Well, well, well, if this isn’t some of the angriest, most abrasive Grind I’ve heard in a while. The relatively serene album art doesn’t really prepare you for the face-melting assault that lies within. It’s an impressively savage assault that’s clearly taking no prisoners.
The ferocity is allowed to reign freely and only tempered by the occasional more methodical passage where the savagery gives way to a more focussed and merciless heaviness that is no less murderous than the free-form viciousness that makes up the body of their work. Canon Cast is a good example of this as here the guitars slow down and are on a constant killing pace setting whilst the vocals spew hatred and the drums are doing all kinds of crazy stuff.
No, this isn’t pure speed, as that would be too easy; as fully paid up and qualified Grindsters they are well aware of the need for dynamics and variety in their songwriting and these tracks fulfil these requirements perfectly.
Even on the slower parts though the band never relinquishes the harsh nature of their being. No matter how fast or how seemingly uncontrolled they become they’re always focussed on the aggression; no matter how slow or how refined they play they’re always focussed on making the song nastier and heavier – there’s no Post-Grind here, just unrelenting musical destruction.
If you want my advice, and I know you do, go and get this now. Play it loud and become one with the frenzy.
After listening to the rather impressive Thunderwar EP The Birth of Thunder, I thought it best to quiz the band about it and find out a little bit more…
For those that are unfamiliar with your band – introduce yourself! Give us a bit of background to Thunderwar.
Hi there!
My name’s Witold Ustapiuk and I’m the lead guitarist at Thunderwar. We play old-school Death Metal, combining the non-compromising feel of the American scene with the atmosphere of the Swedish one, adding a little Black Metal flavour to it.
Give us a bit of background to Thunderwar.
My band has a short, but turbulent history. In July 2012, we released the first single, containing the song “Eagle of Glory”, which we again placed on “The Birth of Thunder” EP, as a bonus track. After sometime we decided to change our name, due to various, more or less significant, reasons. In the beginning of 2013 we went into the studio to record our début album, but were not satisfied with the final effect of the session, so we made a a decision not to publish the material. Towards the end of 2013 we released “The Birth of Thunder” with our own means.
What are your influences?
For me, the greatest inspiration are the Heavy Metal classics. They are the ones that taught me to view the genre in a conscious way. While creating the songs I mostly get inspired by what I’m currently listening to and it doesn’t necessarily have to be Metal. Still it doesn’t mean that I want to have elements like The Devil’s Blood or Blue Öyster Cult, smuggled into Thunderwar. I try to convey a certain emotional content through my music and to introduce the listener to a certain atmosphere.
What are you listening to at the moment that you want to recommend?
At present, I’ve been completely blown away by the latest Inquisition album called “Obscure Verses of the Multiverse”. Consistent, mature and with an original sound. This album puts me into a metaphysical trance from the first till the last second. I’d also like to recommend bands like Tribulation and Cult of Fire.
Your first EP is very accomplished – how did the songs come about?
Thunderwar’s songs are usually created over a long stretch of time. I bring the ready riffs to our practice room, and together with the band, we work on them and get them in order. We try to get all the details perfect and think the whole arrangement through. It gives us a lot of satisfaction, since, as we can see, this system pays off. Our EP’s met with lots of enthusiasm of critics from all around the world.
Tell us a bit more about the lyrics to the songs.
Our lyrics tell mostly about ancient beliefs and religions, forbidden cosmic cults and blasphemous rituals. Using different metaphors we intend to pay homage to our gods and convey ideas, which are very important to us. For example the lyrics to the song Vimana are based upon the themes from the Hindu manuscript “Mahabharatha”.
Are you happy with how the EP ended up?
In spite of the many complications and problems connected to the finishing of the EP, I can say, that finally we did everything, within our powers, to achieve the best effect possible. Our music now, reaches to the regions we would have never thought of. We consider this a great success.
What’s next for Thunderwar?
At present we’re engrossed in the work on the record and the band’s image. Towards the end of the year, we’re going into the Hertz studio to record the full album.
In three weeks we’re supporting Obituary, and this will probably be the last show before the releasing of the record, unless of course we receive proposals to play some bigger gigs before we find the record label.
This is heavy stuff, in the style of Botch, early Cave In, Knut, Zao, et al. This style hit its biggest point in the late 90’s/early 00’s and Teeph sound like they would have fit in just right back then.
Solid Jobs burns with a refined anger and a timeless appeal of pure heaviosity. The songs are impressive and gather influences from a range of sources, merging them into a cohesive whole.
As well as the loud and heavy parts they also know enough about their genre to add in slower, more introspective sections so that they use light and shade to maximum effect.
Teeph also show a bit of a Sludge influence to some of their riffs, greatly enhancing their songs. There is even the odd Stoner riff detectable, such as at the end of Marijuana Chaos.
Vocally the shouting is strong and deeply satisfying; the singer rages and snarls and really hits the spot.
This kind of music takes me back and it’s great to hear a band do it so well. This is an outstanding EP – it’s like listening to an old favourite for the first time.
This is the début album from French Black Metallers Malhkebre.
Underground Orthodox Black Metal played with spite and venom.
The vocals are traditional Black Metal croaks that mix in some occasional chants and more ritualistic utterances and hymns to create an overall impression of worship or summoning of some hideous deity.
Revelation is ugly and unhinged, sounding only one step removed from losing its identity in a feral nightmare of debauchery and twisted filth. There’s nothing pretty or romantic about this form of Black Metal. This is all about the dark side, the underbelly of the scene. The occult feeling is strong but in a base, sacrificial way; rather than being shrouded in mystery or fog it’s shrouded in blood and gore.
For all of this though the band don’t truly lose themselves in a frenzy as they’re more than capable of holding back when necessary and playing slower, no less warped riffs and passages; Hystérie Révélatrice (Part II) is a perfect example of this.
Utterly devoted releases like Revelation are surprisingly rare these days. If you like your Black Metal primal and unadorned then this is for you.
Hyperborean are from Sweden and play Black Metal. This is their second album.
We have 9 tracks here, one of which is a cover of (Don’t Fear) the Reaper by Blue Oyster Cult.
Hyperborean play Melodic Black Metal with bite and flourish. This accomplished band are comfortable playing both at speed and at a more mid-paced rate. Expressive leads and emotive riffs accompany some inhuman drumming to produce the kind of songs that bands like Naglfar and Satyricon would be proud of.
The vocals scream their rage into an empty abyss, occasionally venting into a deeper grunt to emphasise their disdain for all things full of life and hope.
The music is sharp and some of the riffs are surprising; they have a good sense of dynamics and a good ear for melody. They also incorporate more solos and leads than a lot of bands of this ilk and this sits on top of their hardened core making the songs seem to zip by in a colourful blur. And with a 54 minute album this is no mean feat.
This is really enjoyable Black Metal and I like that the band haven’t gone the safe route and simply regurgitated generic riffs that have bean heard a thousand times before; some of the mid-paced riffs especially hit the spot nicely and really get the limbs gyrating along with the tunes.
Quality band, quality album.
The video below is for the title track, and one of my favourites from the album. Give it a try.
This is the fourth album from Greek Black Metallers Spectral Lore.
Spectral Lore play atmospheric Black Metal which courses with malevolence and a feeling of exploration without too much experimentation.
The songs are long, (as indeed is the album at just under 90 minutes), and they’re not afraid to develop their Progressive and Ambient sides. Well, I say “they” but Spectral Lore is actually only one person, which makes this album even more impressive.
The songs have a good amount of interest and variety during their long playing time which is essential for a work such as this. The Blackened melodies slip out of the speakers and the howling vocals are perfectly judged.
Even the bass is audible and does its own thing irrespective of the guitars in a rare show of autonomy.
Each track is emotive and lavishly bestowed with depth and character. A classic and masterfully judged recording harks back to the early glory days of the genre when Black Metal was already straining at the seams of its genre definitions but had yet to burst out completely. The sound in general is reminiscent of early Emperor and Satyricon and evokes nostalgic feelings whilst simultaneously earning it a stamp of high quality.
II is a veritable work of Black Metal art. It’s worth investing in this as its true value will only increase in time.
Hard Charger are from Canada and play Crossover/Thrash Metal.
Thrash Metal raped by Punk. Or the other way around? Who cares; either way this is raw, underground and Metal.
The songs are short and full of confidence and have an Old-School Hardcore feel to them whilst also having sufficient metal licks to keep the mosh-crowd happy.
This reminds me of a more Hardcore-influenced Brujeria more than anything else actually. There’s something about the vocals; the fact I keep thinking the singer’s going to start shouting La Ley de Plomo at any given point.
Regardless, this is a decent listen and unlike a lot of bands who play this genre it’s slanted more to the Hardcore side than the Thrash side, which, as much as I love Thrash, works in the band’s favour.
Some of the tracks have a more rock and roll feeling to them as well, adding a cocksure swagger to the proceedings which shows that the band know how to have a good time. The solos are a welcome addition also.
A band to watch out for. A couple of refinements here and there, as well as upgrading to a fuller, bigger sound and their next release will be a monster.
Tombs are a Metal band from the US and this is their third album.
They play a style of underground Metal that mixes Classic Metal riffs with influences from Death Metal, Hardcore and Sludge. The result is Tombs.
Another way of looking at it is to imagine a band like Doomriders only have them violated by Death Metal and covered by Sludge Metal; a rocking sensibility that’s as heavy and nasty as can be. Again, the result is Tombs.
Not many bands are playing this mix of styles; apart from Tombs there are only a handful of others, including the great Serpent Eater.
The band open with Thanatos; it has a curious sound mixing Doom-laden Post-Metal riffage with prime blast beats and throat-straining vocals. The rest of the album is equally impressive and takes aspects of these differing genre styles in lesser or greater extents to create a varied, interesting and very satisfying release.
The sound is immense and as heavy as Hell. All of the instruments are clear and identifiable and the entire recording is as sharp as a knife.
A real sense of horror and evil pervades the roots of this album; this manifests itself in the actual songs sometimes as blatant misanthropy and hatred, and others as a more nuanced disgust.
There’s a lot of longevity in this album. Start your descent into the Tombs now.
Devangelic are from Italy and this is their début album of Brutal Death Metal.
It bursts out of the speakers in a torrent of gore and blasting, firmly intent on murder and maximum devastation. It’s quite the opening.
This is ultra-brutal and ultra-extreme, with a firm base of USDM and plenty of squeal and chug.
The vocals are deeper than a hole full of corpses and twice as bloody. The singer positively reeks of putrefaction and bloodlust.
The recording is chunky and as solid as a block of granite. It’s heavy enough to flatten at 100 paces and sounds exactly as a band of this nature should. Devangelic sound immense.
This is unsubtle music that nonetheless is clearly played by people who know what they love and love what they know. It’s nothing original but who cares when you can batter your enemies senseless and string up their entrails like party decorations? Devangelic know how to slaughter and they do it very, very well.
Resurrection Denied is a prime slice of bloody Death Metal that should have fans of brutality and sickness foaming at the mouth at the thought of the hideous occurrences they bring.
It’s hard not to like an album as remorselessly, efficiently brutal as this. I’d recommend this. Play it loud and absorb the ugly menace within.
Coming form the US, Lysura play Black Metal and this is their latest release.
II has two tracks, each clocking in at 8:41. This is Dissection-inspired Black Metal with a hint of Emperor.
Seasons in Exile starts off with some soft sounds and a gruff spoken voice barely audible. This slowly and inexorably builds to a rather grand set of riffs and noises reminiscent of Enslaved.
Once the song speeds up the screeching high vocals take the fore and we’re in icy cold territory with some bleak melodics and just a subtle hint of Thrash. Some Doom and even proto-Death Metal passages are allowed into the song enhancing it with their presence.
The second track Tome of Suppression starts with a rumbling, chuggy groove with razor blade vocals propelling it forwards before dropping off into lighter atmospherics with some almost 70’s noodling going on. Things soon get heavy again and add in a few Classic Metal riffs and we’re good to go.
The track demonstrates Lysura’s competence in weaving in small snippets of other genres into their sound without neglecting or weakening the Black Metal core that they’re founded on. Like the first one, this track is a winner.
II has a good energy about it and the band seem comfortable with their songwriting skills, even throwing in solos and leads.
Although this is billed as a demo the sound quality is perfectly fine for the most part and doesn’t get in the way of the enjoyment factor at all.
This is the kind of Black Metal that it’s easy to like; even within the given framework Lysura provide enough variety and interest to sustain and have enough depth of composition to ensure they aren’t written off lightly.
They have yet to release a full album, but when they do it’ll probably by a stormer.
Torch Runner are from the US and play Grindcore.
Wonderbox Metal 