom ones. Rorcal have always had a surprisingly clean and sophisticated sound, despite their predilections for darkness, and κρέων (Creon) is no different. The music may be grim and charged with an energetic negativity, but the band always seem to manage to sound cutting edge no matter what they’re doing, even in their sludgiest or most blackened moments.
These songs mix blackened fury with progressive intent and atmospheric Sludge. As always, whatever aspect of whatever style that Rorcal are currently focusing their attentions on seems to work for them, and the aura of malevolent aggression and downbeat nastiness that these songs exude is palpable.
So, Rorcal return, triumphant, bold and victorious. They are fast becoming one of my favourite purveyors of darkened delights.
This is the second album from German Death Metal band Slaughterday.
Wonderbox Metal 