Exhumation - Eleventh Formulae

6/10

…where the album falls short is its identity and the repetitiveness of some good ideas

Exhumation is a death metal outfit from Indonesia. For those not in the know, Indonesia has had a burgeoning underground scene for a while now. They also have a long standing metal festival called Hammersonic which attracts the likes of Suffocation, Morbid Angel and the occasional “big” bands. But when it comes to Indonesian bands breaking geographical barriers, very few can be named. There’s Burgerkill but they are a fairly mainstream metal band. There hasn’t been a band which encapsulates the sounds of the underground and extreme music quite well. This is where Exhumation comes in. They’ve been active for more than a decade and their current members, Ghoul and Bones, are raising that flag even higher with their latest album, Eleventh Formulae. 

The band’s sound is very much rooted in old school death metal. But you will also hear guitar sounds very reminiscent of bestial death/thrash à la Deströyer 666. I also heard a similarity with the eccentric Norwegian death metal scene comprising bands like Obliteration, Diskord and Execration. The riffing is quite primal and simplistic but at a thrash-like tempo and a dirty raw-ish production, the songs can be quite hard-hitting. The vocals are raspy but mostly muffled because of the production values. If you enjoy bands on the Iron Bonehead or NWN! Prod roster, then Exhumation would be right up your alley.  

Mors Gloria Est, the album opener, starts off quite strong. Inferno Dwellers mixes it up a bit with a doom-y build up but soon gets back to normalcy with the Exhumation sound that you will get used to. The guitar solos cut through the thick atmosphere like sirens. Again, very D666-like. The rest of the tracks feature similar attributes. While in my mind, I can appreciate what Exhumation is trying to do. It’s crushing death/thrash metal, not in the mainstream sense. But the tracks meld together quite seamlessly and it takes me a while to identify the uniqueness of each one.

In order to offer breaks to the listener, the album does have two interlude-like tracks (both over three minutes long) titled Formulae I and Formulae II. I’m usually not a big fan of ambient/music-less disruptions when I’m listening to albums but here it seems like it offers some relief and possibly a way to identify tracks in the album easily. Blood Trails is by far my favorite track on the album. It starts with a guitar-noodly intro – eerie and ominous. The rest of the track just blends in so perfectly. The riffs are headbang-worthy and the tempo changes make this a really well composed track. The album closer, Formulae III – Eleventh Vessel, starts off with mumbling death chants – possibly trying to summon something evil. At the 1:30 mark, the outro track kicks into mid-tempo riffs without any vocals and that’s how Eleventh Formulae comes to an end. 

I personally dig a lot of bands who create this raw atmosphere while playing death metal. It’s not for everyone and it’s hard to appreciate the music when it’s not that decipherable. But that’s just me. Exhumation creates a killer atmosphere and they have a handful of really good hard-hitting tracks. But where the album falls short is its identity and the repetitiveness of some good ideas. With no disrespect to the band, if Eleventh Formulae was an EP with four tracks, strip away those interludes and some of the weaker songs, then I’d have said that this is probably the best EP of the year! But you can’t win it all. Check this album out for the tracks I mentioned and it’s great to hear quality death metal from the Asian underground!  

Originally posted on Tempelores.com

Machinations of Fate – Machinations of Fate

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8.5/10

A lot of melodic death metal gets written off for being too “soft” as opposed to straight up death metal, but Machinations of Fate prove how death metal can play that fine line of being aggressive while also being beautifully melodic!

Machinations of Fate are a melodic death/thrash metal band from Kentucky, USA. The band has existed since 2012 and they have a demo titled Tyrannous Skies under their belt. The band comprises of local scene veterans Ash Thomas, Jason Pate and Brian Henn, all of whom have been involved in underground extreme metal in some form or the other since the 90s and 2000s. They hail from local bands like Thorns of Carrion, Estuary, Crucified Mortals and a few more. If you’re an ardent fan of metal podcasts/vlogs, then you might’ve come across Ash Thomas on the Reaper Metal Productions video podcast, where he showcases his old school metal collection, the rehearsal space for his other band Faithxtractor and other heavy metal relics from the past. 

But of course, I digress! My sole intention for mentioning these tidbits of trivia was to possibly make an attempt at describing how the Machinations of Fate sound came about. The band channels their wide set of influences and make something unique of their own. You will hear instances of melodic black metal, progressive death metal and good ol’ thrash seamlessly meshed in. They also borrow heavily from the 90s era Gothenburg sound, think At the Gates, early In Flames and others. There’s also a hint of Dissection in the fray. The heaviness on the album can be attributed to the vocals, which are growled up. Another band I could draw a comparison to would be Quo Vadis, the Canadian masters of progressive melodic death metal, except that Machinations of Fate don’t delve that much into the technical/progressive realm.

In many ways, this self titled full length is a re-recorded and re-mastered version of the 2012 Tyrannous Skies demo, with the inclusion of a new track titled Celestial Prophecies. The songs have also done away with programmed drums and have been re-recorded with real drums. I haven’t heard the original demo but the drumming on this record has added that extra oomph with the blast beats, something that is not too common in melodeath/thrash albums. I also felt that the musicianship has been top-notch and it hasn’t let me down. The songs are well composed, have a solid structure and have not fallen prey to being repetitive. 

The album opens with To Thus Defy, a two minute long melodic instrumental and sets the stage for the next track, Tyrannous Skies. The tremolo riffs in the verse section coupled with blast beats, the menacing vocals make this my favorite track on the album. Bedlam in the Far Reaches starts off with blast beats with a bucketload of riffs. As you progress further with the album, you’ll realize that Jason and Brian do a fantastic job in keeping the riffs fresh. The well timed solos and the guitar noodling certainly adds that variety to the riffs. Rendering Fragments of Loss starts off a bit atmospheric, yet relentless with the blast beats. The black metal vibe is strong in the first section of the track and it goes to show those influences I mentioned earlier. Celestial Prophecies, a track which was previously unreleased, is seven minutes long and it showcases everything that the band stands for. There are melodic and mournful clean guitars, thrashier sections and chunky melodeath riffs. 

Do we move on to my minor pet peeve about this album now? Too many instrumentals and interludes! You have the album opener which was quite well done but to have the first interlude as the third track and then the second interlude popping up two songs later, seems a bit over the top. The penultimate track was also an instrumental. I quite enjoyed Thus A New Creation Begins for its twin guitar melodies but the additions of these instrumentals does feel a bit like filler material. But that’s just me, a tiny tiny speck on a wonderful piece of art. 

I couldn’t have possibly imagined how nine out of ten songs sounded with programmed drums. In that sense, this is an accomplishment in itself for the band. I would say that the album is definitely guitar driven in most parts. The mix is clean and well produced but definitely rough around the edges, thus giving it that old-school touch. To conclude, I’m quite impressed with this band’s debut full length. I’ve been listening to it for the past two weeks. I’ve probably clocked more than thirty listens and I find myself going back for more. A lot of melodic death metal gets written off for being too “soft” as opposed to straight up death metal, but Machinations of Fate prove how death metal can play that fine line of being aggressive while also being beautifully melodic! 

Originally posted on Tempelores.com

Haunt - Mind Freeze

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8/10

I feel that the band is veering off into more radio-friendly territory. They are an easy listening band and Mind Freeze is more easy listening than their previous two efforts.

Haunt is the brainchild of Trevor William Church of Beastmaker fame. When Trevor wasn’t busy writing Sabbath-inspired doom riffs with Beastmaker, he delved into the depths of 80s traditional heavy metal and in that manner, Haunt was born. What started off as a solo-project, Haunt has now blossomed into a full-time band with an active touring schedule. They have two critically acclaimed albums under their belt and in certain circles, they’ve become poster boys of heavy metal. It would be unsurprising to see their albums listed in the ‘best of’ lists of 2018 and 2019. In that sense, I was a bit surprised to hear that Mind Freeze was being released this year! I had a lot of questions – A third album in three years? How is the band churning out songs so quickly? Is the quality going to take a dip? Are these rejected ideas from the first two albums? That’s what I’m hopefully going to tackle with this review. 

If you’re unfamiliar with Haunt’s musical style, they play heavy metal characterized by melodic riffs, catchy singalong choruses and twin guitar solos. Some tracks may border along hard rock territory but in essence, they play heavy metal. Their previous album, If Icarus Could Fly, was just that – no frills heavy metal and thoroughly enjoyable. With the context of my aforementioned questions, I started to listen to Mind Freeze. A minute into the album, my mouth was agape with a pleasant surprise. I had to let the entire album sink in a couple of times before I could form a strong opinion. My first impression was – “What the synth?!” The album’s first track Light the Beacon opens with a synthy-organ intro. It creates a somber atmosphere and sets the tone for the rest of the album. The lyrics are instantly catchy and memorable, making you sing along – “To all the loved ones that have fallen, light the beacon of remembrance”. This is the Haunt alright; they’re continuing from where they left off.

As you progress forward with the album, you’ll hear that the synth sound becomes a larger part of the song structures. They are by no means overpowering. In a way, they form a layer which complements the bass and rhythm guitar parts. They also come up during some of the slower interludes. I wholeheartedly support this band’s direction primarily because I’m personally a big fan of 80s retro synth and organ sounds tastefully done in the context of heavy music. The pacey tracks of Hearts on Fire and Fight or Flight will keep older fans satiated as they pack a relatively harder punch. They’re possibly the two most hard-hitting tracks on Mind Freeze. The verse in Have No Fear sounds like a soft rock ballad but when the chorus kicks in, it turns into a galloping heavy metal extravaganza. The guitar solos on the album are probably the highlight for me. They elevate the songs to new levels. For example, I would rate Voyager to be a “decent” song but the section from the interlude where the song builds up to a guitar solo crescendo-ing, makes for an excellent album closer. The twin guitar solos on Saviors of Man, ups the tempo on an otherwise fairly mid-tempo paced song and it’ll get you air-guitaring in no time. My favorite track on the album is the album title track, Mind Freeze. The combination of the riffs and the mournful synths in the verse make it delightfully brooding. The song has also has the most singalong-worthy chorus – “It is freezing in my mind. The winters kiss has made me blind.” Mind Freeze is the longest track on this 38 minute long album. 

While I’ve gushed eloquently on why Mind Freeze is indeed an album worth listening to, I’ll try to play devil’s advocate now. If you’re looking for heavy metal that’s gritty, raw and balls to the wall, then Haunt is not for you. I feel that the band is veering off into more radio-friendly territory. They are an easy listening band and Mind Freeze is more easy listening than their previous two efforts. It’s neither a bad nor a good trait to be honest. But I will commend the band for experimenting and expanding their sound with synths. It shows progression and the willingness to try something new without being overtly risky. Overall, I’d have to say that 2020 has started off quite promisingly with Haunt’s latest album. Go take a gander, it’s out now!

Originally posted on Tempelores.com

Best of 2019

AHOY! It’s AOTY time! 🎶🏆

It’s the last year of the decade. Ever since I started this blog of mine (circa 2015), I’ve been doing a ‘Best of’ list of my favorite heavy music albums released in the calendar year. If you’re curious to see the last years’ lists, then why don’t you take a gander here. Thanks to the digital proliferation of music, more so underground music, it’s never been easier to consume music. Almost all underground labels have released music on Bandcamp and it is, to date, my preferred destination for music discovery.

2019 has been an excellent year for music listening. For me, personally, romping heavy metal from Canada has ruled the roost. Bands like Riot City, Traveler and Smoulder started 2019 strong with their debut albums. On the more extreme side of the spectrum, Dark Descent records has had an exceptionally stellar year with its releases. My criteria for making these lists is replay-value and my own inclination to certain sub-genres. Without further ado, here they are!

Oath of Cruelty’s debut album (even though the band has existed since 2010) was released earlier this month on Dark Descent and it snuck into my AOTY list last minute. Summary Execution at Dawn is a hard hitting death/thrash album. If the mighty Angelcorpse did death/thrash, it would sound like Oath of Cruelty. Or another way of describing them would be if Demolition Hammer had a “war metal” vocalist, then Oath of Cruelty would be it. This influence can be also derived from the fact that most of the members are also part of Blaspherian, a black/death metal band. If I had more time with this record, it would’ve probably been featured higher up the ranking.

Here’s another Dark Descent release! Krypts are Finnish death/doomsters who have gained prominence in the past decade. They are known for their extremely consistent brand of doom-laden death metal. Cadaver Circulation proves just why Krypts are one of the best in this sub-genre. The album creates a suffocating atmosphere while surprisingly maintaining a fairly clear production. The album achieves a really good balance between the slow dreary sections and the more fast paced death-metal sections, all while keeping the listener interested during the 37+ minutes. The album also houses one of my favorite songs of recent time - The Reek of Loss.

Russ Tippins, the axewielder of Satan the cult NWOBHM band, is the primary force behind Tanith. If you aren’t aware of Satan’s glorious work, then you should leave the hall and educate yourself. Being a huge fan of Satan, I naturally had high expectations before listening to In Another Time. Suffice to say, I wasn’t disappointed to say the least. Tanith can be categorized as flirting the fence between traditional heavy metal and hard rock. Each song sounds like a journey. The song writing coupled with excellent guitar work make for quite a listening experience. The dual female and male vocals of Cindy and Russ also make it all the more interesting, as it is not that common in heavy metal music.

From the ashes of the defunct band Vorum, rises a phoenix in the form of Concrete Winds. Vorum burst onto the death metal scene in the 2010s and carved a name for themselves. The band members return with another moniker called Concrete Winds and Primitive Force is their debut album. It’s aggressive, lo-fi, dissonant, mind-numbing and it’s the equivalent of you running into a wall of spikes. I enjoyed listening to Primitive Force many a time this year when I’ve wanted to block myself out from the world. It does the job satisfyingly well. If you fancy extreme subgenres like “war metal” or black/death, then Primitive Force is highly recommended.

We all knew that epic doom was in good hands when Crypt Sermon released their debut in 2013. The Ruins of Fading Light is the band’s sophomore effort. This is yet another Dark Descent release and the album’s announcement was met with great expectations from around the world. I can see why this album has already been featured in several AOTY listicles. The band carries on from where they left off. I do feel they’ve added more melody to their songs though. The choruses are catchier, the vocals seems to have improved even further and the riffs are well…rifftastic. The thematic elements of the biblical times shine right through with the song titles, lyrics and album art. Crypt Sermon have released a complete album for lack of a better word. Any fan of heavy or doom metal will latch onto this release easily!

Smoulder are a new traditional heavy/doom metal outfit from Canada and its fronted by Sarah from BangerTV. I strongly believe that if you listen to “good” music and acknowledge the pioneers of traditional heavy metal, the output as a musician/artist will yield great results. Smoulder is just that. They wear their influences on their sleeves. There is a strong fantasy element in the lyrical themes and the musicianship on the record is exemplary. Times of Obscene Evil and Wild Daring is a perfect homage to 80s traditional heavy metal and epic doom. This isn’t a rehash of the subgenre though. The band is original in its sound and Sarah’s soaring vocals fit perfectly in the mix. The album only gets better every time you re-listen to it and that’s a super commendable quality of the song writing!

After their debut release, Starspawn, Blood Incantation have become the poster child of death metal in the underground. Seamlessly mixing OSDM and technical death metal (not the modern kind), Blood Incantation were strong contenders to make it to AOTY list even before the release of this year’s Hidden History of the Human Race. The band meets the hype with ease though. It’s astounding how this quartet from Denver, Colorado, have achieved with this album. They love aliens, conspiracy theories and anything related to the cosmos. To accompany that theme, the album manages to create an atmosphere which is dark and psychedelic, and through it, complex yet catchy riffs pierce right through! The album makes Blood Incantation arguably the most sought after death metal band on the planet.

When I first came across Vultures Vengeance, my first thought was “Where’s the comma, man?!”. But that pet-peeve aside, The Knightlore is a heavy/progressive metal masterpiece. The band hails from Italy and they draw influences from the early USPM scene and bands like Manilla Road, Cirith Ungol and Dark Quarterer. The songs are winding and are wonderfully composed. Critics may feel that the slightly drowned out production takes away from songs but I strongly feel it enhances the listening experience. It makes it seem like the album was in a time capsule from 1983 and was dug up recently. I rate this album really highly as the replayability is extremely high, the moment it clicks with you. The band is definitely going places if they continue in this manner!

Traveler are another young heavy metal upstart from the burgeoning Canadian scene. Their debut album came out in February this year and it has been one of my most played albums back-to-front. I was more familiar with Jean-Pierre’s (the vocalist) other band, Gatekeeper, which is another accomplished heavy metal band. What Traveler brings to the table is no-frills heavy metal. The quality on each of the songs is top-notch and can be heralded as heavy metal anthems in their own right. While there may be more technically proficient heavy metal records out there, Traveler gets the balance right. Another attribute of the album is Jean-Pierre’s vocals. He has terrific range which makes the album all the more enjoyable. Traveler’s debut is easily my favorite heavy metal album in recent years. Get in!

The numero uno album for me this year is by this fairly new black metal outfit from Germany called Imha Tarikat. I was initially drawn to the beautiful artwork and took my chances with the seemingly lesser known band. If one was to describe Kara Ihlas, I would say that it sounds like a ballsy-er Mgła with lesser predicatability while retaining that black metal atmospheric sound. The sweeping guitars and the tremolo riffing are characteristics of the album. What I love about this album is that it’s melodic and fierce in equal measure. The vocals will remind you of Okoi’s from Bölzer and by that I mean they are angry, shouty and the echo effects, although used minimally, are tastefully done. The two man band deliver on all fronts and they make Kara Ihlas such a memorable listen for 2019 and beyond! At the risk of starting a controversy, in my humble opinion, this record truly blows Mgła out of the park and this is me making a statement as a huge Mgła fan.

Matterhorn – Crass Cleansing (Special Edition)

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5/10

There is little originality in Crass Cleansing but if you’re interested in how Hellhammer might’ve sounded in 2019, then Matterhorn is the band for you.

Matterhorn is a famous mountain peak part of the Swiss alps. Some call it “great mountain” or the literal German translation “peak of meadows”. But let’s agree among ourselves that this is quite a metal sounding band name. So it’s unsurprising that three metalheads from Switzerland decided to adopt this name and make it their own. I first heard of Matterhorn about two months ago when I learnt that there was a tour with DHG, Bölzer, Blaze of Perdition and Matterhorn were opening for them. In my books, the other three, (more established) bands made for a solid lineup and so that piqued my curiosity for Matterhorn.

Crass Cleansing is the band’s debut which was originally released in 2018. However, the special edition released in 2019 contains two bonus songs, Bydying and Clarity, which are live recordings. To me, since I’m relatively new to the band, Crass Cleansing makes for a fresh listen. The base sound of Matterhorn is that of thrash metal but it also has a strong leaning towards punk. The sound is raucous, the riffs are simplistic and often played fast. In essence, Matterhorn do their best to pay tribute to Hellhammer. Even the vocals are not too dissimilar from Tom Warrior’s when he was in Hellhammer. I’d say that Morbid, the Matterhorn vocalist, also makes the vocals more deathly and gurgly. 

The question I’ve asked myself though is – does Matterhorn pay homage to bands like Hellhammer or are they just a rehash clone, something similar to the rethrash movement of the 2010s? After careful consideration, I’d say it’s the former. To be honest, I barely found anything starkly original in Crass Cleansing. But in terms of paying tribute, from the music to the album cover aesthetics, to the band members’ names, it’s got Hellhammer plastered all over it. Have I exceeded the number of times I can say Hellhammer in this review? I’ve only begun! Matterhorn are definitely heavier and it may seem that they are more musically proficient too. I recall Tom G Warrior (ex-Celtic Frost, ex-Hellhammer) saying in an interview that Hellhammer at that time could barely play their instruments and they did their best with whatever little skills they had. In that sense, Matterhorn are a few notches ahead on that curve. 

Tracks like Violent Success, Teenage Emperors and the Hornhead are riff heavy and they drive the songs forward. The vocals seem a bit disjointed though and there are too many stop-start moments in the music’s tempo. But that’s just Matterhorn’s shtick. The guitar solos would definitely make Kerry King proud, as in they’re unstructured and very noodly. Noch Noch Nichts has a strong punk vibe and you’d probably imagine this bodes well with the crowds in the circle-pit. I quite enjoy the bonus tracks which in my opinion add a dash of variety to the Hellhammer-esque sound. Even though the tracks are live recordings, they are mixed well. The guitar tone in Bydying screams of first-wave black metal. Clarity is more of a mid-tempo thrash song and sways into more experimental territory. 

To sum up, if you’re looking for a groundbreaking band challenging genre definitions, then Matterhorn is definitely not for you. If you like old school thrash or 80s crossover then there may be something for you here. Like I mentioned earlier, there is little originality in Crass Cleansing but if you’re interested in how Hellhammer might’ve sounded in 2019, then Matterhorn is the band for you.

Originally posted on Tempelores.com

Trépas – L’héritage du monde

8.5/10

L’héritage du monde is easily consumable, palatable, widely appealing and demands repeated listens

Trépas, which means death in French, are a black metal band from Québec, Canada. For the uninitiated, when you say black metal and Québec in the same sentence, the first thing that should pop in your head is the rich Québécois black metal movement. Bands like Forteresse, Gris, Csejthe and several others, have created this characteristic atmospheric, melancholic, lo-fi, black metal sound, usually sung in French. That said, Trépas, is a project formed by members of Outre-Tombe (old-school death metal) and Morgue (blackened death metal), both bands who have gained prominence in the last decade. So where does Trépas fit in amidst all these varying influences?

After several spins of L’héritage du monde, the band’s debut album, I’d say they have their roots firmly fixed in the second wave of black metal but at the same time they borrow the melancholic vibe from the Québécois black metal sound. The band also experiments with acoustic and cleaner guitar passages. For most parts, Trépas, does sound very straightforward in their approach to black metal. You can expect to hear blast beats overlaid with melancholic tremolo black metal guitar picking. The album is well mixed and produced, the layers are quite discernible and by saying this, it is by no means mired by the plastic-y modern sound. The cleaner production doesn’t drown out the atmosphere but it enhances it during the acoustic guitar passages.

I do like what I hear on Trépas’ debut. I reckon it will appeal to black metal enthusiasts irrespective of their favored sub-sub-genre. The album opens with Rivages Sombres, a track which doesn’t beat around the bush. There is no weak sappy intro here and it hits you right on the chin with the constant blast-beats and the scathing hateful vocals. The tempo changes that you will hear midway in the track are a sneak-peak of the variety you’ll see what Trépas are capable of displaying. The title track L’héritage du monde and Charognes are tracks that feature some clean guitar picking, creating spacey atmospheric passages. Charognes is easily my favorite track on the album by a long shot. The transitions between the blast-beats and the slower sections are so sublime. The cleaner passage reminds me of the seminal work of bands like Alcest or Woods of Ypres. Errance, the last track on the album, opens up with a minute long acoustic guitar section and then follows a template that Trépas have created with other songs. The second half of the track is heavy on power chord progressions which remind me of the mighty Taake (a band that emerged immediately after the second wave of black metal). What caught me by surprise was the guitar solo, delightfully positioned in the third quarter of the track. Errance is the dessert to the main course that is L’héritage du monde. What said food analogies couldn’t be applied to black metal?

A huge shoutout goes to the vocalist, Goliatt, who does a commendable job on the album. The range in vocal styles from the typical shrieks, which was largely present, to the deathly growls to the shouts, removed any kind of monotony that the album could’ve suffered from. My major gripe with the album is that it’s only 39 minutes long. But that said, L’héritage du monde is easily consumable, palatable, widely appealing and demands repeated listens. I foresee the band gaining new heights and for starters, if you’re in Montreal (or the neighbouring areas) later this month, I’d highly recommend visiting the iconic black metal festival Messe des Morts IX, where Trépas would be performing.

Originally posted on Tempelores.com

Diabolic Night - Beyond the Realm

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7.5/10

If you enjoy your thrash metal, then grab yourself a cold one and go metal thrashin’ mad with Diabolic Night!

Germany has been the hotbed of thrash since the early 80s. Since then, the teutonic thrash stalwarts like Kreator, Sodom and Destruction have inspired several waves of thrash in the years to follow across several different geographies. A style that has been stamping its authority in the underground is the fusion of thrash with black metal sensibilities. I’d classify it as speed/thrash metal with vocals borrowed heavily from the first wave of black metal like Venom and early Bathory. If you’re familiar with bands like Nekromantheon, Black Viper, Condor, Deathhammer, Antichrist, then you’ll get a hint of the sound that I’m trying to describe. I’d like to place Diabolic Night in the same category of the aforementioned bands but there are definitely certain elements in their sound which differentiate them from the others. The band hails from Germany and their brand of music can be described like a sine wave – they have the highs with fast, skull-fracturing blistering thrash, and the lows which incorporate much slower guitar-driven sections. Both seem quite well stitched together which makes ‘Beyond the Realm’ an exciting listen as it keeps you on the edge of your seat.

The album opens with a minute long instrumental called ‘Towards Forgotten Paths‘ which only serves as a build up for ‘Sovereign of Doom’, a blitzkrieg of a track. If you’re looking for a song to snap your neck to while headbanging, then this is it. The next track titled, ‘Crescent Moon Rising’, is my favorite track on the album. It opens with a chunky fist pumping riff and then it’s regular proceedings with Diabolic Night’s brand of thrash from there on. What amazes me about this track is that it rebuilds itself several times with tempo changes. It’s a bit difficult to guess the verse and chorus parts, it’s all meshed in there quite well. Midway through the album, you will chance upon the album’s title track, ‘Beyond the Realm’, a two minute long instrumental which has very Maiden-esque galloping riffs overlaid by a guitar solo. There’s also a section on the song where the bass guitar takes prominence – this was refreshing to say the least! ‘Odyssey’, another favorite track of mine, opens with an orchestral piece, something you’d probably hear in a ballet. Odd, right? But it strangely fits in, because by the 40 second mark, the melodic guitar lead takes ‘Odyssey’ to new horizons. The guitars definitely make the song more grandiose sounding. I like this concept quite a bit and it elevates the song to so much more than just a thrash metal song. 

The mix on the album is quite great – making every layer discernible. I was honestly surprised to hear the bass in every song and in some songs they even went as far as to give the bass its own spotlight. That’s pretty darn cool! The vocals are raspy and like I mentioned before, they are heavily influenced by the early 80s first wave of black metal bands. The band definitely earns old school metal cred in this regard.

It’s very difficult to pinpoint something that I didn’t enjoy about this album. The songs are well written and composed, and the band will surprise you by breaking away from the norms of verse-chorus-verse-chorus-lead-chorus structures. If you enjoy your thrash metal, then grab yourself a cold one and go metal thrashin’ mad with Diabolic Night!

Originally posted on Tempelores.com

Flamekeeper - We Who Light The Fire

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8/10

I’d imagine Quorthon raising his two thumbs if he were alive to listen to this!

The mastermind behind Flamekeeper is Marco S, of Demonomancy fame. If you’re new to Demonomancy, then here’s a quick refresher. They’re a black/death metal band from Italy whose peers include Archgoat, Blasphemy and several NWN! Prod similar sounding bands (Nuclear War Now!). They’ve been around for slightly over a decade. My best guess as to how Flamekeeper was born would be that Marco wanted to channel his other creative energies beyond the ferocious Demonomancy sound. Being a multi-instrumentalist in this regard, definitely helps. Flamekeeper is thoroughly a solo effort where Marco plays all instruments and handles vocal duties. Musically, the project is influenced by thrash, black metal and 90s era Bathory. 

‘We Who Light The Fire’ is an EP with six tracks which also includes a cover of a Necromantia song. The EP opens up with an intro track titled ‘The Birth of a Tribe’ which comprises of a strong buildup with the blowing of horns, very viking-folk like chants and all in all sounding very triumphant. About two minutes in, the second track starts playing and that wastes no further time in showcasing what Flamekeeper is truly about. In my opinion, it is in this second track, ‘Nomads of the World Beyond’, that the EP peaks at its highest. It is quite the perfect track which captures everything that an old school metal fan will salivate to. The vocals are gruff, almost marrying the delivery and tone of Cronos (Venom) and 90’s Quorthon (Bathory). Musically, I would compare it closely to blackened thrash, in the vein of Deströyer 666. What makes Flamekeeper stand out from the aforementioned comparisons, are the short acoustic sections within the song and the vocal harmonies, both of which occur multiple times throughout the EP. 

Even though I mentioned that the EP peaks with the second track, the rest of the tracks are worth listening to. In `Until This Earth Takes Me`, Marco challenges himself vocally to be a bit more diverse and the catchy anthemic chorus will draw you into liking the song. The title track `We Who Light the Fire` creates a strong viking/folk vibe with the guitar work. There also seems to be an undercurrent of melancholy during the chorus. ‘Dead Sea Waters`, the last originally composed track, was a bit disappointing though wherein I felt Marco was playing around with similar ideas from the previous tracks, yet not delivering quite strongly as the title track or ‘Nomads of the World Beyond’. But that said, I think the decision to cover Necromantia’s ‘Ancient Pride’ was a good one. While the original has more variety in instrumentation such as flutes and has this rustic sound, Flamekeeper gives the song much needed heaviness. The choice to cover a legendary Hellenic black metal band’s song will attract criticism but luckily the cover is a good homage to the original. Stylistically, the song fits in with the EP’s overall sound. 

Flamekeeper’s EP is being released on Invictus Productions, the same label behind Demonomancy. I’d say that the label has put in a lot of faith in Marco and suffice to say, Flamekeeper have definitely delivered the goods. The EP is well produced and it leaves us wanting for more. I personally wish this wasn’t an EP but a debut full length. If I were to be critical on where this EP falls short, then I’d say I wished there was more experimentation with the sound. On repeated listens, I find myself wanting to listen to only the two tracks (out of the four original songs) that I enjoy a lot. Marco does try to create this definitive sound for Flamekeeper but I feel that with future releases, it might get lost with time where ideas are either repeated or recycled. I hope to be proven wrong. 

The overall aesthetic behind Flamekeeper is very old school and traditional – from the song titles, the sound, the promotional photoshoots. It’s something I support wholeheartedly. In my opinion, this EP would probably not be understood/appreciated by metal fans who lean more towards the modern, cleaner variants of the genre. But at the risk of sounding punny, Marco is indeed keeping this flame alive with this side project of his, albeit flickering in the gentle breeze. I’d imagine Quorthon raising his two thumbs if he were alive to listen to this!

Originally posted on Tempelores.com

Fvneral Fvkk - Carnal Confessions

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7/10

This is an album worth listening to and if doom is your cup of tea, you will find segments of this album enjoyable.

I presume I’m not the only one who’d have thought that the band’s name, Fvneral Fvkk, is a bit of a misnomer in the doom metal subgenre. Not one to rely only on my own assumptions, I did a quick google search, which led me to an interview excerpt where the band described that the name was intentionally chosen to be a tad tongue and cheek. I was honestly hoping that someone in the band was a fan of Sadistik Exekution and was paying homage to Fukk. But alas, onwards with the review.

Fvneral Fvkk hail from Germany and play epic doom – a subgenre of doom characterized by powerful melodies and operatic clean vocals. ‘Carnal Confessions’ is the band’s debut full length and prior to this, they had released an EP and a split. If you’re new to the band, as I am, you’ll quickly notice that ‘Carnal Confessions’ has a little theme going on for itself. The album art portrays a boy (possibly) confessing his sins to the priest/pope. And with song titles like ‘Chapel of abuse’, ‘A shadow in the dormitory’, it isn’t difficult to discern that the band sings about the lecherous priests who prey on little boys. Musically, the band plays a melancholic variety of doom which often flirts with slow guitar driven melodies. It’s slow and heavy. The heaviness on the record is brought to you by palm muted guitar riffs, the bass and the drums, all coming together in unison. The clean vocals, while not being overly operatic, suits this style of music.

After several listens, there are three songs that I like to revisit time and again – ‘The Hallowed Leech’ being my favorite among them. From the moment it opens, you’d think the vocals were recorded in an abandoned cathedral. Props to the engineer for the good mix. The main guitar riff that forms the skeleton of the track is chunky and totally headbang-worthy. Sign me up for this sermon right now! ‘To Those in the Grave’ has a beautiful mournful guitar melody. It’s a track that perfectly encapsulates the epic doom genre. On ‘When god is not watching’, the vocals shine through magnificently in the chorus making it the best vocal effort on the album. This track is also the album closer and it’s quite a fitting end to the listening session, ending on a high note.

Fvneral Fvkk will appeal to fans of epic doom masters like Candlemass, Solitude Aeturnus and their ilk. The only difference is that the band has chosen to go with a clean modern production sound. The songs are polished in that regard, which isn’t necessarily a bad thing. Apart from that, where I found the album lacking was its inconsistency in quality. ‘Carnal Confessions’ has some really good song-writing but the good songs are interspersed with a few monotonous tracks, which can make the entire 48 minute listen a bit tedious.

All in all, I think this is an album worth listening to and if doom is your cup of tea, you will find segments of this album enjoyable. The band definitely shows promise and I’ll be sure to listen to their future releases.

Originally posted on Tempelores.com

Best of 2018

Ahoy!

*insert tumbleweed gif*

This space has been awfully quiet. My listening habits have also taken a slight backseat but nonetheless, heavy music über alles! As it has been in the past four years, I’ve managed to conjure up a list of my favorite (aka most played) albums that were released this year. The criteria for choosing these albums has always been replay value and how memorable the music is. I must confess though, my consumption of new music is now a fraction of what it used to be - primarily due to the fact that I barely visit the blogs, forums, discord channels et al. So if I do not mention a popular album, it’s because I probably missed it. Spoiler alert - there’s a lot of black metal.

Without further ado, here are the ten.

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10. Black Viper - Hellions of Fire

Full album stream: https://blackvipermetal.bandcamp.com/album/hellions-of-fire

Norway is increasingly garnering attention for the flock of bands who play old school heavy and thrash metal. Bands like Nekromantheon, Deathhammer and Condor have cemented Norwegian thrash metal on the world map. Black Viper’s debut Hellions of Fire is a noteworthy addition to that list. Their musical style is very reminiscent of 80s speed metal with a production to match. Prepare to have your head bobbing continuously as you meander through the more traditional heavy metal passages in Quest For Power to the blistering guitar solos in Suspiria. The album isn’t a gimmicky nostalgia driven effort, it’s legit and honest for what it is. Much like their peers, Black Viper wear their influences on their sleeves. Hellions of Fire pays tribute to the bygone era of traditional heavy/speed metal of the 1980s and is a must-listen for any fan of this sub-genre.

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9. Kriegsmaschine - Apocalypticists

Full album stream - https://ksmpl.bandcamp.com/album/apocalypticists


Kriegsmaschine is the lesser known project of the two key members of Mgła, who are arguably a very established black metal band in the underground circuit. It is, thus, inevitable to compare the two. The moment you tune into Apocalypticists, you’ll instantly notice how prominent and hard-hitting the drums are. This is a feature throughout the album where an atmosphere created by atonal riffs is pierced by pulsating (utterly progressive sounding) drum sounds. It’s as if Darkside (drummer of Mgła & Kriegsmaschine) unleashes his pent up fury on record. I also feel that Kriegsmaschine’s take on black metal is that of a less traditional path by relying less on blast-beats and tremolo riffing. The music is definitely hypnotic. While we wait for Mgła’s next magnum opus, Kriegsmaschine’s Apocalypticists will satiate your palate quite well.

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8. Deceased - Ghostly White

Full album stream - https://the-true-deceased.bandcamp.com/album/ghostly-white

Deceased are the grand-daddies of death/thrash/heavy metal who have a particular penchant for all things horror. It’s in their lyrical themes and of course, in their artwork. Deceased have been around for 35 years and are still going strong in the underground. Ghostly White proves just that and with this album, you will hear more of the same Deceased sound. The album’s got dollops of traditional heavy metal passages with twin guitar solos, King Fowley’s signature howls and a truckload of galloping goodness. Up the tombstones!

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7. Gaerea - Unsettling Whispers

Full album stream - https://gaerea.bandcamp.com/album/unsettling-whispers-black-metal

Unsettling Whispers is Gaerea’s debut album. Hailing from Portugal, Gaerea play a style of black metal which bands like Mgła and Uada are known for. Considering this is only their debut, Gaerea have managed to present listeners with some stellar atmospheric and melodic black metal. What sets this band apart though is that they don’t seem to be afraid to go with a cleaner and more polished sound. It’s not overproduced in any way but it does have this ‘modern’ sound, which many in this sub-genre shy away from. The musical spectrum ranges from dreary melancholic soundscapes to tremolo riffing over blast-beats. Personally, I’ve had this album on rotation for quite a long time since its release and it’s very enjoyable to say the least.

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6. Sargeist - Unbound

Full album stream - https://wtcproductions.bandcamp.com/album/unbound

Shatraug, the musical genius behind Sargeist (and Horna among many), has recruited new members into Sargeist and they present a new face of the band with their latest release Unbound. Let it be known that I’m a sucker for Finnish black metal - it’s the melodies that get me good! Unbound is no different in that regard. But what makes this album more memorable are the vocal patterns employed by new vocalist, Profundis. They range from seething angry rasps to almost Alan Averill (legendary vocalist of Primordial) like shouts. That said, Sargeist seem to have also grown in their sound. For lack of a better word, it’s more dynamic. Yes, we still hear all the Sargeist elements - the melodic riffing, the underlying rock n’ roll sensibilities and the overarching evil atmosphere. But, it somehow feels more expansive, you know. It’s beautiful and it’s worth a listen.

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5. Sacral Rage - Beyond Celestial Echoes

Full album stream - https://sacralrage.bandcamp.com/album/beyond-celestial-echoes

Beyond Celestial Echoes is the band’s sophomore album. Back in 2015, Sacral Rage caused massive waves with their debut and unsurprisingly they also featured on my AOTY list. I touted them as the Helstar of this generation. Suffice to say, expectations were quite high when I learnt of this release. The band returns with their own brand of technical/proggy power and thrash metal. Beyond Celestial Echoes takes you further into dizzying technical musicianship. It paces itself quite well with welcome breaks consisting of interludes and grand buildups. Take for example, the epic 13 minute track called ‘The Glass’ which feels like a journey into space. It does takes a few listens for the album to soak in. While it’s definitely denser than their debut ‘Illusions In Infinite Void’, this album does establish Sacral Rage as a technical power/thrash metal juggernaut. Personally, I really hope to catch this band live one day!

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4. Visigoth - Conqueror’s Oath

Full album stream - https://visigothofficial.bandcamp.com/album/conquerors-oath

From the get-go, Visigoth waste no time in diving straight into what Conqueror’s Oath is all about. From the album opener ‘Steel and Silver’ to the more epic ‘Traitor’s Gate’, Visigoth deliver a slab of 80s traditional heavy metal which will make Mark Shelton smile wherever he is (RIP you legend you!). It’s straightforward heavy metal without any fillers. You get what you expect to listen when you pick up this album - it has epic singalong choruses, loads of riffs and a few softer ballad-like interludes thrown in. Before you know it, you’ll have your fist held high chanting in unison with the tunes. If you like bands like Manilla Road, Omen, Grand Magus and their kind, you’ll surely dig Visigoth.

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3. Tomb Mold - Manor Of Infinite Forms

Full album stream - https://listen.20buckspin.com/album/manor-of-infinite-forms

Tomb Mold’s debut album slipped under my radar in 2017 and when I heard about their second album being released this year, I jumped on it promptly. Manor of Infinite Forms makes you wonder how prolific a death metal band truly is after putting out releases in two consecutive years without compromising on quality. Tomb Mold’s sound harkens back to the late 80s early 90s era of death metal. It’s murky, disgusting and envelopes you with shroud of a suffocatingly dense atmosphere. You’ll give in to making a stink face while nodding violently to the barrage of riffs the band throws at you. The caveman vocals are supremely guttural and fit this style perfectly. Above all what I love most about this record is that it’s very well produced - just the right amount of rawness to bring out the best in Tomb Mold.

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2. Craft - White Noise and Black Metal

Full album stream - https://craftofficial.bandcamp.com/album/white-noise-and-black-metal

I won’t pretend that I’ve been a big Craft fan for many years. I only started listening to these legendary Swedish black metallers in 2017. In that regard, I approached White Noise and Black Metal with an open mind, unsure of what to expect since the band hadn’t put out something in a while. By the time, I got to the second track ‘Again’, I was sure as hell that I was listening to the riff of the decade. Through the imagery and lyrical themes, you can easily tell that Craft are proud misanthropes and nihilists. This is, of course, reflected in the music they put out. But what’s the point if this hateful music lacks the catchiness that would make you want to listen to it again and again? The album draws you in with plenty of grooves that is often lacking in black metal these days. To sum up, I’d say this is one of the best black metal albums in the past decade - it’s something any avid fan of the genre would look for.

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1. Chapel of Disease - .​.​.​And As We Have Seen The Storm, We Have Embraced The Eye

Full album stream - https://chapelofdisease.bandcamp.com/album/and-as-we-have-seen-the-storm-we-have-embraced-the-eye

To me, Chapel of Disease were among the many death metal bands who were influenced by the Swedeath sound - buzzsaw guitars et al. Nothing too memorable and not much to write home about. However, things have changed for this German death metal band after releasing .​.​.​And As We Have Seen The Storm, We Have Embraced The Eye last month. Yes, the title is quite a mouthful. But I honestly don’t know where to begin. The band has stripped away their generic Swedeath death metal sound and introduced more progressive, punky and melodic elements. It’s as if they suddenly became fans of early Kverletak. The entire album feels free-flowing, effortless and at the same time flirts with the boundaries of not getting too progressive or adventurous with their new found sound. The band does retain its heaviness. No doubt about that. The vocals are reminiscent of a less gurgly version of Martin Van Drunen (of Asphyx fame). The album is great to listen to in its entirety, this isn’t a “song’s album” if you catch my drift. The main reason why I rate this as my numero uno album of 2018 is because every time I listen to it, I hear something new, something fresh. I hope this is the start of something new for the band. Onwards and upwards!

Best of 2017

It's listicle time! ♫ 

For the last 3 years, I've been making Albums Of The Year (#AOTY) lists, so 2017 won't be different in any way. These lists consist of albums which have caught my fancy, have high repeat-spins, are "unique" and bring something fresh to the world where most music is shite. While, it's impossible to listen to all the popular and critical releases of 2017, I reckon I would've sampled at least 100 odd full lengths. My personal taste lean towards heavy music, hence these lists comprise mostly of metal music. 

This year had a string of stellar releases popping up towards the end of the year. I've luckily managed to come across such albums this month and have promptly added to my AOTY list. So here goes nothing, in descending order. 

10. Jordablod - Upon My Cremation Pyre
Jordablod's debut was picked up by the (in)famous Iron Bonehead records and that in itself is a reason why it deserves at least a listen. Hailing from Sweden, this one-man band plays black metal swathed in luscious and grand atmospheric/psychedelic vibes. What stood out for me is the guitar work, especially the solos which isn't something that one talks much about in black metal music. I look forward to his future releases. 
Full album stream: https://ironboneheadproductions.bandcamp.com/album/jordablod-upon-my-cremation-pyre

9. Contaminated - Final Man
This is another full length debut to make my list. Contaminated are a death metal band from Australia and they love their tunes crunchy, buzz-saw like (Swedeath influenced), played through a filthy and raw filter with an additional dose of doomy sections. I feel this album borrows the best bits of the Incantation/Immolation sound and marries it beautifully with what death metal bands from Sweden are best known for. It packs quite a punch! 
Full album stream: https://bloodharvestrecords.bandcamp.com/album/final-man-12lp-cd

8. Nokturnal Mortum - Verity
While many die-hard fans would've expected this band to recreate another Voice of Steel (their magnum opus), I honestly feel Nokturnal Mortum did quite a stellar job with Verity. It's more of the same ol' grand and symphonic folk black metal that you'd expect from the band. Verity has an abundance of melodic riffs which will get your head bobbing in no time. For any of you unfamiliar with the band, you can expect a lot of folky sounds played on traditional Ukrainian instruments.
Full album stream: https://nokturnalmortum1.bandcamp.com/album/verity

7. Wiegedood - De Doden Hebben Het Goed II
Wiegedood are a black metal band from Belgium, somewhat born out of an older band called Oathbreaker who play post-hardcore/metal (or some such abomination). I've never been a fan of Oathbreaker so my apprehension to listen to album was justified. Much to the fanfare surrounding this release, I'm glad I checked this album out. It's beautiful if intense tremolo riffing over blast-beats is your thing. The album is also atmospheric in the modern/contemporary black metal way. While this may not appeal much to purists, I feel Wiegedood have produced a great black metal record. I'll definitely revisit this in the years to come.
Full album stream: https://wiegedood.bandcamp.com/album/de-doden-hebben-het-goed-ii

6. Malokarpatan - Nordkarpatenland
Malokarpatan were a last minute addition to my AOTY list as I started listening to this album only two weeks ago. I feel with a couple more full listens, this album could be bumped up to a higher rank. They play a primal form of black metal which essentially is heavy metal with harsh/screechy vocals. Fans of early Venom, Master's Hammer, Bathory or Mortuary Drape will really enjoy this sophomore album by Malokarpatan. As an added bonus, the band also experiments with folky sounds, making it quite an interesting listen. Funnily, the band calls their music - "Old school rural Slovak black metal". A very apt descriptor. 
Full album stream: https://malokarpatan.bandcamp.com/album/nordkarpatenland

5. Hällas - Excerpts From a Future Past
Given this list, I reckon this album will be most accessible for "non-metal" listeners. Hällas play 70s influenced rock, almost progressive too. You'll hear instrumental passages where guitar solos harmonize perfectly with Deep Purple-esque keys. Even if you're overly tired with the retro bandwagon that many bands keep jumping onto, you should still give Hällas a listen because the lovely instrumentation and the song composition are top-notch. It's only their second release and you can hear the maturity in their songs. One of the main reasons I really enjoy Excerpts is because on a deep personal level, I feel the songs/music put me in a self-reflective mood. Not sure what I mean? Listen to the album. 
Full album stream: https://thesignrecords.bandcamp.com/album/h-llas-excerpts-from-a-future-past

4. Perturbator - New Model
James Kent aka Perturbator breathes in new life into his project with New Model. While the foundation of New Model is still built on the retro-synth wave sound, the songs are way more darker and grittier than the previous releases. I've been an ardent follower of Perturbator since 2012, I've also been lucky to see him live (plugging the live video I took in 2015). In that regard, you could call me a big Perturbator fan so my expectations were quite high. Synth-wave as a genre can get very insipid and boring very fast, and hence experimentation is key. Perturbator does just that with different vocal delivery on songs, by slowing down sections and playing around with various industrial elements. New Model makes it difficult to pigeonhole Perturbator as just another retro-synth wave artist, which is great in my opinion. 
Full album stream: https://perturbator.bandcamp.com/album/new-model

3. Shaarimoth - Temple Of The Adversarial Fire
This was the first release of 2017 that caught my attention. Very early on I proclaimed it to be AOTY material and it's survived a whole year retained in my top 10 list. Shaarimoth are from Norway, a place where underrated death metal bands are ready to burst into the scene. Temple of Adversarial Fire is an album which would appeal to black metal fans too, as it rubs off heavily with that characteristic atmospheric sound. While still being very riff-heavy, the band experiments with lots of vacant instrumental doomy passages, tremolo riffing and fast thrashy sections. The production is perfect for my liking where it's finely balanced between murky-sounding and "good clean discernible" sounding. I wish more metalheads listened to Shaarimoth because the album quality retains its consistency from start to finish, making it a truly memorable record.
Full album stream: https://wtcproductions.bandcamp.com/album/temple-of-the-adversarial-fire

2. The Ruins of Beverast - Exuvia
Exuvia is the remains of an insect's exoskeleton when it has shed it off. Is it a metaphor for the new album by Alexander von Meilenwald (the genius behind TRoB)? It could be. TRoB have an extensive discography spanning close to 14 years and Exuvia, in my opinion, gives the early albums a run for their money as TRoB's best work. Exuvia is like a journey into shamanic rituals (look at the album art as well). It is psychedelic, doomy, atmospheric and retains TRoB's characteristic black metal sound. Similar to TRoB's older material, Exuvia's songs meander long and winding, almost merging into one another and they're best consumed from album start to finish. I can't think of a better album in 2017 if a listener wants to immerse herself into a meditative state. Truly hypnotic and highly recommended! 
Full album stream: https://theruinsofbeverast.bandcamp.com/album/exuvia

1. Elder - Reflections of a Floating World
Well well well, here's my favorite release of the year. Elder's 2015 album was highly rated, which I'll admit I missed out on and hereby regret not including it in my list. I'm making amends this year because Reflections of a Floating World is if not better but as good as their previous album. The album is primarily an instrumental stoner/doom masterpiece. It crests with beautiful guitar melodies and then troughs (in a good way) with heavy pounding guitars and drums. I think what makes this album a masterpiece is its wide-appeal. Fans of rock (heavy rock, progressive, rock n' roll), doom metal, psychedelic/stoner music and anyone who appreciates great musicianship will dig this album quite a lot. I see myself still revisiting this album many more times in the future. How will Elder top two successively brilliant releases? One can hope. Until then, enjoy the full album stream below! 
Full album stream: https://beholdtheelder.bandcamp.com/album/reflections-of-a-floating-world

 

Best of 2016

It's that time of the year again where I list down my favorite metal albums of 2016. This is a practice that I've been following over the past two years (Czech out the 2015 and 2014 lists). 2016 started off weak with very few releases catching my fancy. But fortunately, the latter part of the year dazzled me with some stellar releases. Traditional heavy metal ruled the roost for me and newcomer bands like Eternal Champion and Sumerlands got multiple plays. There were also some off-kilter releases from Khonsu and Mithras. Overall, the list below is representative of the different genres in metal. Without further ado, I'll dive into them one by one. 

 

10. Khonsu - The Xun Protectorate
Khonsu's sophomore album might fly under the radar for many but let's give them the attention they deserve. The band hails from Bergen (Norway) and their sound can be best described as industrial/progressive metal with a healthy dose of black metal injected in it, making it sound fairly evil. Khonsu is very accessible and for all I know, they may appeal to the Gojira/Ministry fan as well. The sci-fi theme, really detailed artwork, blast beats overlaying industrial sounds and stomping choruses, all make it a grandiose record.

9. Ripper - Experiment of Existence
Ripper from Chile play death/thrash in the vein of early Sepultura and Possessed. The production on the album does justice to the 80s sound and I'm most pleased about that. The second most satisfying thing to hear on the album is the bass. Ripper have paid adequate attention to the bass, as if they are the garnishing atop the onslaught of riffs. This young band will go far! 

8. Blood Incantation - Starspawn
Starspawn is the only pure death metal styled album that caught my fancy this year. Blood Incantation do riffs excellently and by Jove, will the riffs hit you hard! The band primarily lies in the intersection of old school death metal and tech-death sound. On a side note, the more you listen to this album, the more you will appreciate the song arrangements and the good use of atmospheric passages (which build up to full fledged songs). 

7. Mithras - On Strange Loops
Mithras make a triumphant return with an album after 9 years and it did not disappoint at all. Sure, I could rank it higher but I was severely biased towards other sub-genres. Attempting to classify On Strange Loops would be a task carried out in vain but nonetheless here goes nothing. While the foundation of the album is laid in tech-death, Mithras have also created modern-sounding atmsopheric and progressive elements in their songs. It took a while to appreciate the album but when I was able to, it was very satisfying. 

6. Thrawsunblat - Metachthonia
I can't recall many melodic/folk black metal albums that have made an impact on me in the past couple of years. Well, Thrawsunblat have certainly done so with Metachthonia. The album meets all the expectations one might have before listening to songs in this genre. There is never a dull moment while listening to this, which only exemplifies the excellent songwriting. Vocals alternate appropriately between clean and harsh. There are acoustic-foresty snippets which add fresh and new dimensions to the songs. The catchy melodies will get your head bobbing in no time. The album clocks in close to an hour and at the end of it, you'll probably tell yourself that this band needs to keep going to make many more such albums!

5. Mare Cognitum - Luminiferous Aether
Mare Cognitum is the brainchild of Jacob Buczarski, who has been unrelenting with his project's releases year after year. While Luminiferous Aether may not be his best work, this album does carry on in the same vein as his previous albums; Dripping in cosmic themes, lots of tremolo-picked riffery while at the same time creating that warm characteristic black metal atmosphere. The album serves as excellent background music as well as one to be discerned with scrutiny. 

4. Eternal Champion - The Armor of Ire
We're moving into traditional heavy metal territory now. This piqued my interest because of a Manowar-like album cover. Eternal Champion is a name taken from an epic fantasy Multiverse novel series by Michael Moorcock. Naturally, the lyrical themes do justice to that. As far as the musicality is concerned, the band plays traditional heavy metal with some first wave traditional doom-laden parts too. It's a great debut full length release for the band, although I would've liked to hear more anthemic memorable choruses in this. 

3. Vektor - Terminal Redux
Enter the mad scientists of who thrash as much as they prog! This has probably been one of my most anticipated albums of 2016 and they delivered an album which sounds as fresh today as it will many years down the line. The songs, much a characteristic to Vektor's style of writing, are long and winding. This needs repeat listens to gain an appreciation of the intricate layering put forth in this record. Terminal Redux is easily the best thrash album of the year. 

2. Khemmis - Hunted
Khemmis is the only doom band on my list. But it rightfully earns this position because of a stellar sophomore album. While I did say 'doom', many of the songs delve into heavy metal and stoner rock territories. I think what won me over is the vocals - clean, soaring and somewhat reminiscent of Solstice (UK band). Another aspect of Khemmis that I really liked was the variation. Doom bands can get caught in the rut with monotonous songs but not Khemmis. They switched it up a bit with galloping tunes like Three Gates. Almost sounded like the band High On Fire and before you know it, they were back to their epic doom parts. The guitar work (riffs and solos) is top-notch on Hunted.  

1. Sumerlands - Sumerlands
So it came as a massive surprise to me that the two guitarists from Eternal Champion play for Sumerlands too. The other surprise was seeing Phil Swanson, of Hour of 13 fame, do vocals here. For lack of a better word, Sumerlands' debut is a very complete album. This is heavy metal at its finest and I think Phil's voice suits this kind of music brilliantly. I can liken his vocals to early Black Sabbath. With each of the 8 songs averaging at around the 4 minute mark, it's fairly easy to get through the album in no time. There's no fluff. Sumerlands packs as much as they can into those minutes, while giving each song a different treatment. The quality of music spreads across all songs evenly (if there's such a thing like that) and that's my main criteria for ranking Sumerlands numero uno. So give this album a spin and enjoy riding its glorious riffs!

Best of 2015

'tis the season for year-end listicles fa la la la ♬

I'll make this quick. Compared to my 'best of 2014' list, 2015 seemed to have way more quality black metal releases. It would also appear that three Greek bands made it to my list. No surprise there because I am a sucker for the Hellenic scene. Most of the bands listed below are relatively new, which in my opinion is way more exciting (fresh sound and all that rot). The only criteria that I used while choosing these albums is replay value. Of course, it'll be subjective. Without further ado, here are my top 10 metal albums of 2015:

10. Shepherd - Stereolithic Riffalocalypse
Bangalore's sludge-y stoner band make their debut with Stereolithic. Heavy fuzzy guitars, gruff vocals and some really memorable riffs make this one of the best releases from India. Ever. Shepherd are still severely underrated in international circles and I hope this changes with time. 
Favorite track: Bog Slime
Full album stream: Bandcamp

9. Abyssal - Antikatastaseis
After two crushing albums, Abyssal, UK's mystery black/death metal band, return with Antikatastaseis. This album is definitely more riff-y compared to their second album (which was very Portal-esque) and bears more resemblance stylistically to their debut. If you enjoy black/death metal with a largely space-y atmosphere, you'll dig this for sure. Also, watch out for the gorgeous artwork on this.
Favorite track: I am the Alpha and the Omega
Full album stream: Bandcamp

8. Scythian - Repurgation
This album hit me like a bolt from the blue. This relatively new death/thrash band from UK play a style which is neither old nor re-thrash. The band employs organs and Gregorian chants in interludes and during song build ups, which only makes the entire album more enjoyable. Listen to this song for instance and wait for the tempo-shift at 1:36. 
Favorite track: Beyond the dust
Full album stream: Bandcamp

7. Sacral Rage - Illusions in Infinite Void
If you're a massive Helstar fanboy, I suggest you start listening to this right now! This debut album by these Greeks is a fantastic slab of thrash-y power metal. The soaring air-raid siren vocals and the gazillion riffs that showcase the tremendous musicianship make Sacral Rage a band to watch out for. 
Favorite track: Lost Chapter E-Sutratma
Full album stream: Bandcamp

6. Batushka - Litourgiya
This album was released this month by Witching Hour Productions and it has already caused quite a stir in the underground. Shrouded in mystery, Batushka play an orthodox style of black metal. The entire album sounds like a ritual. Think Cult of Fire but more grandiose in the black metal sense of things. If I had more time to listen to this album, I might've definitely ranked it higher. 
Favorite track(s): Entire album
Full album stream: Bandcamp

5. Katavasia - Sacrilegious Testament
Katavasia is a super-group of sorts with members hailing from notable Greek bands like Varathron and Hail Spirit Noir. As a Varathron fan, it was hard to control my excitement when I got to know of this project. Suffice to say, this album didn't disappoint at all. The sound on this record hearkens back to the early Varathron albums like Walpurgisnacht and His Majesty ie. epic melodic black metal. The production on this is slightly modern but let it not take away any of the quality on this record. It only makes the sound crisper and more discernible, which is great.  
Favorite track: Symphony Des Gravens
Full album stream: Bandcamp

4. Mgła - Exercises in Futility
It is impossible for this Polish band to release an album which doesn't feature in any of the AOTY lists. Exercises in Futility comes after a three year gap from their previous magnum opus. These guys are, without a doubt, one of the best song writers in the genre. This latest album cements those very credentials. To paraphrase a fellow forum-member's comment - "Nihilism never sounded this good". 
Favorite track(s): Entire album
Full album stream: Bandcamp

3. Lord Fist - Green Eyleen
I've been a long-time follower of Lord Fist. These young Finnish upstarts play some of the catchiest heavy/traditional metal I've ever heard. While their early material (one demo and EP) was impressive, they've stepped it up several notches with this debut album. Detractors might point out that the vocals aren't coherent enough but I say when you have everything sounding so passionate and energetic, that minor flaw can be overlooked. 
Favorite track: Green Eyleen
Full album stream: Bandcamp

2. Macabre Omen - Gods of War - At War
This Greek band returns after ten years since their last full length album. I'll be honest here. I didn't know of Macabre Omen until I heard about this release. Don't worry, I've kicked myself enough for not coming across them earlier. There's only one word that can describe this album perfectly and it's 'majestic'. This is black metal at its finest. Stylistically, this is essentially a Hellenic black metal album. If this doesn't conjure up images of epic battles in your head, I don't know what will. 
Favorite track: Gods of War - At War
Full album stream: Bandcamp

1. Reverie - Bliss
Reverie's Bliss is yet another debut album and this closes my 2015 list. They hail from Denmark and play a blackened style of death metal. There are two major reasons why this is my favorite album of the year. Firstly, Dust and Dirt has the best intros I've ever heard in the recent past. It packs quite an aural punch (like the rest of the album). And secondly, the entire album is replete with memorable guitar riffs from start to finish. If I used a riff-counter, this album would have OVER 9000! (Sorry). But besides that, they still manage to have tempo changes, slower sections, an instrumental, which I feel fit in quite perfectly. 
Favorite track: Dust and Dirt
Full album stream: Bandcamp