Gutvoid - Breathing Obelisk

Gutvoid is a death metal band from Toronto, Canadawho formed in 2019. Their latest release, “Breathing Obelisk” is their second EP; they have also released a full-length and a split.

Gutvoid and “Breathing Obelisk” are filth soaked in horror, burned in the cold vacuum of space and then resurrected as some sort of entity from which the only fate is death, or maybe something worse.

The music matches the album’s artwork, that is for certain. The melodies, if you want to call them that, are cold and distant. The tone of the guitars are deep and expansive but offer the pressure of near unbearable weight. The band is at their best when the rhythm is tight but laced with ambient, spacey textures that make the songs scream out in unbridled terror.

It takes a special band to harness the underground appeal of death metal while stepping it’s box. Gutvoid is that band and across the 30 minute, 4 song runtime, they grasp the void with outstretched claws. Can something be as scary as it is brutal? Can something offer nervous energy but the overwhelming desire to discover the unknown? “Breathing Obelisk” sure does.

Even at their most explorative, they are first and foremost a death metal band—and the band never forgets it, nor do the songs. The opening song, “Swamp Consumed,” starts out with these clean tones, dripping down over the sweltering riffs like blood splattering onto the floor from the end of a knife.  

Crushing rhythms propel the journey into the unknown, set to the backdrop of bleak catastrophe. I love how the music is as powerful as any other death metal I’ve heard yet it’s atmospheric match that intensity, in its own way. The song contains moments where the metal aspects are front and center, either leading into or returning from, a more detached batch of notes.  

Albums such as this work, at least to me, when they are slower or mid-paced. However, the band proves just how wrong I am because when they speed up tempo, such as with “For We Are Many,” they lose none of their gnawing trepidation.

The solo that hits just before the halfway point perfectly grasps the ideas presented in the song while helping to transition the song to a mid-paced groove at the halfway point. The last minute or so proves to be the most sterling , what with their spacey atmosphere absorbing the riffs as they all move as one. 

But even the darkness craves a big hook, which is the case with “When The Living Dome Opens,” and it's insanely groovy opening. The vocal cadence matches it and the whole thing is very memorable. 

The final half is huge—a rip roaring solo propels itself through the song as the drums break it down. The ending riffs are lumbering, finishing the song out in an explosive fashion…but wait there is more! A clean interlude of sorts arrives after to lead the song into, and out of, a psychotic break.

“Shodar” finishes the album, building up its presence before the break at the .55 mark where the notes groove out for a bit before heading into dissonant waters.

The chorus here is surprisingly catchy, as the guitar solo later on. Afterwards the song builds itself back up again to another chorus.

Gutvoid's “Breathing Obelisk” is a disturbing but fascinating journey into the heart of oblivion that captures the balance between heavy music and imaginative song writing. 

Cobranoid - Cobranoid

Cobranoid is a metal band from Denver, Colorado who have dropped this banger of a debut self-titled EP.

The FFO section of their press release that was sent to me mentions High On Fire.  Indeed, such a name drop requires a pedigree that few bands in the stoner/doom/sludge genre could back up. 

Despite being a “newer” band with only this album under their belt so far, they back it up extremely well across this blistering six song, 29 minute speed ball of an album.  Their press release also called them a mix of thrash/speed and doom.  Once again, the band straight up nails that sound.

It might be hard to believe that a band could be both doom and thrash but, the truth is, doom doesn’t always have to be slow.  Sometimes it is mid paced with a lot of groove—this isn't funeral or Gothic doom.  Much like HoF, Cobranoid mixes several genres at once and can go from slow to fast at the drop of a hat. 

Regardless of how you may or may not feel about what they call themselves, in the end nothing else matters except their goddamn riffs.  And they have riffs for DAYS.  Hell, they have riffs for YEARS. The guitars, bass and drums fit more groove into these 29 minutes than a lot of bands do in double that time.

The guitars are dirty, muddy, thick, yet have that certain ‘in your face’ attitude that so often graces thrash.  Killer solos, a tone that sounds like an avalanche, and rough vocals all come together for maximum effort.

Since the album is just six songs, I’ll say a little about each.  The opening song is “Flesh and Bone,” a ripper that begins with those aforementioned riffs.  The vocals are menacing and low, somewhere between a death growl and a Crowbar/High On Fire snarl.  The drums are massive and complement the riffs so well that I can’t even decide which one is better.  Why not both?  How about that bass?  Imagine rolling a tire down Mt. Everest and it hitting someone at the bottom.  Pictured that?  Yeah you can hear it through the bass on the song (and album).

The second song, “Shimmer” starts just a few precious seconds after its predecessor ends.  Rather than tip toe around the pieces left behind in the destruction, this song just plows through, breaking already broken bones.  The cymbal work is magical and grabs my head, slamming onto my computer desk (not literally but close enough).  The vocals find a very catchy rhythm, asking the question if something this dense needs to be an earworm?  Yes, yes it does.    From the halfway point all the way to the guitar solo, this song just doesn’t quit.

“Halfwit” marks the album’s halfway and, at this point, it is obvious the band isn’t just heavy for the hell of it.  Well, they might be but they also know how to craft a song that can stay with you even as it crushes you.  After about a minute, the song briefly fades out before coming back twice is a killer. The mid section speeds up quite a bit, the tempo pulling the notes like a whip. It really is impressive how this band has such a cohesive sound even while combining two genres that, on paper, can’t be combined.

“N.E.S.” is the longest song on the album, nearly six minutes.  It’s length allows the band to expand ever so slightly on their sound.  The riffs are more intricate, the drums even more explosive, and the music just seems to have a little longer to marinate. It’s also blazing hot speed metal until around the 1:34 mark when a nice little twist of clean instrumentation cuts through before leading the listener to a swampy, doomed out passage that pulls the ears through like a dredge.

“Doom Shark” is not only one hell of a great title for a song but it’s also pumped with bouncy rhythms and sharp, biting drums.  My favorite part is just after the 3 minute mark when the song sort of hangs back for a few precious seconds before jumping back in with renewed energy  in the form of twisted riffs and a cacophony of drums. 

The final song is the mighty “Hyena,” which goes for broke.  The beginning hammers it out like it’s the last thing they will ever do before settling into a stalwart thrash attack. The middle portion is as intense as anything I’ve heard this year, even being compared to the most extreme.   Wave after wave after wave just hits over and over.  Every now and then I come across a song that is physically exhausting (in a good way) and this is definitely in that category. 

Cobranoid’s self-titled EP is among the best thirty minutes or so you can spend this year.  I promise you as the seconds fly by and rip pieces of your face off, you’ll maintain that grimace as you headbang like it is 1987. 

Dead Sacraments - The Pale Temple and Others

Dead Sacraments is a doom metal band from Chicago, Illinois that formed in 2019. Their latest release, “The Pale Temple and Others,” is their second full-length album. 

This album is a gargantuan experience!  It consists of four massive slabs of doom, none of them under 10 minutes in length.  This is the kind of music I like:  long songs with a ton of depth and many great passages to them.  It’s expansive and deep but not to the point where it meanders off or loses track of itself.  The album is actually quite focused in every aspect, the song lengths running by smoothly.  I suppose some bands, even doom ones, bloat their music for the sake of it.  But that isn’t the case for “The Pale Temple and Others.”  Every second is used because every second is needed.

The songs don’t offer any real type of structure…this isn’t “verse, chorus, verse,” music and it’s all the better for it.  This allows each song to sound truly adventurous with real discoveries to be made for the patient listener. 

This is world building at its finest: each song contributes to the album as a whole but each one is also a self contained world that offers its own rewards for exploration.  This is definitely not an album that requires just one listen and you're done.   It needs to be experienced several times to truly appreciate it.  That’s great because the songs are so engaging, you’re going to want to hear them again and again.  

The presentation could be considered epic or traditional doom.  Mark's vocals are clean but they aren’t operatic or falsetto…just a good, even toned approach that soars–but it soars alongside the equally towering music instead of above it.  It makes for a very even listening experience that keeps the long song lengths from becoming exhaustive to the ears.  The production is basically perfect, capturing the mystical yet dour approach to the band’s lore.

Drummer Ryan handles the lyrics and has said the individual songs are a small piece of a larger picture that’s told in first person.   Each song has a narrator that is doomed to madness and death by their desire to transcend so there is, in Ryan’s own words, “a gnawing dissatisfaction featuring at the root of each song.”  

This can definitely be heard in the music, especially to a listener with patience and an ear for detail.  I sense a growing feeling of despair and trepidation in each song, in addition to the every mounting presence of danger. 

The album opens with “The Pale Temple,” and it goes hand in hand with the amazing cover art:  ancient, mysterious, mystical and even a little dangerous but filled with wonderment amongst the promise of fruitful returns. 

Less than a minute into the song, the album reveals one of its secret weapons:  vocal harmonies.  They are used in excellent, honest ways and make this song, and the other three, surprisingly catchy for the style they choose to play.  There is a hint of sorrow to them, a certain gloom that layers perfectly against the slow moving music.  Likewise, the lead guitar captures the mood as well but doesn’t take away from the riffs or act as filler—another piece of the tapestry.

The riffs after the minute mark are massive, fuzz laden and about as heavy as the temple of which is being explored. Brendan and Mark are hefty axmen, knowing exactly how to present their notes in a way that compliments the song.  Nader’s bass is as potent, an additional storyteller with a lot to say.  The movement at the 1:23 mark is ultra-slow; I’m always impressed with drummers who can handle such speeds, or lack therefore and Ryan handles it masterfully.

My favorite part of the song is the vocal performance that comes after the rumble of riffs at the the 8:30 mark.  From there the song is a dirge t through another land, a glacial romp that springs to life imaginative images.

The second song, or journey to be honest because that’s exactly what each song feels like, is “The Mountainside.”  The seconds begin with nothing but the bass opening up the adventure–it’s deep and haunting yet world building all at the same time.  The guitars and drums soon arrive and, much like its namesake, the song is high and mighty with a dense layer covering all in its path.  

The vocal harmonies are absolutely fantastic and ride alongside the music with an easy going flow.  The vocals are almost monastic in a way, similar to chants—I like it this a lot, adds to the veil of mystery that permeates the song, like clouds covering the top peak of a mountain. 

Around the 8:05 mark, the music pauses for a brief moment, allowing the vocals to shine before the hammer drops.  The drums and bass bring the rhythm down hard, ultra thick riffs that hit harder than a building caving in on your face.

The final two songs, “The Weeping Court,” and “The Starless Sea,” are my two favorites.  At this point, it feels like the album has grown more ominous and dark as if this entire time I have been part of an epic journey that brings me descending further into the unknown.

“The Weeping Court,” has a creeping, nervous energy as it slowly builds up.  The bass and drums act as the center, the rest of the band kind of growing around them until a full celestial body is formed.  

The vocals cry out, as if needing help from some unknown location.  They echo off these walls, bouncing off the song’s glacial body and movement.  The result is a huge song with a wide scope that seems to expand outward like some kind of living, spiritual being.  The drums pick up the tempo a bit towards the end, pulling itself along as it fills the air with the crackle of energy.   The guitar solo, which begins after the seven minute park, is emotional as hell but it doesn’t steal the show but rather complement all that came before it, is with it, and will continue to be.

“The Starless Sea,” consists of a slow groove that is surprisingly infectious and catchy.  The drums compliment the guitar so goddamn well, especially the cymbal and bass drum work.  Even more so than the other songs, the vocals and instrumentation meld into one huge force…vocals are an instrument too and these guys really understand that. 

The song grows more desperate as the second tick by until the 4:25 mark when all hell breaks loose.  The tempo is kicked up just a notch and all cylinders are fired.  Ever slow headbanged?  Of course you have.  If you haven’t, you will now.  The last few minutes are great as the guitars bang out row and row of riff as the song fades off to scattered drums and vocal harmonies.

Dead Sacraments’ “The Pale Temple and Others,” is a magic album that takes  me to a far off land.  Despite this land’s dangers and unknowable portions, it is always engaging and worth the time it takes to journey through.  Doom has been a hugely dominant genre this year (or every year because doom metal is just the best) and this album kicks the final parts of 2024 off on the right foot. 

Deceased - Children of the Morgue

Deceased is an extreme metal band from Virginia who formed in 1985. “Children of the Morgue” is their 11th full-length album, although since their previous two were just cover albums, this is their first full-length of original material since 2018.  

They are one of the more original bands from the scene, their sound not strictly being only death metal. They also incorporate aspects of hardcore punk, thrash, and traditional metal into their repertoire. 

Despite its dynamic and eclectic musical path, “Children of the Morgue,” is a cohesive album with a decent flow from track to track. There are quite a few short tracks that act as interludes of sorts; they are of very degrees of style. 

"Turn To Wither,” is the best of them as it’s a riff focused instrumental that bridges the gap between two very good songs. With that being said, I could do without the other ones but, ultimately, they do serve their purpose. Regardless, the full songs are all solid and there isn’t a bad one among them.

The overall atmosphere is extreme with heavy occult/horror vibes. The guitar tone, both in the riffs and the leads, matches those themes; the whole album comes off as energetic while still being appropriately misanthropic. Of course, the subject matter consists of the concept of death and the process of going through that darkness so it’s good the album captures this well.

The slow, ominous leanins of “Destination: Morgue” and its opening moments get the ball rolling in a depressing, sinister way. It’s just a short intro but sets up the album and leads into “Children of the Morgue.”

Despite the subject matter, there is a sense of urgency here. The riffs aren’t particularly fast but the drums thrash about before the rest of the instruments catch up, the song going into balls out thrash mode. 

The vocals are somewhere between a death growl and a heavy clean–it works because the music doesn’t adhere to just death metal. The hardcore flourishes throughout the song work just as well,offering a different take on a subject that is presented so often with unrelenting extremity.

I find the band at their best on songs like “Terrornaut,” when they inject a dose of atmosphere into their music. The opening riffs are more spacious than dynamic than leaning solely on rapid fire attacks or crushing groove. The clean part with the spoken word around the 1:25 mark is a nice touch, a little twist in the myth. 

“The Gravedigger,” is the longest song on the album, reaching close to 9 minutes. The first half is marked by tight riffs and melodic base—the song is subtle in a strange way, building up towards the halfway mark even as it’s explosive in its own way. At the halfway point, the song gains aggressive tendencies with a killer guitar solo.  

“Fed To Mother Earth,” is one of the more intense songs, built with a catchy groove and vicious vocal delivery. The solos are great, whether it’s the melodic one in the beginning, or the one that rips through in the later half, leading to the aftermath of destruction around the 5:30 mark.  

The album ends with another banger in the form of “Farewell (Taken To Forever)" and it’s nonstop energy features a lot of changing riffs and well-placed solos. The song is rather chaotic until the 5:26 mark where it slows down to a doom-infused crawl for one of the best moments on the album. The riffs are balanced between deep density and melodic tinges as the song winds down with yet another killer solo. The sudden bursts of speed just before the end finishes the album in the only way it could end.

I love it when legendary bands make a comeback and prove to everyone they still have it. There has been a resurgence of bands returning after a long absence and Deceased’s “Children of the Morgue” is quite the return!  

Vomitrot - “Emetic Imprecations

Vomitrot is a Swedish death metal band who formed in 2019.  Their latest release “Emetic Imprecations,” is their second album; they also released a demo in 2020.

Based on the band’s name, artwork, promo photos and the song titles, I was fully prepared for “Emetic Imprecations,” to be absolutely insane.    I don’t think I truly could have ever been prepared for the special type of carnage that exists within this blistering six track, 26 minute long album.

A lot of death metal is brutal, unnerving or abrasive.  Vomitrot offers that…plus nonstop insanity and a 100% uncompromising take against what constitutes good taste.  Does that sound like something you would like?  Hell yes, it does.  If not, why are you reading this review?  Go get some taste and come back to see me later.  

That is, if I’m still alive.  If anything is going to kill me, if I am indeed going to be found a dead and bloated corpse wearing headphones, it will be because I didn’t survive this album.   Even for death metal, this album is extreme to degrees that is hard to achieve

The most impressive aspect of the album is the band’s ability to make their songs sound like impenetrable walls of sound–distorted noises that are the audio equivalent of the screams of the damned.  But despite how invasive and encompassing their songs are, they don’t sound muddled or messy— this is rabid brutality that is still precise in how and where it stabs you to death. 

Each of the six songs offers a moment of pure disgusting, archaic passages that would make anyone not accustomed to death metal cry in the corner.  It’s almost as if as they were writing the album the band said, “How can the next song be even more sick?”  Hell, maybe that is exactly what they did. 

“Envomited,” opens with the sound of, what else, retching before it vomits forth with oppressive, hellish drums.  The riffs seem to be trying to outrun the rest of the song but everyone stays together, led by the truly depraved death growls.  Around the 2:00 minute mark the band doubles down on their sound that was already amplified above most other death metal.  A massive bass drop breaks up the song briefly before it falls down the rabbit hole, beaten to death the entire way down.

If a person was shredded on a giant cheese grater, while alive mind you, what exactly what that sound like?  Probably like the guitar beginning at the 1:30 mark on “Emtophilic Cro-Magnon.”  After being shredded alive, how about being crushed into pulp?  Yep that’s the part that follows immediately after with the mid paced riffs and barking vocals hitting like wave after wave.

I really like it when the songs stop to breathe and take a slower or mid-paced approach such as on “Odious Fetid Aberrations.”  Although it opens viciously, there are moments intertwined that offer rhythmic groove or a steady crunch.  It works wonders because not only are these moments pulverizing but they make the faster tempos sound even better. 

It might come as a shock but there are even some catchy moments to be found.  The opening riffs on “Heinous Sulphuric Phlegm,” will get stuck in your head even if it's just there to fester and rot.  The music on this song is so deep and dense…it almost doesn’t even seem real.  Is this a fever dream, does music this heavy really exist?  Yes, yes it it does.  The crashing drums after the halfway mark light up the music like bombs dropping but the slowing down of the song near the ending pushes the song into new sonic territories. 

A dizzying array of guitar and bass hurtle “Gomorrahian Excrement,” forward like a giant casting a stone.  It gains momentum as it gets through whatever is in its way and shakes the very earth when it drops at the 1:18 mark.  Although the same could certainly be said on its presentation in the previous songs, the bass is truly special.  Oftentimes bass is ignored as the extremity grows more violent but not here. 

The final song, “Vomitous Execrations,” is just FILTHY.  It’s vile, wrong, and exactly what the death metal world needs right now.  There isn’t any widdly wham, ambient passages, expansive soundscapes….just fucked up dudes playing fucked up music.   The song goes on for over six minutes but never gets old, each passing minute offering a new death.  

Vomitrot’s “Emetic Imprecations,” is easily among the most caustic and underground death metal albums I’ve heard in this second half of the year.  Can it get heavier than this?  If it does, I’m not sure if the world, or my ears, will survive. 

Phaëthon - Wielder of the Steel

Phaëthon is an epic heavy metal band from London, England who formed in 2020. “Wielder of the Steel” is their full-length debut album but they have also released a split, demo, and an EP.

So many bands mix various styles together these days and, while there is absolutely nothing wrong with that, it is refreshing to hear some good ol fashion heavy fucking metal. Of course, it could be argued there is power and speed metal involved but let’s not split hairs.  

The 8 track, 42 minute long runtime will split you in half anyway as the band hammer out song after song.  

Music of this nature runs the risk of sounding dated but “Wielder of the Steel” avoids that with a crystal clear modern production that still gives the band plenty of bite. The album does sound like a tribute the their influences in many ways but it also stands tall on its own and sounds fresh. 

Vrath’s vocals are exciting and energetic—his is a mid range voice that is expressive and power but isn’t overly falsetto; it can even be rather gruff at times, tip toeing near extreme vocals.

Although there isn’t anything here that goes on longer than it should, there are a couple ‘epic’ style songs that use their longer lengths to really bring home their sound. These two tracks are “Tolls of Perdition,” and the title track, which ends the album with a bang.

“Tolls of Perdition,” begins with a tight bass line before a massive riff drops, with spoken word vocals at the forefront. The guitar tone of Decado and Vrath is heavy as hell with a ton of bite and weight. As the song builds up, a solo rips through as the song kicks into high gear. 

The dual melodic guitars recall Iron Maiden at their height but, again, their tone just pushes is heavier than any band of the past could be in their time. The towering vocals soar but are laced with danger and doom.  

The spoken word appears later and it has a certain poetic feel to the song, increasing the breadth of its scope. The later half of the song is fast and aggressive, a surprising amount of guile for the style. 

The title track builds up momentum with clean guitar and pounding drums from Oskarath, both of which are backed up by Aees’ demonic bass. The clean instrumentation gives way in a smooth and natural fashion to a ripper of a solo and hurricane riffs. Oskarath displays his considerable chops to full measure, complimenting the music even while being an indispensable part. 

A short but sweet mid paced part with giant riffs just before the 6:48 mark sets up the rest of the song perfectly for the big ending.

The band isn’t all about epics—their music is just as huge in vision during shorter moments. “For The Greater Good of Evil,” is a fine example, what with its galloping riffs and insane vocal deliveries. The middle part pushes the band to extremes beyond the confines of traditional metal and it’s all the better for it. 

“Phaëthon Must Fall,” is another banger that ebbs and flows throughout. It opens with a guitar solo before transforming into a mid paced romper with riffs for days. The bass cuts the song in pieces not long after, rebuilding towards a melodic mid section with vocals that sound like they are coming down from atop a mountain. The later half of the song is vicious and one of the more intense moments on the album with a brutal performance from the drums. 

Ultimately, Phaëthon’s “Wielder of the Steel,” is an exemplary example of how to do an old school sound in a modern way, capturing the spirit of the past while blazing ever towards the future. Heavy metal is the law, heavy metal can be beat. “Wielder of the Steel” makes that statement very apparent. 

Demiser - Slave to the Scythe

Demiser is a blackened thrash metal band from South Carolina, who formed in 2018. “Slave to the Scythe,” is their second full-length; they have also released two demos.

This album sounds like it's burning in the fires of hell….and enjoying every minute of the pain. The guitar/bass tone sounds straight up menacing, an undeniable presence with an unquenchable thirst for violence.

The drums complete the rhythm section, their tone equally as striking. The double bass is in the mix just right, powering the songs without over powering. 

All of this is presented with the wild, unhinged destruction of dirty, nasty thrash. Take that thrash, melt it down to its raw form, and force it into a crypt so that it returns a few days later pised off and hungry with the need to run towards the nearest living thing and kill it. That's what this album is.

It actually reminds me of old Skeletonwitch without as much melody, as that's been replaced venomous blasts of necrotic misanthropic rage.

The only ttime he album stops is for the aptly titled “Interlude,” which is curveball in the form of a surprisingly moving acoustic piece. But it's placed at the album's halfway point so it's a nice little injection of variety that bridges the two halves together. 

The album opens with “Feast” and it's impressive drum solo. The rest of the song advances with a slightly slowwr tempo during the verses but the chorus is a chaos.

The song actually gets catchy after the halfway mark, especially the bass lines. The solo ramps the song back up with a whiplash frenzy.

Sandwiched between the instrumental are two of the most biting songs: “Phallomancer The Phallomancer” and “Total Demise.”

The former is so fast and aggressive from the start that it feels like it was already ripping before the play button was even pushed. The bass is a standout, adding in an oppressive level of heavy against the thrash black metal guitar.

A hellfire sea of choppy riffs and sulphuric grooves make up the rest of the song. The drums beginning at 3:25 are precise as a lighting storm and keep the speed Up without adding too much clutter to the song.

The latter begins with a big, crushing groove that quickly gives way to a speedy attack. It's a straightforward approach but effective in pulling the groove in and out of the song.

That song ends in a wild cacophony of solos, tight percussion and a furious vocal attack.

The album ends with the eight minute “In Nomine Baphomet.” With it being so long, it has plenty of time to take every element of the previous songs and inject it with steroids. The second half of the song is melodic, leaving the furious first half to push the atmosphere into more melody avenus.

“Slave to the Scythe” joins the ranks of the very few impressive thrash metal albums I've heard this year.

Sotherion - Vermine

Sotherion is a one-man black metal project from France, who formed in 2020.  After releasing a demo in 2022, the musician behind the project, BST, has dropped the full-length debut “Vermine.”

“Vermine” is a massive album; every element, from the production, all the way to the the vocal lines is dense with the intensity turned up to 20.   BST isn’t a stranger to the scene with bands such as Asoth, Aborted, and Balrog in his past and currently being active with Doedsvangr and Genital Grinder, among others.  As such, it should come to no surprise just how abrasive this album is. 

The production/mix has a lot of say about this as well.  It’s raw and loud to the point where it sounds like a massive all of sound most of the time.  This may or may not work for some but I find it appealing for the style.  After a few listens, the songs begin to reveal themselves and the instruments don’t sound so muddy.

It’s definitely a bass heavy album, my headphones sounded like earthquakes skullfucking my ear holes the entirety of it’s 10 song, 43 minute runtime.   Again, this may not work for some but, as I said, I think it all fits in rather well. The vocals are deep growls and yells, something I wish more black metal bands would do.  The vocal direction certainly adds a layer of crushing depravity.

The atmosphere is urgent even as its concentrated sound puts it through the meat grind, with the result being a ride of pure insanity that doesn’t let up.  

“Shemyaza,” is a short intro track that does absolutely nothing to prepare the listener for what’s about to happen to them.  It does offer a build up though and a quick drop before the first full song “La Mort Pour Compagnon,” slices through.

The bass drum is very upfront in the mix, a constant beating that is matched by the riffs around the 30 section mark..  It’s almost surreal, especially when BST growls over the music—-encompassing extremity.

The sudden kick up in temp around the halfway mark is great; the groovy riffs are out of this world and the drums compliment it perfect, hammering down in a catchy beat. 

“Word Made Death,” is a song that makes quick use of directional changes.  The first half is a blitzkrieg but around the minute and a half mark, the guitars take a slight step back for a more simple approach but returning to the groovy riff fest.  The later half of the song is a more cavernous approach, a slower tempo letting the guitars breathe but the drums still keep up with their pain delivery system…..harrowing for sure but I wouldn’t have it any other way.

Beyond this point, there isn’t much in the way of variety.  The purpose of this style really isn’t about variety and its not needed or missed because there are still solid tracks to be had on the back half.

“Le Havre Meurtri,” is one of those……and a favorite of mine.  The bass guitar and drums straight up kill across the five minute runtime.  During the slower parts, all the pained torture and unforgiving assault is thrown together in a concentrated burst of truly extreme underground black metal.  Songs like this are what black metal is all about.

Sotherion go for broke with the final banger, “Shrine of the Chosen.”  It’s slightly atmospheric in places, and by that I mean the darkness is really soaked in.  The slower parts capping off a furious moment that rips through at the 2:53 mark give it the feeling of beating beaten while also drowning.  The song fades out to silence then fades back in with evil ambience.

Sotherion’s Vermine is one of the more unforgiving and pervasive albums I’ve heard this year.   It definitely shows how against the grain black metal can be but also how brutal it can present itself.  

Solemn Ceremony - Chapter III

Solemn Ceremony is a doom metal band from Australia, who formed in 2017.  It’s actually a one-man project, from musician Phil Howell (also in Caprahed & Zlortcht).  His latest album under this moniker is “Chapter III” which is, obviously, the third full-length album; there has also been a demo, EP, and a split. 

Solemn Ceremony plays a brand of doom that is traditional in nature and, when the need arises, melodic.  With that being said, it has more than enough thick riffage and a powerful rhythm section.  

Musically, nothing here is extreme but it rocks pretty damn hard for what it is and is a lot heavier than a lot of other traditional doom bands.  Vocally, Phil’s voice is clean but very gritty, often ending sentences with something close to a growl.  I find his style very fitting for the music, which is more gritty and rough than a lot of traditional doom.

The production matches that raw power; it isn't often I heard music of this style with such an abrasive production but it works with the music.

The opening song, “They Rule The Night,” showcases how well the songs can translate from melodic flourishes to groove laden doom riffs.

The song, and this is indicative of the album as a whole, is catchy and offers a lot of infectious energy. 

The title track shows the dirge-y style of the album; with the tempo pulled back, the song is given breathing room for the bass in particular to stand out among the dirt and grime. 

The vocals and drums keep the song planted firmly on the heavier side of the grass, often times working in tandem for a two pronged attack that raises the melodies and harmonies to new heights.

The band is at their best when they use their moody melody to build up their more intense side.  “The King of Slaves,” begins with melonhclic riffs that grow in shapes as the song moves towards a faster tempo in the later half. 

A cacophony of raucous drums and vicious vocals cuts through the final moments of the song while solos rip through.

The final track “Unholy Fate,” is the darkest song on the album and even sounds a bit Gothic in places. The song is a slow crush but after a little break in the form of drumming, the song descends into the depths.  From here it gets really bleak and dangerous. 

Solemn Ceremony’s “Chapter III” is a surprisingly raw traditional doom metal album with a dark, graven image which emanates from its bleak but huge sound. 

Föhn - Condescending

Föhn is a funeral doom band from Greece who formed in 2016. “Condescending” is their debut full-length album.  It shouldn’t be a surprise that Föhn is yet another great band from Greece.  There are many countries with ridiculously great scenes but Greece is a different beast altogether. 

And so is Föhn’s “Condescending.”  I can say that with the utmost certainty that not only is this one of the best albums, doom or otherwise, I’ve heard in the second half of 2024, it is also going to be a very, very strong contender for album of the year.  It’s a stunning example of not only doom metal but music in general.

“Condescending” has all the hallmarks of the funeral doom genre:  long songs, cavernous atmosphere, deep growls, slow music and an impenetrable rhythm section.  However, it is what it does with these elements that make it an engaging album and a step above a lot of other funeral doom. 

Across the album’s four song, 57 minute runtime, I was thrust into the downward spiral of an ever maddening world.  Most funeral doom focuses on sweltering darkness generated by suffocating blankets of glacial riffs.  “Condescending” brings that as well but it also adds a layer of psychosis to their bleak poetry, each song pulling me further down into a well, where all the unspeakable things of life wait.

But Föhn’s music doesn’t succumb to the finality of it all; rather, the album embraces it as a tool so that it controls the darkness, not the other way around.   There is a certain regal type of songwriting on display here; it’s profane in a way that only funeral doom can be but it’s also methodical, meticulous, and even avant-garde.  

Funeral doom is never in a rush but this album truly soaks itself in a captivating tapestry, birthing music that demands multiple listens to truly grasp everything.  I don’t mean it’s complicated and messy; on the contrary, it flows very smoothly but that’s because there are layers within layers.  Each listening session brought me to these different layers, these little worlds that make up the album as a whole when they come together and form this massive, despotic universe. 

Special and very honorable mentions must be given to guest musicians Viktor Karaminis and Dimitris Pantelias; the former plays tenor saxophone on “Bereft” and “Persona” while the latter plays Soprano saxophone on “Bereft.”

If I’m being honest, I normally don’t care for the sax but their pieces fit extremely well, to the point where I cannot imagine the songs without them, nor would I want to.  Their playing, particularly in the beginning, on “Bereft” adds the avant-garde elements I spoke of earlier but also makes the song seem absolutely maddening, as if I could feel my grip on sanity slowly being unraveled. The sax has another shining moment around the 9:25 mark; a soulful passage that takes the night in its own hand and flies away with it.  

 

The sax on “Persona,” adds melancholic flavors that enhance the song’s atmosphere while complimenting it.  If the sax was removed from this song, a lot of the tone would change and, to me, that’s the mark of great songwriting and playing.

Greg Chandler (Esoteric) mixed and mastered the album so, of course, it sounds absolutely bottomless.  I listen to music with headphones usually and there are times throughout where I feel like I was falling into something infinite.  

“Bereft” opens the album with a cacophony of noises and the sax.  It swirls together, nearly unbridled with fervor which is unusual for music with slow tempos.  Around the two minute mark, the song pulls itself together with Georgios Schoinianakis stark riffs and Georgios Miliaras throbbing bass. Georgios S. also plays drums drums; captivating and interesting, handling the slower pace with ease, keeping the music engaged.

The ever approaching blackness expands and opens wide around the five minute mark, swallowing all the light.  Liminal spaces after the halfway point showcase the band’s ability to thrive in a minimalist environment, surviving on the bare necessities but using them for all their worth.

I love the build up of “A Day After,” because in the beginning it sounds somewhat spacey and far away.  The melodies wrap around the riffs but offer little comfort, further pushing the ethereal tendrils of darkness further into the psyche.

Nikolaos Vlachakis vocals are profane and inhuman—ultra deep growls that cling to the notes even as the guitar builds its layers from them.  This song is a perfect example of funeral doom: slow, expansive yet claustrophobic and with a special energy that only doom fans will  hear and understand. 

Around the 10 minute mark, the song is stripped of its suffocating distortion, replaced by a clean ambience that is no less both dangerous and awe inspiring.  The distortion builds back up with what I think is some sort of clean chant in the background.  It’s very ancient sounding and more than a little unnerving. 

“The Weight of Nothing,” has one of the most cynical and bleakest openings I’ve heard in doom lately–sorrow laden to an unbelievable degree that it would make a funeral seem happy by comparison.  The guitars are nice here, just tinged with enough dour melody to boost the desperation rather than take focus from it. 

My favorite part is the song fading out around the 4:54 mark, giving away to clean instruments before building back up to the impressive death growls.  The band is at their best when they navigate waters that go from deceptively calm to turbulent so this part really resonated with me. 

I love the final quarter of the song, specifically the movement that begins around the 7:46 mark; the higher pitched death screams are magically freighting and the melodies they lead into are surprisingly catchy and very potent. 

“Persona” ends the album with nearly 18 minutes of epic gloominess.  A song this long needs a long intro and this is made of spoken word, simple but clean tones that build up into a harrowing riff that slams down the heavy factor like a monsoon.  This song feels like another dimension, almost alien but also a familiar death .

After the ten minute mark, a built in interlude featuring the saxophone hits to offer up these sounds at a different angle before returning to the doomed out doom around the 11:12 mark.  From here the song moves along more like a force of nature, an oncoming storm that brings ill tidings. 

It’s almost unbelievable that “Condescending” is Föhn’s first album because they handle funeral doom in such a deft, professional way.  They aren’t depressing or cavernous for the sake of it but use those elements, among others, as a way to explore their songwriting techniques.  This is wholly impressive doom metal and it’s going to be hard to take this monster down.  Any other releases coming after need to bring all they have but it still may not be enough.   This is, without a doubt, an essential release for 2024.

Tsatthoggua - We Are God

Tsatthoggua is a black metal band who formed way back in 1993.  Their third full length album, “We Are God,” is their first album in 26 years!  I love it when “old” bands make a comeback to show everyone how it is done.  

Of course, I was 10 years old when the band formed so I missed them the first time around.  Dammit, why did I miss my shot at being exposed to sadomasochism-themed blasphemous black metal at such a young age?

Seriously though, this album completely destroys.  I’m not into sadomasochism and, according to the band’s bandcamp page, the album is “aimed at all the perverted black sad-crazies out there.”  Well, I’m not into any of that but I am definitely into extreme metal so, while I may not be the specific target audience for this madness, I enjoy it all the same. 

The production/mix is impressive.  Due to the album, lyrics, and style, I just assumed the overall sound of the album would be akin to melted, hot garbage.  I’m happy to report that, while it’s definitely not a clean production, it sounds a lot better than “recorded from a poo explosion in a Taco Bell bathroom stall.”  

The tone of the riffs is vicious, a classic black metal feel to them—-pure, unadulterated evil. The drums are lighting quick but crisp and clean.  Their brutal sharpness constantly highlights the viciousness of the music while holding down a strong foundation. 

The length of the album is perfect as well—9 songs across a 42 minute runtime.  It really doesn’t get any better than that; it’s short enough to want to listen multiple times but not too long where it wears out its welcome. 

“Master Morality,” is a full speed ahead within a few seconds.  The riff based song is pummeling, the drums and bass adding in a death metal intensity.  The vocals are snarling and explosive–not too deep nor too high pitched.  Layered guitar near the end adds what I suppose could be melody but it’s dark as the rest of the music and brings out its dynamics.

“The Doom-Scrawl of Taran-Ish,” sounds like it would be arcane and violent…and it is, to say the least.  The first half of the song is highlighted by voracious drums and a frightening vocal performance.  After the halfway point, the guitars take a groove laden approach sounding not unlike Old Man’s Child.  This part is very catchy, I love how well the drums accent the riffs. 

The later half of the album keeps the same intensity, never slowing down other than stopping and admiring the results of its murderous rampage.  “True Black Love,” has a huge chorus that was stuck in my  head for a while.  Some of the best riffs are on this song, especially around the midpoint.  The later half kicks up the intensity and finishes the song out strongly.

The band isn’t always about speed, however.  The mid paced groove of “Gloria Extasia,” proves that a song doesn’t always have to be complicated or reinvent the wheel.  With the right mindset and the drive for extremity, sick riffs and blast beats is all you need. One of my favorites on the album and, again, quite catchy.  Should a black metal album be catchy?  Yes. 

The final song, “Pechmarie” is the most insane one, crazy leads ripping through the super fast music that threatened to blow my headphones off my head.  Just when I thought the song couldn’t go any more hard, it does and then goes beyond even that.  Blistering to the tenth degree. 

Tsatthoggua’s “We Are God,” is a profane ride through carnal pleasures and blasphemous views that will surely please even the most cynical black metal fan, which is probably all of them. 

Grendel’s Sÿster - Katabasis Into The Abaton

Grendel’s Sÿster is a German metal band who formed in 2015. “Katabasis Into The Abaton,” is their debut full-length album; they have also released two EPs.

This album, and band, is quite the surprise for me. I don't know of any other band that sounds like them and this debut album is very ballsy for doing something so different. Simply put, “Katabasis Into The Abaton,” is an album that defies categorization.  Yes, it's metal. Hell, it also has a lot of doom elements. But it also contains a heavy 70s influences plus folk and krautrock. 

It's also jaunty and catchy as hell. These elements pair well with the production, which has a DIY feel that brings out all the individual elements in play as they manage to weave together in a cohesive mosaic. Much of the album's charm comes from vocalist Caro. She's charming, energetic, whimsical, actorly and sings her face off.

Of course, I would dare discount the other members. Guitarist Toby is a master of many styles…one minute he is slowing down with an offering of massive riffs of doom slabs, the next minute he might be throwing down a speedy riff and blazing solo. Or he could be displaying folk tunes with a singer/songwriter craft. 

Drummer Till and bassist Simon can be heard clear as day, the drive and rhythm of such myriad music on their shoulders.  They handle it well, very much bringing a solid foundation while complimenting whatever style the songs happen to be offering in that moment. 

The album opens with “Boar's Tusk Helmet,” a metal romper that intertwines clever riffs with catchy vocal lines. The middle segment blew me away with how engaging the drums are. The bass picks up the song in the second half, offering it's own dimensions for the vocals to play off.

The band tends to do their best work when they fully combine their epic metal and folk side into one. The galloping rhythm of “Rose Arbor” meets the vocal cadence, creating a folk song that subtly grows more layered as it moves along.

The doom elements I spoke of earlier shine in “The Fire That Lights Itself,” a slow dirge that is perhaps the darkest song on the album. But it's still catchy and melodic when it need to be; the band is always comfortable with any direction they take, exuding bravery and confidence far beyond their years.

“Cosmogony,” finishes the album with a good ol bout of epic fantasy metal.  The rhythm guitar and bass are particularly strong, offering a meaty performance. But the vocals and drums dance with each other, ensuring the song is another earworm. I love the galloping instruments that ramp up the song near the end.

Grendel’s Sÿster’s “Katabasis Into The Abaton,” is an unique album that displays a lot of flavors that will satisfy music fans in general, not just metal heads.  It takes a lot of talent to meld metal with such elements that are way outside its wheelhouse but the album presents this strange but effective mix expertly. 

Vile Rites - Senescence

Vile Rites is a progressive death metal band from California, who formed in 2017.  “Senescence,” is their debut full-length, following “The Ageless” EP from 2022.

“Senescence,” is an interesting extreme album.  Obviously it's death metal so it's heavy but it's layered with psychedelic tendencies built on top of a progressive structure that is sitting on top of a death metal foundation.

If that seems like a lot that's because, we'll, it is. However the music isn't cluttered or a cacophony of noises. The solid production and mix is vibrant enough to capture the band's sound and their songwriting is clever enough to make songs that sound focused even though they tend to walk off the beaten path. Although it has the perfect runtime of 40 mins, there are only 6 songs and one of those is a short interlude so ill say a little about each song. 

The use of clean, murky instrumentation in the beginning of the opening song “Only Silence Follows” is interesting as it keeps the psychosis up with an air of mystery. As the distortion and death growls appear, the bass takes over the atmospheric opening. The song builds from here, eventually culminating to a pulverizing section. The prog comes after, each instrument taking a different path to the same ending of brutal double bass and a mind melting solo.

“Senescent” is one of the most intense songs On the album. The drumming in particular Sets an insane playing field. If the drums drive the heavier parts, the bass takes control over the moody, cleaner part which almost seems to exist in their own dimension. 

“Shiftless Wonderings” begins moody as the drums prepare for the coming madness. When the bass rises above it, the song becomes surreal in a way but definitely more nightmare than dreamy. The clean fury ends in a clean section of melodic bass and gentle guitar tones. 

“Ephemeral Reverie Of Eroded Dreams,” is a short but sweet instrumental that bridges the gap to the final half of the album. I don't always see the point of interludes on albums but this one makes sense in context of the album is atmospheric and otherworldly, making its placement in the album perfect. 

“Transcendent Putrefaction,” is a total mindfuck, what with the bass walking around the ambient sounds. The drumming controls the chaos, although it threatens to unleash its own insanity.  Around the 3:28 mark, alien soundscapes enter the fray, the journey into an unknown Abyss swallowing all the light.  The seconds grow more terrifying but the return to the death metal only offers respite in the form of being shredded. 

The final song is the 11 minute monster epic “Banished To Solitude (Adrift On The Infinite Waves),” which spends nearly six minutes being the most violent part of the album. Afterwards tt turns into a weird but highly engaging combination of ethereal space death psychosis. A progressive structure that is quite moving, complete with an amazing solo, closes the album. 

Vile Rites “Senescence” is a death metal album that is as alien as it is punishing. A journey into the heart of darkness never sounded So good or alluring. 

Infernal Realm - Chamber of Desolation

Infernal Realm is a death metal band from Seattle, Washington who formed in 2017; “Chamber of Desolation” is their full-length debut album.

This band and album comes seemingly out of nowhere, a surprise attack in the night from an apex predator that has been waiting patiently in the shadows.  Unlike a lot of “revival” bands that worship at the altar of late 80’s/early 90’s death metal, this band takes a slightly more modern approach and echoes the underrated greatness that is 2000’s era of death metal. 

The album isn’t anything flashy and it’s not going to reinvent the wheel. But it does offer an intense ride that doesn’t let up for its 8 song, 37 minute run time.  This is the perfect length for such a style and it goes by quickly so this album does have a lot of replay value. 

It’s also catchy as hell, having more earworms on it than any album this heavy as a right to be.  The riffs are solid as hell, the bass and drums make a rhythm section that rumbles as it grooves, and the vocals have a classic deep, throaty growl with abrasive screams thrown in for good measure.   

The production is immaculate–loud but not overly with enough grit to reclaim the darkness they are honoring without the instruments being buried under unnecessary rawness.

In essence, this is just one of those albums that doesn’t have any bad songs, is solid start to finish, and moves along smoothly as music like this can.  

Although the songs offer enough differences to set themselves apart, the opening salvo of “Black Millenia” will give a pretty damn good idea of what the rest of the album has to offer.  It also showcases another element of the album I enjoy:  no pretentious fluff.  Intros?  Nope.  Interludes?  Not here.  Ambience and atmospheric keys?  Nah.  Poppy clean choruses with breakdowns?  Don’t need them.  

I’m not saying there is anything wrong with those things and I’m certainly not saying I don’t enjoy bands that use those elements but not every band has use for them.  Sometimes I just want my head caved in with 100% certified death fucking metal.  This first track supplies this and the rest keep refilling the tank.

The title track hits like a freight train; before 15 seconds has passed, the song is thick with double bass, groovy guitars, and low growls.  The drums definitely help steer the song from freight train to “unbelievably heavy” for most of the song.  Still, the guitars have their own arsenal, especially the kick ass guitar solo around a quarter of the way through.  The riffs afterwards are a battering ram,  breaking the song into pieces.  

My favorite part of the song are the more intricate riffs during the halfway mark that fire off their notes as the high pitched death screams shred out the lyrics.  The energy of this song is palpable and the final solo grabs onto it and pushes it further.

“Fastened To The Rats,” is one of my favorites. The riffs were stuck in my head for a while. I love how this band is THE definition of death metal but isn’t afraid to write riffs that I actually will remember more than two seconds later.  They are brutal but also more than that.  The song, and the band in general, is at its best when the vocal bursts out of a pit of riffs before diving back and letting the lead guitar shine. It’s a good three prong attack and it never fails. 

The final song, “Into Obscurity,” is a fantastic opener—it’s one of the fattest, most violent songs on the album and finishes it off with a bang.  The drums and bass are particularly impressive here, a constant bombastic explosion of seething rage. From the 2:42 mark to 3:00 mark, the guitars enter a riff fest that, in turn, leads to a melodic section with  a slower tempo and impressive vocal prowess.  Hell of a song!

All in all, Infernal Realm’s “Chamber of Desolation,” took me by surprise.  It offers a solid death metal experience that checks off all the boxes that makes the genre great.  I don’t see why any fan of extreme metal wouldn’t like this album.  Get on it. 

Intolerance - Waking Nightmares of an Endless Void

Intolerance is a death metal band from Spain, who formed in 2015.  Their latest album, “Waking Nightmares of an Endless Void,” is their second full length album; they have also released a demo and an EP.

Intolerance plays a vintage form of death metal that is heavy on the old school roots.  Groove, depraved vocals, and a beefy rhythm section take on the form of nonstop punishment.  At a length of 37 minutes across 8 tracks, the runtime is perfect for the style.

It isn’t a complex album that feels the need to stretch outside its own considerable boundaries. Instead it’s a highly focused effort that knows exactly what it wants to do: go for the throat.  It’s intense in that respect but what I find enjoyable about it, and what keeps me coming back to it again and again, is that it's not bludgeoning and aggressive for the sake of it.  Sure, it’s simple and straightforward but it’s also a smartly written album that is crafted well.  

The production and mix is a highlight for me.  The album’s sound captures the essence of the old school style but it’s modern enough to provide a full, in depth sound.  Whether it is the rumbling of the bass, the groove of the guitar, the hammering of the drums, or the growls and howls of the vocals, each individual element its brutal but still works together without any one element overpowering another.

Honestly, I don’t find the intro “Towards Perdition,” to be anything special so the real magic begins with “Fade Into Oblivion.” By the time even a second has passsed, the song is already providing ample brutality.  The groove and the vocals go hand in hand, feeding off each other and pushing the song ever forward. The bass and drums add in much of their own brand of pummeling, keeping the song extreme through the groove.  Death metal of this nature wouldn’t be complete with solos–this one rips but, as a whole, the entire album has better leads than most albums of this style I’ve heard lately.

The album is at its best when it becomes dark and sinister, throwing just enough atmosphere on top of their pulverizing notes to make it harrowing and even a little horrific.  “Rite of Passage,” is one such passage, the only note sounding evil as fuck. This song unfolds seamlessly as it moves from groove to a slick guitar solo and back to the horror filth. 

With a name like “Devourer of Worlds,” I expect a big sound and that’s what it gives.  The opening riffs fill up every inch of space, hanging overhead like a heavy miasma.  The low growls vomit forth, boosted by the undercurrent of a steady powerhouse of riffs.  The song hits its stride when it offers a doom-style tempo change around the halfway point, at which the vocals claw out from the grave and grasp with bone hands.  

The final song, “Melting Skies,” is my favorite because it’s slow and tortuous–my favorite kind of music.  It’s nearly monolithic but the vocals make it a depraved, crumbling tower rather than a majestic one.  The song speeds up later, the double bass pushing the song as much as it punishes my ears.  The bass drop around the 2:40 mark is a nice surprise and its particularly effective in sending the song into another doom like dirge.  

Intolerance’s “Waking Nightmares of an Endless Void,” proves that even a saturated genre like OSDM can still offer fantastic albums that use all of a genre’s tools at its disposal to create an engaging album. 

Mages Terror - Damnation's Sight

Mages Terror is a blackened thrash band from Australia; after releasing a demo in 2023, the band has unleashed “Damnation’s Sight,” their full-length debut.  Even before I pushed play on the promo, I knew this would be at least decent—the pedigree of those involved is just too strong.   Bassist/vocalist Stillborn and lead guitarist Rotten are both from Pustilence–that alone is a good indication.  But Portal’s Illogium is on board for guitars as well…so, yeah, this was destined to be badass. 

It’s thrashy but not overly speedy—most of the songs are mid paced with speedier moments intertwined but I like that because it allows the songs to breathe white letting them be very guitar focused.  This album has a metric fuck ton of riffs.  Oh and has just as many guitar solos.  

Although the vocals add much of the black metal elements, the atmosphere, which is cold and brooding, adds a necrotic underground feel to the proceedings. The rhythm section is ultra tight; CY’s drum has a killer tone and he compliments the songs just how they need to be without bashing the kit to death or playing a million miles an hour for the hell of it.

The guitar and bass tones are another highlight for me—very evil, searing, and exactly what I want for the style.  They are more robust than a lot of thrash, probably because they don’t venture into faster tempos as much. The album can be melodic when called upon, but it isn’t overly.  The melody is usually in the form of a guitar solo, such as the track “Presage,” a two minute long instrumental that is surprisingly moving and is placed well in the middle of the album to help with the flow. 

The opening song, “Serpent Bat,” is a banger with a buildup that gets the blood pumping.  The drums pound as the guitar ramps up before a blackened screams belts one out from the void.  The mid paced cadence creates a steady pounding until a focused passage of speed whips through the middle of the song. 

“Fane Of The Slug Gods,” might sound like a ridiculous title but the chorus is ridiculously catchy so who cares.  The vocals are a little lower, closer to death growls so an extra layer of guile is added. The groovier parts of the song glue the faster parts to the structure, all caped off with a blazing guitar solo near the end.

The second half of the album holds up as well as the first.  “Master In The Black Cavern,” is another catchy tune that squeezes in optimum violence in under two and a half minutes. After a ripping solo, the song slows down the tempo briefly, offering a respite before its explosive finish.

The instrumental, “Demon Bell,” is one of my favorite songs on the album.  The slower tempo in the opening is fantastic and maybe it’s something the band can explore more in the future.  The leads carry the song until they pass it over to a steady rhythm.

The final song, the title track, is just over six minutes and includes every facets of their sound. The vocals are particularly dangerous, rasping and screaming in between the numerous guitar solos—fans of leads will probably find this to be the best song on the album. 

Ultimately, Mages Terror’s “Damnations Sight” might not win any awards for originality nor will it blow your mind, it provides a more than solid blackened thrash experience.  It’s one of the better thrash albums I’ve heard this year.  

Fulci - Duck Face Killings

Fulci is a brutal death metal band from Italy, who formed in 2013.  “Duck Face Killings” is their fourth full-length; they have also released two demos, a compilation, a split, boxed set, and two collaborations.  

The band takes its namesake from Lucio Fulci, a legendary Italian horror film movie maker.  As such, it should come of no surprise that “Duck Face Killings,” is based on Lucio’s 1982 Giallo film “The New York Ripper.”  I’ve never seen any of his movies, nor do I care to do so as I’m just not much of a horror film fan.  I’m just here for the death metal that “Duck Face Killings” so aptly delivers. 

Gory, violent lyrics, brutal growls, and savage music is all contained within the 14 song, 32 minute long album.  It’s a very brief album in many respects but it’s also the perfect length for death metal of this style.  I wouldn’t want a Fulci album that it’s 100% uncompromising—”Duck Face Killings” ups it to 200%.

With that being said, there are still several surprising moments on the album, pieces of music that most bands of this brutal nature would never have the balls to try and, if they did, it wouldn’t be as successful as what’s presented here. “A Blade In The Dark,” and closing song, “Il miele del diavolo,”  are both synth ridden instrumentals.  Perhaps on their own they might seem out of left field but in context of the album’s atmosphere they fit right in among the depraved carnage.

Perhaps the most jarring song is, “Knife,” because it features rap-style vocals from Lord Goat of Non-Phixion.  I don’t know who that is but he brings the same energy to the song that exists throughout the album.  The song is still heavy, dark, and profane--huge successful. 

Elsewhere, the album is about what one would expect from Fulci, which is top tier brutal death.  The opening track, “Vile Butchery,” has a catchy groove built upon tight riffs and held together by bass that absolutely slaps.  The sudden burst of unbridled violence around the the 1:24 mark that slides effortlessly back into the groove laden monstrous riffs is the band at their best.

I don’t know what it’s like to experience being “Fucked With A Broken Bottle,” and hopefully I never will, but I assume the song is the perfect soundtrack for such an experience.  The melodic mid section is a nice touch, another dimension of sound from a band that successes at whatever they want to throw at the listener.

“Maniac Unleashed” is a song made of desperate energy and music that balances melody with rowdy, bloodthirsty death metal.  The cadence of the vocal delivery makes this another earworm of a song but the riffs standout just as well.

“Human Scalp Collection,” and the title track offers the best one two punch on the album.  The former is one of the more straightforward songs in a way but the blood covered notes glisten during the melodic mid-section.   The title track slows it down a bit, letting the atmosphere creep out from the riffs like a stalker bursting from the shadows.

The slower tempos are something the band excels at but their speed that pushes them into these more intricate realms makes it all the better; “Stabbed, Gutted, and Loved” exemplifies this, with the first half the song building up to the melodic dirge that finishes out the rest of the minutes.

Fulci’s “Duck Face Killings,” is as brave and unconventional in places as it is brutal and terror ridden.  I’ve no doubt this album will propel them to the next level and garner them many new fans.