Vinny's Forum Replies
COVID finally caught up with me after 3 years of avoiding it. Both my wife and I tested positive towards the back end of last week. We have isolated since then even though only "guidance" to do so as opposed to any mandatory requirement in the UK. Keeping an eye on my wife who has breathing problems anyway but to date she seems to be okay. I am glad of the downtime in some respects but really conscious that work was starting to pick up this past couple of weeks and eager to get in amongst my emails as I know there's money to be made, however will look after our health first and be sensible.
That sucks. Get well soon both of you.
As Vinny knows I'm sure, it has been the coldest week for years here in the UK and annoyingly, my wife and I have had no heating or hot water since last Friday due to a broken down boiler and a useless boiler insurance company (yes, SSE, I'm looking at you)! Hoping it will be finally fixed tomorrow, but I'm not holding my breath to be honest.
That's a pain mate. I have just dragged my arse outside as we don't have a mains gas supply here so I have to check the tank under the front lawn so I know when to order some more. Hatch was frozen shut, took me ages. Hope your heating gets fixed soon fella.
COVID finally caught up with me after 3 years of avoiding it. Both my wife and I tested positive towards the back end of last week. We have isolated since then even though only "guidance" to do so as opposed to any mandatory requirement in the UK. Keeping an eye on my wife who has breathing problems anyway but to date she seems to be okay. I am glad of the downtime in some respects but really conscious that work was starting to pick up this past couple of weeks and eager to get in amongst my emails as I know there's money to be made, however will look after our health first and be sensible.
Between 1980 and 2003, Overkill delivered twelve full lengths, three EPs and numerous splits and videos. In a little under 25 years the band had been knocking out albums at a rate of approximately one every two years. That is a pretty consistent level of output by any measure and one that saw the band survive the lull following the eighties heyday of thrash metal by branching out into groove metal to keep the New Jersey/New York machine rolling on. Taking a wider view of the whole discography and it is even more remarkable that I can still find releases in there that I have never listened to and so being able to drop any release in by Overkill as a monthly clan feature is hopefully a voyage of discovery for all once we move away from the more infamous releases.
In my thread for this feature release I billed Kill Box 13 as a "post-groove metal" era album from Overkill. This is only half true since although thrash metal plays a part here I get much more groove metal on Kill Box 13 than I do conventional thrash metal. In fairness to Overkill, retaining that groove metal element was inevitable really. It had seen them through three or so releases and so was obviously an embedded part of their sound by this point. As I reflect on the last run through of the record I did, it is the groove metal that sticks in my mind even though the better parts for me are the actual thrash moments.
However, there are a couple of challenges with Kill Box 13 for me that consign the album to the "unlikely to revisit" pile. Firstly, it is too long at ten tracks and fifty minutes in length overall. This coupled with my second major criticism that the album is massively top heavy and almost everything after track six should have been left for a future bonus offering of previously unreleased tracks makes this album something of a damp squib for me. Accepting that the health issues in the band may play more than a part in this release being less than optimal, I still think the content lacks that consistent quality to justify a full length release and although I have not seen anything to suggest it was rushed to meet contractual requirements or the bands simple need to start touring something again, I would not be surprised if something other than artistic integrity drove some of the choices here.
2.5/5
Diocletian "Doom Cult" (2009)
There are some truly punishing listening experiences around in the plethora of extreme metal releases that populate the blackened death metal sub-genre in particular. Here be the home of Portal, Teitanblood and Antediluvian amongst many others, all of whom showcase an unrelenting style of music that defies structure and form and goes for the jugular track-after-track. To be honest, even after 30+ years of listening to metal I am still not sure of the difference between the term "war metal" and the sound emitted by the likes of Diocletian and we all know how much I hate genre pedantry so feel free to shake your head in silent disgust as I refer to this primitive style of music minus any correct "it" terms.
New Zealanders Diocletian are a tricky concept for some. Not in the least due to the fact that the vocalist at the time of Doom Cult (V. Kusabs) has since been convicted of possession and distribution of child pornography. Sometimes our exploration of the extreme side of music takes us to even darker places than we thought possible unfortunately. Focussing on the music though, Doom Cult is truly an exploration of unbridled terror done with drums, bass, guitars and some ghastly vocals thrown in for good measure. If you are looking for any semblance of production values then you are in the wrong place altogether as this has been left outside the door along with discernible vocals, structured riffs and any hope of variation.
This in fact, is probably one of the few occasions all tracks merging into one in a chaotic blur works well. Everything does get thrown at the wall here and the fetid, gloopy mess that sticks is here for the duration, all thirty-three minutes of it. There are some more memorable moments when the band adopt a more military style approach to their rhythms here and there but overall, to truly enjoy this record you have to be willing to let it assault you. There might not be a lot of mastery about the attack but it does not make it any less effective.
4/5
Dark Funeral "Where Shadows Forever Reign" (2016)
An internet acquaintance of mine often referred to Dark Funeral with ill-disguised disgust. He often referred to their sound as being “blasting for, blasting’s sake”. Dark Funeral have been a missing part of my black metal education for virtually the whole time I have listened to extreme metal – and that has nothing to do with my online friend’s less than positive experience of them. What little I have heard has never served to separate them as being standout from say Marduk or 1349 and so they have never been given a full listen through before the Review Draft picks this month.
Upon first listen to Where Shadows Forever Reign, I can understand the “blasting” reference described above, although I do not entirely agree with the sentiment that this is overdone in anyway. Where Shadows Forever Reign is as conventional as you could hope to hear in the black metal stratosphere. It pulls no punches and sticks to a tried and tested formula without falling into the trap of just being the same the whole way through. This is not to say that there is not a large amount of repetition on here, but the nuances are subtle enough to make this an album that rewards with each listen. I would still tout that a bit more variation would not go amiss (or at least a trim on the track listing to bring this under 40 mins overall) but what is on display here is of sound enough quality that it almost works over the album duration.
It has taken me four or five listens to fully get my head around this record, but my enjoyment has increased with each listen. The loose sense of atmospherics and dissonance, coupled with the crude melodicism makes for an interesting listen as it is not like any of these elements get fully explored or developed too far beyond those more traditional black metal elements. It is more likely they are continually flirted with and teased at. The twin guitar attack to my ears should beef things up more but this record is a real machine when it gets going still and the vocals of Erik Andreas Vingbäck are of note.
Listening to this record has piqued my interest in the band enough for me to explore more of their discography but I still think they will end up outside of my core bm listening – just as 1349 are in all honesty.
3.5/5
January =
Anthrax - "Caught In A Mosh" (from "Among the Living", 1986)
Prong - "Snap Your Finger Snap Your Neck" (from "Cleansing", 1994)
Impalers - "Prepare For War" (from "God from the Machine", 2015)
Testament - "Absence of Light" (from "Souls of Black", 1990)
Terrörhammer - "Graveyard Witch" (from "Under the Unholy Command", 2015)
Oxygen Destroyer - "Cleansing the Earth of Humanity's Existence" (from "Bestial Manifestations of Malevolence and Death", 2020)
Testament - "Souls of Black" (1990)
Souls of Black was (according to Chuck Billy) written and recorded in a rush to get the band on the European leg of The Clash of the Titans tour with Slayer, Megadeth and Suicidal Tendencies. It sounds like it in all honesty. From the off you cannot fail to hear the scratchy sound to the guitars and the overall compression on all the production, with tinny drums and too much echo on Chuck’s vocals. Given the experience of Michael Rosen in the production chair and the late Tom Coyne covering mixing duties this is a surprising outcome but one that somehow does not entirely ruin Souls of Black.
Over repeated listens, the album has grown on me. It will never be a regular play though because (production issues aside) it is so inconsistent. This must be down to the hectic nature of the album being put together as Chuck describes, even though this is clearly a thrash metal record, it sounds rushed and that cannot be hidden by the sheer intensity of the rhythms that the band deploys. When the band are on point (Absence of Light, One Man’s Fate, Malpractice and the title track) they truly do motor at a huge rate of knots. However, the rest of the album is just filler with a smattering of promise of greater things littered largely throughout the lead work of Alex and Eric.
By comparison, Louie Clemente seems lost in the mix, occasionally bobbing his head above the squall to remind us he is there pounding away. Despite being audible he somehow lacks presence on the record. Greg’s bass is also able to be heard – if not in a muffled sense – but overall, no instrument escapes the poor production job. The most obvious element is still Chuck’s booming vocals that get enough restraint from the production to the benefit of the album overall, but they sound detached from the rest of the band’s performances, like they were over-layered as an afterthought somehow.
Not the best Testament record they have ever done but still has some enjoyable elements to remember even if they are not enough to bring me back for repeat visits.
3/5
Ah missed this thread. Good to have you aboard.
My point is: if no new bands were to be formed, creative development of metal would come to a halt for good. And again, this principle can be applied to any field of human interests, which is what makes Nergal's remark so idiotic.
I don't think we have met before. Welcome to the MA site, hope you stick around and chew the fat some more.
Some interesting points in your post, however I think there is a fair argument to say that "new band" does not always equal "creative development" though. Every new band that gets together does not push the boundaries of music, in fact you only have to look at the "retro" scenes in say thrash or death metal to prove that. I would even go as far as to consider that an excess of new bands actually leads to a reduction of creative development. Scenes grow and die out usually seeing some kind of revival within 10 or 15 years. That's not creative development though, that's regurgitation.
I don't think he is "dictating" anything and let's just caveat that I am no huge fan of Nergal or Behemoth so feel no obligation to defend him - and the irony of this statement coming from a well established and commercially successful artist from within the world of music is not lost on me either - but there is a lot of sense to what he is saying. Even without the pandemic or the global financial crisis the career of a musician is limited. Nothing wrong with doing what you love of course but it does not mean that this will put bread on the table.
Of course there's too much of everything. Humanity is greedy by nature and the need to satiate that hunger inevitably leads to excess of everything, it is not idiotic to call that out though, in fact it is the very theme that runs throughout many metal act's lyrical content. I have listened to metal for over 30 years and so I have been around the block a few times and I am tired of trying to keep up. I accept that this is my problem and clearly differs from others views but there is nothing wrong with looking at what you have got in whatever form your music collection takes and just sticking with that.
January =
Altarage - "Rift" (from "Endinghent", 2017)
Amorphis - "Vulgar Necrolatry" (from "Karelian Isthmus", 1992)
Asphyx - "M.S. Bismark" (from "Last One on Earth", 1992)
Autopsy - "Severed Survival" (from "Severed Survival", 1989)
Acephalix - "Postmortem Punishment" (from "Theothanatology", 2022)
Diocletian - "Antichrist Hammerfist" (from "Doom Cult", 2009)
Ulcerate - "Abrogation" (from "Shrines of Paralysis", 2016)
For clarity, I have been working my way through my CDs this past month which are stored in alphabetical order, hence the glut of bands starting with "a" on the list.
I will take Dark Funeral.
Easy one for me. Diocletian all day long.
I was very tempted by Gang Green but have decided to give Testament the nod. Over to you Ben.
January 2023 =
Nordicwinter - "Beneath the Fleeting Light" (from "Beneath the Fleeting Light", 2022)
Departure Chandelier - "Between This World and the Next" (from "Dripping Papal Blood", 2020)
Horna - "Rautamyrsky" (from "Split w/Behexen", 2007)
December 2022
01. Midnight – “Telepathic Nightmare” (from “Let There Be Witchery”, 2022) [Submitted by Daniel]
02. Skourge – “Old Gods Return” (from “Hardcore up Your Ass”, 2021)
03. Power Trip – “Suffer No Fool” (from “Opening Fire 2008-2014”, 2018)
04. Bewitcher – “Death Returns…” (from “Cursed Be Thy Kingdom”, 2021) [Submitted by Daniel]
05. Liege Lord - “Rapture” (from “Master Control”, 1989) [Submitted by Daniel]
06. High Command – “Siege Warfare” (from “Eclipse of the Dual Moons”, 2022) [Submitted by Vinny]
07. Sodom– “M-16” (from “M-16”, 2001)
08. Flotsam & Jetsam – “Hammerhead” (from “Doomsday for the Deceiver”, 1986) [Submitted by Sonny]
09. Vexovoid – “Infinte Collector” (from “Call of the Starforger”, 2017)
10. Meliah Rage – “Crushed Beneath My Heal” (from “Idol Hands”, 2018)
11. Xentrix – “Seven Words” (from “Seven Words”, 2022) [Submitted by Vinny]
12. Rage – “Deceiver” (from “Reign of Fear”, 1986) [Submitted by Daniel]
13. Critical Defiance – “The Last Crusaders…Bringers of Death” (from “No Life Forms”, 2022) [Submitted by Sonny]
14. Bestial Invasion – “Treachery” (from “Divine Comedy:Inferno”, 2021)
15. Machine Head – “Arrows in Words from the Sky” (from “Of Kingdom and Crown”, 2022)
16. Testament – “Legions of the Dead” (from “The Gathering”, 1999) [Submitted by Sonny]
17. Schizophrenia – “Mortal Sin” (from “Voices”, 2020)
18. Agent Steel – “Mad Locust Rising” (from “Mad Locust Rising”, 1986) [Submitted by Daniel]
19. Speedwolf – “Ride With Death” (from “Ride With Death”, 2011) [Submitted by Daniel]
20. Five Finger Death Punch – “Wash It All Away” (from “Got Your Six”, 2015)
21. Death Angel – “Humanicide” (from “Humanicide”, 2019)
22. Eradicator – “Read Between the Lies” (from “Into Oblivion”, 2018)
23. Destruction – “State of Apathy” (from “Diabolical”, 2022)
24. Demolizer– “Cancer in the Brain” (from “Thrashmageddon”, 2020)
25. Thrashist Regime – “Headshot” (from “Carnival of Monsters”, 2018)
26. Stam1na – “Memento Mori (atiestin kiitos)” (from “Novus Ordo Mundi” 2021)
27. Criminal – “Self Destruction” (from “Victimized”, 1994)
28. Invicta – “Terminal Brutality” (from “Halls of Extinction”, 2019)
29. Black Viper – “Hellions of Fire” (from “Hellions of Fire”, 2018) [Submitted by Daniel]
Hi Ben, please can you add Danish thrashers Impalers to the site?
Also, US thrashers Cruel Bomb please?
To describe French one-man bm outfit Esoctrilihum as being industrious is quite an understatement. Since 2017, Asthâghul has released eight albums and three EPs. This level of prolific activity is hardly unheard of but is certainly not the norm. Reading a few interviews with him around the web this morning Asthâghul has a very specific mindset he exists within to allow his creative juices to flow and based on the frequency of his output he does not find it very difficult to get into the zone.
Released a little under a couple of months ago (at the time of writing this review at least), Saopth’s continues Asthâghul’s journey into the symphonic, the avant-garde and the lo-fi black metal elements of his music. I will go on record early on in this review in noting that there is a lot to take in here. As someone who is not really that interested in avant-garde metal this maybe more of an individual struggle as opposed to a more widespread challenge for any fan of the sub-genre. Fortunately, there is enough variety within Esoctrilihum’s music to retain enough of the more extreme elements that are more attractive to my palate.
I am not even going to attempt to talk about individual tracks here as that is firstly an impossible task (for me at least) and secondly would be an injustice to the whole release when viewed as a singular piece of art. I can only focus on the whole album as the consistency of the performance breeds the familiarity I need to connect with it superbly. One of the major strengths of Saopth’s forty-three plus minutes its clever use of keyboards and synthesisers. They draw an ethereal and eerie picture that is equal part dungeon synth and symphonic black metal also. They are like an icy cold hand to hold throughout the album, caressing your palm during the albums more bizarre moments whilst all the while guiding you through the maelstrom that is all the component parts of the album.
Vocally, Asthâghul adopts a rasping kind of lunacy in his style that is the perfect accompaniment to the music. Sat in the mix, well layered behind the keys and the guitars and drums they embody a real sense of struggle. There are times however when it all does get too much, where no amount of mixing and mastering prowess can balance all the elements in any sense of equilibrium and as a result sections of some tracks sound like they are damaged parts of the tape to my ears which is not a pleasant experience in all honesty. I cannot deny however that Saopth’s entertained me and although I am unlikely to have much desire to revisit this for further unpicking, there is no denying the effort and talent involved in this release.
3.5/5
Acephalix - Theothanatology (2022)
Meat and potatoes death metal from the San Francisco horde. Nothing to set the world on fire here and not a lot of difference from what has come previously in all honesty. The riffs and vocals are quite predictable and they have in fact lost some of the darkness that they exuded on previous releases. Still prefer the vocalist Dan's work in his other band, Vastum but there is nothing wrong with Theothanatology other than it just being very predictable.
3/5
My flirtation with The Gateway clan has waned over the past year or so. However, that having been said I think Bad Omen's latest release might just be my most played album of the year and I do still spin Niratias by Chevelle on a regular basis following its release last year. Still, I do not now engage with much of this clan even though for a period in the late 90s and early noughties I was listening to the likes of Korn, Linkin Park and grunge acts such as AiC and Soundgarden on a daily basis.
In Sevendust I found a happy medium I guess between a record that is not shying away from being alternative but at the same time lacks any real sense of panache when it comes to song writing overall. But let us start with a huge positive in the vocals of Lajon Witherspoon. His cool and tuneful voice is the standout item on Animosity. The irony being that his voice hardly evokes any sense of animosity given that it possesses a smoothness that sounds like he could roll icing out from between his vocal chords at times. The more aggressive tracks leave me to think that he most certainly has depth in his abilities (if not necessarily able enough for me to describe that depth as range of any sort). In keeping with the vocal performance, I find the riffs here of equal aptitude. When they put their mind to it, Sevendust can let rip with the old six-strings whilst also weave some of those hazy nu-metal notes in there also from time to time. These two elements alone make for some memorability without ever managing to convey much in the way of excitement or intrigue in what I am hearing.
Animosity is very much an album that I would not come back to. After giving it more than a few listens ahead of this review I cannot say there is anything remarkable here and it really just sounds like an awful lot of other music that was floating around at the time. The song writing can actually sound quite lazy at times with clunky structures such as Xmas Day really bringing nothing positive to the table. As a result the album lacks completeness and suffers from the dreaded sense that this is a collection of songs as opposed to an album.
3/5
Meliah Rage - Idol Hands (2018)
Meliah Rage are a noisy bunch. In fact Idol Hands comes straight out of the traps in a riffing frenzy and maintains this trajectory over the eight tracks on offer. Having somehow missed this band over their 30 year plus career I wondered initially how I had never picked up on any releases previously as at first glance they seemed to have some promise for my tastes. Then two things became immediately apparent very quickly with Idol Hands that made me see more or less instantly why my foray into their discography will probably be limited to this one release. Meliah Rage are to me like a poor persons version of Metal Church. That combination of power, heavy and thrash metal that Metal Church managed to nail for at least a few releases is not as well moulded here within the ranks of Meliah Rage and as a result their blend of metal is too power metal orientated for my liking.
The vocals of Paul Souza are by far the most power metal laden element to the bands sound here. For all the riffing that Jim Koury and Anthony Nichols manage to muster from the twin guitar attack (complete with some standard yet perfectly well-done lead work also) it is Souza's vocals that blunt the attack with their overly expressive gruffness that at times are quite comedic. Although he can hold tone, he lacks range and his style soon becomes predictable. Equally, drummer Stuart Dowie appears uninterested (or unable) in stretching his legs beyond some very rudimentary efforts - I mean where are the fills fella? He just sits there following the same pattern, track after track. I am not sure he has more than one stick in all honesty.
As I said, when I threw Idol Hands on at first it was instantly obvious they were noisy enough, unfortunately what they have to say is boring and predictable. Lyrically they hold a level of naivety that belies their years together as the below excerpt for the terrible Sentenced to Life clearly shows:
Trapped inside your body
Locked inside your head
Dying to be someone else
Wishing you were dead
This is poor heavy metal, badly written and actively suppressing the two bits of talent that the band holds (the guitarists) within limiting and restraining structures that challenge nobody in terms of skill set.
2/5
My Dying Bride - Turn Loose the Swans (1993)
As I further my listening in The Fallen clan I inevitably find myself with my first MDB album. I cannot articulate why I have never ventured into MDB over the last three decades. It is not that I recall any poor experience of one song that turned me off them although I predict that if I had heard Turn Loose the Swans back in 1993 I would not have gotten past album opener Sear Me MCMXCIII as my Pantera-adled brain would not have tolerated such a dreary number. In so many ways TLtS is a gift that I can only appreciate with age, as it is an album that transcends a mere death/doom tag over its seven tracks and is in fact a lot to take in.
This is an album that manages to felt as well as heard. It has tangible form and edges as well as an interesting interior to explore also. Whether it is the destitute crooning of Aaron Stainthorpe that you feel in the very pit of your stomach or the melancholic stabbing riffs of Andrew Craighan and Calvin Robertshaw that fill your head with heaviest of dark thoughts, there is always an experience to be had with any part of TLtS. Rick Miah more than deserves a mention also with his drumming providing a consistent and solid backdrop to whole despondent atmosphere of the album. The drum patterns manage to sit in the space between simple percussion and expansive detail. Never lost and never overpowering, this is one of the most balanced drum performances I have heard for some time.
Props also for the subtle use of the violin and keyboards. Martin Powell manages to make his presence felt without turning the album into a wishy-washy, gothic affair. The guitars, drums and vocals are genuinely allowed to shine with the keys and classical strings seeping in to support them or compliment perfectly the more down tempo moments. The Snow in My Hand is a great example of how they violin is effectively used to introduce the song, set the tone and then hand it over to the doomier aspects of the sound. In terms of the true death/doom content, I would argue that this is quite sparse overall and only comes into play from around the halfway point of the album. Indeed, I would go as far as to suggest that TLtS is a real grower of an album overall in terms of staying true to its overall genre classification. The elements of gothic and doom metal certainly dominate the first part of the album, yet when the death/doom content is displayed it does not push any of these other elements aside. The band merely combine them as new component parts to the sound and as a result the album has a real sense of development to it. At the same time all tracks seem somehow interconnected. Listening to the aforementioned The Snow in My Hand you cannot help but think of album opener Sear Me MCMXCIII. I am not aware that the album is a concept album and so I can only put this down to sheer consistency.
Building as it goes along, the release hits its peak shortly before the end of the record as the two lengthier tracks, Crown of Sympathy and the title track, truly showcase the song writing prowess of the band. Dramatic, grandiose (trumpet fanfare) and utterly desperate, both tracks encompass the overall experience of TLtS perfectly. I cannot pretend to have hit it off with this record from the outset and I have in fact been listening to it on and off for weeks now just to get to the point of being able to gather my thoughts for a review. At first (as with Anathema) I did find it a little bleating at times but this issue soon dispersed over repeated listens. Despite the experimentation, the record maintains a real death/doom ethos at its core and is one of the best records I have heard to date in my exploration of The Fallen clan.
5/5
Hi Ben, can the latest release for Nordicwinter be added please? "Beneath the Fleeting Light".
New Nordicwinter got released whilst I was on holiday and s I have only just noticed this past day or so that this is out. One of the more consistent atmo-black artists out there - certainly based on his last three albums anyway. Always seems to chime just right with me whenever he releases something and this appears to be the case again here although far too early for a fully fledged review.
Let’s be honest. Out of all the genres of metal, thrash metal is the one that sees little in the way of output that constitutes much excitement in the modern era. Nowadays even the progressive and or super technical offerings that stray over in to our beloved The Infinite clan here at The Metal Academy rarely raise enough furore to warrant a rating pretty much a review. As someone who spends a lot of time with The Pit clan when programming the playlists each month, it is easy to become embroiled in a battle with the algorithms of streaming services to find something that offers enough of a core representation of thrash or speed metal whilst adding something new and interesting to boot.
Of course, there is nothing wrong with a band doing an established and recognisable sound well and giving a true representation of the genre in the process. However, at the end of the day there is a lot of thrash metal out there and it is easy to overlook true exceptions to the rule in such a packed and well-established genre. Enter Critical Defiance, another jolt of energy into the thrash metal corpse from the seemingly endless stream of Chilean metal bands who are unafraid to wear their 80’s influences on their sleeves and revive the sounds of old.
Take a flick through any review on MA of any of these South American revivalist acts and you will soon find high praise aplenty. This praise is not unjustified either given that in Critical Defiance’s case at least, they give an energetic and memorable performance throughout No Life Forms. Clocking in at just under half an hour, their sophomore release both sounds and feels like a thrash metal record from the heydays of the genre. With two guitarists in the ranks (a change from the debut release as I understand it – see Sonny’s review) the band present a full and complete sound that crackles with fire and energy throughout. As soon as the opening track starts, we get sight of the superb lead work within mere seconds and as such No Life Forms sets it’s stall out early.
The album flicks between all out, maniacal riffing with frenetic tempos and frantic pace swarming all over the listener and straight up memorable riffing and classic thrashing chops. The infectious nature of CD’s passion for their music is obvious on all ten tracks on offer here and they deliver that passion with the album never managing to become a draining experience for the listener. When they tone things down for some chopping punishment on our ears of a more classic variety, they reference Kreator, Morbid Saint, Sodom, and Demolition Hammer in their playing style to show some grounding in the genre’s history.
As a unit you will struggle to find many bands tighter than CD. The drummer is an absolute machine, and the audible bass is a real powerhouse in driving the band forwards also. As already referenced, the guitar work is nothing short of exceptional here and the instrumental track, Elephant (one of two instrumentals) showcases this perfectly with its climbing melodies and charging riffage. Likewise, the vocal work of Felipe Alvarado is a perfect fit for the music. It reminds me of a more crossover style than the rest of the bands sound indicates as we are spared the high pitched shrieks as seems to be the norm on all retro-thrash records nowadays.
Despite all the positives noted above, I am not blown away by this record. Going back to my opening paragraphs, this has all been done before and although this is done well, I have plenty of this stuff already littered through out my physical and virtual library. In all honesty, even with a short run time, large parts of No Life Forms just pass me by each time I listen and that is not really the fault of anyone in the band, more a reflection of how overloaded my brain is on this stuff nowadays. Five stars for effort but not enough here still to keep this in the higher ratings overall.
3.5/5
Departure Chandelier - "Dripping Papal Blood" (2020)
The huge and rather grandiose logo for the band does no justice to the actual sound of Departure Chandelier. Whilst there most certainly is a majesty to their sound it is a dank and drab majesty that manages to capture the core and basic elements of conventional black metal alongside dungeon synth and choral elements as well. This four track demo from 2020 follows the success of their debut full length from the previous year which I am already getting on rotation along with their first demo from 2019 also which tracks a similar format to Dripping Papal Blood.
With an intro and outro track dedicated entirely to dungeon synth, we only have two tracks proper for DC to express their grim and grime-ridden black metal. Thankfully, even over such a short format, they manage to impress us without seemingly breaking a sweat. It is clear that the demo format allows for them to rely purely on the raw and slightly muffled/suppressed sound as opposed to being invested in any high level of production values. They intelligent let the synths create atmosphere in keeping with the religious theme of the demo overall but they are also really strong with the riffs here as well. The only element that feels a little too far removed from proceedings is the drums. Whilst audible, they are only just so, a lot of the time they are just a "tishing" entity in the background and far more rhythm is developed from the guitar work as opposed to any real percussive input from the sticks.
Deploying a tried and tested rasping vocal style, the lyrics are sung as tortured incantations that compliment both the harsh bm on offer as well as the more atmospheric moments. Clocking in at just over thirteen minutes, Dripping Papal Blood is memorable and departs leaving me with a real sense of closure as the minimalist synths count out the death knell of the outro track. This has proven to be a very good find and holds much promise for me as I explore their wider discography. I would recommend their debut demo The Black Crest of Death, The Gold Wreath of War for anyone who finds this format pleasing enough.
4/5
I have always struggled with Amon Amarth. Notwithstanding that melodic death metal is not my thing at all, the Swedes continuous levels of praise is nothing short of baffling given that every song I hear by them sounds exactly the same. I had spent time in the past with a couple of albums of theirs (Twilight of the Thunder God and Surtur Rising) and just got not get beyond seeing them being little more than background music. In weighing up the options for this month's Review Draft for The Horde I clocked this, their debut full length release and had heard high praise for it being "brutal" and "glorious" so I decided to see if the band started out any better than they currently sound.
I would open the main part of my review by saying that the aspirations to be "glorious" are really obvious on Once Sent From the Golden Hall. There is - even at this early stage in their career - an ambition to deliver songs on a grandiose and epic level and that is something I cannot help but recognise and acknowledge. With track lengths ranging from four to eight minutes, Amon Amarth try to pack out their song writing with story telling being the main provision being utilised. With the theatrics of the sound of a battle echoing around the middle section of the track Amon Amarth, the band make no bones about the grandiosity of their ideas and at least try to throw something different in there away from their familiar musical style.
The problem with all this ambition is that both the musicianship and the production job are of such a poor standard that the delivery of the promise is just a football field away from the planned intent. Former Opeth drummer, Martin Lopez was part of Amon Amarth at this point in their career and considering the stature he attained with Opeth over seven albums, none of that promise is even hinted at here in 1998. His timing is terrible and on more than one occasion he is behind the rest of the instruments and appears to be more than a tad over-eager on the hi-hats and cymbals as well. The twin guitar attack of Hansson and Mikkonen sounds exactly the same as it does today in fairness and the only real drawback to this (aside from the fact that I hate the tone) is that they are drowned out in the main by Johan Hegg's vocals. In fact Hegg gets by far the best treatment by the production and mixing job and his vocals really standout on here (how could they not) and for the first time I thought how more befitting they would be in a black metal act than in a melodic death metal band, but still, they are far too dominant here even if they do at times serve to hide Lopez's misgivings behind the drumkit.
In all OSFtGH is a triumph of design over content and is the final nail in the coffin for me and Amon Amarth as I doubt I will ever take any other opportunity to explore anymore of their releases since their debut just confirms that like the rest of their discography that I have experienced, Amon Amarth are simply not for me.
2/5
December is a light one for me as not planning on doing much in the way of thrash metal listening at present so just the two nominations:
Xentrix - "Seven Words" (from "Seven Words", 2022)
High Command - "Siege Warfare" (from "Eclipse of the Dual Moons", 2022)
December =
Ripped To Shreds - "Peregrination to the Unborn Eternal Mother" (from "Jubian", 2022)
Morbid Angel - "Thy Kingdom Come" (from "Blessed Are The Sick", 1992)
Necrot - "The Blade" (from "Blood Offerings", 2017)
Vacuous - "Voluntary Immurement" (from "Katabasis", 2020)
Coffin Mulch - "Septic Funeral" (from "Septic Funeral", 2021)
Mortuous - "Carve" (from "Upon Desolation", 2022)
December =
Sear Bliss - "Omen of Doom" (from "The Arcane Odyssey", 2007)
Thy Darkened Shade - "Or She-Ein Bo Mahshavah" (from "Liber Lvcifer I: Khem Sedjet", 2014)
I am familiar with Xasthur already and so I will avoid that one. I have been planning on checking out Departure Chandelier for a while now so seems like a good opportunity to follow through on that promise.
Thanks Ben, looks like I will give Amon Amarth some attention this month. Over to you for second pick.
Thanks Ben, it will have to be Meliah Rage for me. Been meaning to check them out for a few years.
Over to you Ben.
Glaare - To Deaf and Day (2017)
Pottering about this morning doing some errands after the wedding on Friday and ahead of us going to Wales on honeymoon this afternoon and after a chaotic few days in the final run up to the wedding I am in need of something soothing and yet with life in it. This post-punk outfit usually hit the mark whenever I need such relief and this has once again hit the spot today. Drank far too much on the night of my wedding so I am now suffering with anxiety being off the chart whilst I come back down so I sense this record may get quite a bashing over the next couple of days whilst I am relaxing in my hot tub on honeymoon.
Hey Ben, a couple of requests please:
Slimelord - death/doom from UK
Mortuary Spawn - UK
Vacuous - UK
I am going to come right out and say it. It is criminal that I have been unaware of this record for the last eight years. Given I already went in for a vinyl purchase within two weeks of hearing it for the first time, this should be evidence enough of my desire to rectify this wrong. First off, although I get the Mayhem, Abigor, Dissection and even Deathspell Omega vibes, I do think this is one of the most refreshing and unique black metal albums I have ever heard.
It flirts with the progressive elements throughout the experience without ever showing full on commitment to them in the long term. The always audible bass casts some aspersions about the progressive tendencies of the record in that I do not think that it always intends to sound progressive. Unlike with Onirik (another one of my unique favourite finds from recent years) this bass is not always climbing or expanding the ether of the music intentionally. In short, it is just well played and well placed in the arrangements and overall mix.
Of course, there is a lot more to Lvcifer Liber… than just the bass. The guitars fill the very air around them with their (again) progressive melodicism and warm Hellenic style. When combined with the passages of chant and mantras they work well together to build a lush and uncomfortable cosiness to the two short instrumental tracks that open sides A and B of the record. Early in the record it becomes clear that Thy Darkened Shade can be rhythmic machine when the tendency takes them. With an almost black ‘n roll catchiness they can move from occult driven atmospheres to infectiously memorable passages with adhesive-like qualities.
Drummer Hannes Grossman (credited only in a “guest” capacity) gives a great performance, varying between blastbeats and more measured elements he shows a real array of skills over an hour and near twenty minutes. This is not a rampant display by any means – his impact is much more subtle and considered in comparison to the rest of the instrumentation. With Semjaza handling everything else barring vocals, it is left to the mysterious The A to add a very Mayhemesque influence to the construct. I did find the vocals to be the weaker part of the machine initially, largely because they were so predictable, but they are well balanced with the cleaner mantras from Semjaza that I soon concluded that overall, they work without them necessarily needing to be on a par with everything else that is going on.
This is an album that rewards with repeated visits, subtly pushing your experience of the boundary expansion with each return listen. For me at first it just sounded like a melodic bm record with some clever parts but it is a lot more calculated than that and it has taken me seven or eight listens to truly get my head around what I have now proudly adorning the shelves of my vinyl collection.
4.5/5
Review Draft for The Horde this month sees me taking on Spanish death metallers Graveyard and their debut EP Into the Mausoleum which is actually just their first demo from 12 months earlier as far as I can make out. I am genuinely unsure if this is re-recorded or even remixed in all honesty as the production job is far from top notch. From the start there is a very Swedish vibe to the tempos on this record. Not that it sounds particularly Swedish in terms of the crunch of that guitar as such, but you will still get those Dismember and Entombed tropes from the off with a healthy dose of Bolt Thrower for good measure also. Certainly at this early stage in their career there is an Autopsy-like clumsiness to proceedings, suggesting that some accomplishment to the playing was yet to be realised.
At a shade under 24 minutes it is hard to come to much of a conclusion on Graveyard based on this one release. They certainly make all the right noises for any fan of death metal to be endeared to them but with two tracks being instrumentals and another being a cover of Death's Zombie Ritual , I would suggest this is not a fair representation of what the band no doubt have become in the fifteen years that have passed since this was released. When they are in full flow on the four tracks that have lyrics and their own content they are capable of delivering some pretty decent if not cluttered arrangements. The immaturity does hold them back though and that production job is not kind to the drums in particular which sound like a mere afterthought in the mix.
They have a fair crack at that Death cover but do little justice to it whilst managing to avoid massacring it overall. Looking at their scores on future albums they notch up some decent praise over the years so it may be worth me taking a punt on a later album to see how good these guys turned out in later years but for now I shall just note Into the Mausoleum as being a solid if unremarkable start for them.
3/5
Crisix - "Toxic Waltz" from "American Thrash" (2019)
all future reccomendations shall be ceased from publication untill due hobgoblin ruby is produced and sent my way. 🤘
Thanks, but perhaps a read of the rules would have saved you some typing. Tracks must be available on Spotify (that one isn't) and submitted by 15th of each month. Looks like you are going to be waiting a long time for that ruby.
Thanks Sonny
Needless - Heresy (2019)
The Review Draft feature this month served its purpose well. Needless are a completely new offering to me and one that probably need a hall of judgement submission (no, I am not) as they offer an intriguing if not altogether functional slant to thrash/death/progressive metal. To start with, the band are Hungarian and although noted as being active since 2004, it was not until 2019 that they released their debut full length.
Heresy is an energetic if not jerky affair in the main. It flits from idea to idea as though alluding to a level of progression that the band are not quite capable of achieving. Time changes are not always the smoothest of transitions (and I get that they are not always supposed to be) with the sense being that things are just piled on top of one another as opposed to being arranged in a clever and challenging way.
Although it lacks finesse, the album is by no means unpleasant to listen to. I will not pretend to like all the eight tracks on here, the level of progressive influence makes the album too jarring an experience overall for me to be able to highlight individual tracks as being standout moments. That having been said the technical prowess aligns on enough occasion for sections of songs to shine (Sky Burial, for example has some memorable sections). Vocalist Ádám Forczek is consistent throughout and has an aggressive yet ultimately predictable style that does not entirely do justice to the more accomplished guitar work of Fogl Botond and Tamás Bárány by way of comparison.
I would describe this as "grown up" technical/progressive - melodic - death/thrash metal that is being done by teenagers not yet at a level of maturity that matches the ambition of the group. Album number two just dropped in 2022 I noticed during my research for this review and I would not be averse to checking that out to hear if they have polished the edges of their song writing prowess enough to really be able to shine.
3/5
Sonny? Are you adding anything for November please?
I must confess to not having heard the debut album by Cirith Gorgor for a good while. A brief look at my spreadsheet where I log all my collection showed me that I had this album as a five out of five rating. SPOILER ALERT – it isn’t. This record had a bit of a cult following back on the old Terrorizer forums and I can sort of see why. The blazing Battles in the North intensity of Immortal, the relentless attack of Gorgoroth and the misanthropic attitude of Marduk all shine through on this record. Similarly, the crude sense of melody deployed by the likes of Sargeist rings around my head for most of Onwards to the Spectral Defile.
That cult status does not strike me as all that valid – certainly in 2022 anyways. Released in 1999, this album dropped long after the heyday of the bm scene and so I hear nothing that I had not heard already from any of the above-mentioned bands. Gorgoroth had peaked long before this record, Marduk lead the way in the intensity stakes as Immortal embraced the more epic aspect of bm in the very same year Cirith Gorgor released this, their debut album. The thought occurs to me that CG just arrived late to the party and wondered where everyone else had gone.
History lesson aside, is OttSD any good? Well, yes, it is. If you like a dose of 90’s scathing black metal with some melody (clumsily) applied, then this is for you. Does the scope of the ambition outweigh the ability to deliver it? Yes, it does. Is the production job a little too high value for the aesthetic they try to portray? Probably. It is still a decent enough an effort for a debut album though and I am being more than a little unkind to it by berating it in terms of historical reference alone. Enjoy this album for what it is and not when it should have been released.
3.5/5
Spektr - Cypher (2013)
I am not averse to experimentation. Indeed, some of my favourite artists enjoy such status because they can push boundaries and invent new angles and perspectives on classic sounds that I have been familiar with from as far back as my formative years in metal in the late 80’s and early 90’s. Taking a relevant geographical reference for this review Blut Aus Nord are a successful French bm band who have continually incorporated more ambient yet also industrial sounds into their once very conventional atmo-bm sound. I actively seek vinyl copies of BAN records; such is the value I attribute to them.
Spektr are just mental by way of comparison. They appear to be billed as a bm band with industrial and ambient influence when the reality is that they are a confusing mishmash of all the above that gets jazz, down-tempo and a multitude of spoken word clips and samples thrown in to boot. They constantly use this bizarre, warped guitar riff (the same one, for nine tracks – barring the intro tracks) and use a stop/start arrangement to the album structure allowing shorter transitional pieces to introduce longer tracks. This gets disorientating, even without the “piled-on” nature of the track content that runs for anything up to 11 minutes in some instances.
They have drums on here apparently. I say “apparently” because I cannot hear them half the time. They struggle to successfully find purchase in most tracks and sound completely drowned in the mix and lost altogether on many occasions. This may well have been a conscious decision; I am not suggesting that this is due to accidental production quirks. The duo who recorded this want the guitar and horrific atmospheres to take centre stage, I get that. However, unlike with MoRT from the French icons BAN, there is no dissonance for me to track throughout Cypher. Granted that riff I mentioned makes a play for the benchmark element, but it does not quite carry the same hold as the haunting dissonance that BAN conjure.
The industrial vibes are also not that strong to my ears. I mean they are there most definitely, but I am not left feeling I have endured a punishing or all that taxing journey through the usual assorted clangs, clashes, and mining detail of an outright industrial-influenced record. I think this is due to the strong bass presence that seems to mute these harsher edges somewhat. The bass seems to be the most chilled element of proceedings following a more relaxed jazz vibe, again which maybe an intentional thing but it just creates too much of an opposite for the combination to work for me.
Now, note that at no point in this review have I called out Cypher as being a bad album. In fact, if I wanted some background music it works brilliantly; this most certainly is not an album to sit and listen to with nothing else going on at the time. It is a flawed album that lacks the maturity to balance conflicting elements correctly. In order to blend elements like this successfully you would need to be much more extreme than this and as such Cypher feels like an album that is pulling me in more than one direction as a result of it not being able to define its own direction.
3/5
Okay - I am going with Deliverance "Greetings of Death, etc"
EDIT - cannot get that album - even on YouTube. Will go with Needless "Heresy".
Tiamat - Clouds (1992)
Finally, I get around to Tiamat after several decades of somehow missing (or simply not remembering) them. Picking them up when firmly in their death/doom phase on Clouds I find an album that should – on paper at least – appeal to me. Hearing those gloomy riffs and b-movie horror synthesisers on opening track In A Dream certainly seems to indicate that I will enjoy this and…WAIT, WHAT THE HELL IS THAT?? That voice, is that Stephen Hawking saying, “in a dream”? That can’t be planned right? The tape has gotten mixed up with an audiobook somewhere on the production line surely.
Joking aside, after a few listens at least, the odd vocal delivery of the chorus line on the opening track retains some quirky value at least. If I am honest, the whole of Clouds has some vocal challenges for me in the sense that I find Johan Edlund to be a lazy sounding vocalist. I get that he is supposed to sound full of despair and hopelessness, but I find that he just sounds like he cannot be bothered in all honesty. His vocals appear to be an afterthought on most tracks, like they somehow forgot to record them with everything else and then had to track them at the last minute.
Luckily, there are some merits to the instrumentation to note that manage to detract away from Edlund’s half-hearted efforts. The guitars have a suitably mournful tone to them, and the use of keyboards is applied well to tracks to give a real depth to that gloomy atmosphere. It is not difficult upon hearing Clouds to understand how Tiamat moved onto their more gothic climes in latter years. The melancholic elements on the record lack any grandiosity overall but certainly hark to a more emotional performance than a mere death/doom vibe.
A Caress of Stars might be the better of the tracks on offer here with its patient and enveloping growth, torturing the listener by offering no real crescendo in the end albeit that the promise of such is hinted at in the song structure. If you can cope with Edlunds vocals, then Clouds is an album that rewards you for sticking with it as it continually delivers on a dank level of comforting consistency as it slopes its way over eight tracks. The drums are really striking throughout the album and have a chunky edge to them that gives them a real strong presence in proceedings. There isn’t anything particularly standout about them in terms of technicality, they just hit the spot consistently well.
The mood of the album is its ultimate triumph. To be able to provide something – anything – to distract from those vocals is a tall order to deliver, and Tiamat thankfully could rely on their musicianship to save what would otherwise have been a real struggle for this pair of ears to get through.
3.5/5
For some reason I thought Liege Lord had been around for ages and churned out multiple releases. Instead, I can see they managed just three full lengths in approx. 4 years. Having started as a Judas Priest covers band (under the name Deceiver) in the early 80’s, they evolved into a speed metal (of sorts) act around 1984.
Straight out of the traps on their third and (to date) final album the six string antics of Paul Nelson and Tony Truglio are the standout section for me. They are both listed as lead guitarists which might explain the high level of energy that comes across from the off. The riffs are urgent yet varied enough to incorporate some of the more traditional heavy metal familiarity which is also obvious in the voice of Joseph Comeau who avoids the diluted sounding vocals that plagues this sub-genre so often and instead has a kind of hoarse and gruff heavy metal/more aggressive Sammy Hagar style throat.
Frank Cortese sounds like he is having an absolute blast on the drums, but I feel he is at the mercy of the mix in some regards and is a little too far back in proceedings. As a unit, there is a sense of cohesion here that makes for an entertaining album that never really gets up into the realms of being exceptional. At times they do go a bit Van Halen (Feel the Blade) with more catchy and diluted structures taking precedent. As such I do not class this as a speed metal record end to end. In fact, from pretty much the halfway point there is a real change of direction on the record. A change for the worse in my book.
This is disappointing given how well the album starts through the first four tracks. When we get snippets of this early promise returning (Rapture) it is surpassed by some below par song writing and cluttered arrangements in track. The loose references to some NWOBHM plod do nothing concrete enough to cement this release as being one that is consciously trying to show variety and it just seems to show the limitations of the band’s influences. Closing track, Fallout starts like some power ballad with the heavy blues influence on the lead work giving way to a more aggressive format which seems still to be more about being showy as opposed to exerting any real quality control.
2.5/5
Negură Bunget - "'n crugu bradului" (2002)
It's 20 years since the highly regarded sophomore album from Romanian atmospheric black metallers Negură Bunget first hit the shelves today. I've gotta say that I've never understood the attraction to this band (in fact I rated this album 2/5 on my last revisit) but they seem to have developed an almost cult-like following over the years.
This is the low point in their discography to date for me. Not that I have heard all of their stuff but Om stands head and shoulders above this and is their magnum opus in my mind.
Septicflesh - Έσοπτρον (1995)
Symphonic death-metallers Septicflesh are a hit and miss band for me across the various parts of their discography that I have heard. They occupy that space on the very outskirts of my radar whereby if they release something it will largely go unnoticed with the occasional track appearing on playlists at some point, briefly causing me to pause to listen, usually decide it is nothing new in terms of their standard grandiose arrangements that I find go nowhere in the end. All mouth and no trousers is a phrase that springs to mind whenever I am faced with a Septicflesh release.
Everybody must start somewhere of course and back in the mid-nineties the Greeks had a much more death/doom trajectory about their direction. Their second full-length Έσοπτρον (translated to Epsotron meaning “inner view/mirror”) is full of mournful melodies on the guitar with the support of melancholic keys for good measure. Both these elements drive the record forwards in a mix that leaves the drums firmly at the back of the studio and the vocals being hoarsely uttered somewhere just in front of them.
Upon first listen, Έσοπτρον sounds like virtually the same track played in the same order around nine times with the only real variance being the intro (Breaking the Inner Seal) and the medieval tropes of instrumental track, Celebration. Repeated listens – albeit slowly – dispel this notion as you come to understand that whilst subtle in nature, the nuances between tracks are there, you just must be patient in discovering them. I soon got to finding the album possessing an ethereal beauty after a handful of listens, despite there being some sections that step away from death metal (Ice Castle, which plays like some bastardised epic heavy metal track) for large portions of their run time. On their sophomore album, Septicflesh had a keen sense of dark harmony amongst their lead elements, and it is not hard to understand when listening to Έσοπτρον how this band elevated themselves into the symphonic powerhouse that we all recognise them to be nowadays.
As with Greek bm, I find the death/doom on display here to be warmer than usual, or certainly a lot softer than contemporaries of the time. Overall, despite the albums positive growth on me, the piercing tones of the lead guitar are overused and (taking into account that it is death/doom) the album lacks enough variety to make this album a standout for the sub-genre or the band overall. Those dungeon-synth moments that haunt the song structures in places are a welcome addition that add depth and atmosphere to proceedings and there is some stellar arrangements on the lead guitar front (So Clean, So Empty) to keep me focused for the whole album. An important if not outstanding release for Septicflesh.
3.5/5
I tell you what Ben, this month's playlist was close to a 100% nod of approval over here in the North West of England as I worked my way through the list in a slightly odd fashion of starting at track 11 initially and then once I had got to the end hitting up the correct order for my next run through. Hulder through Akhlys (fuck yeah) all saw the "like" button on Spotify getting a right bashing. Ash of Ashes was perhaps the only track on the back half of the list that I debated whether it would get the green heart or not but it made the cut despite the clean vocals. Sainte Marie des Loups are quite a recent discovery for me and so revisiting that track so soon after thrashing the album for a couple of weeks was a timely reminder of one of my new favourite bands.
The list starts off strong with Gaerea who are one of my favourite modern black metal bands - indeed I am waiting for the vinyl of this one to arrive in the post, and I predict this would be one of the few releases on my end-of-year list in a few months. A curved ball with Devil Master if I am honest but it still felt strong enough for inclusion in the solid start to the list and the inclusion of Krohm and then the mighty Horna soon helped cast any doubt aside. The horns of Sear Bliss were a welcome sound early on a Sunday morning also - all hail Zoltán Pál! This track is the highlight of the playlist for me (even above the mighty Akhlys), majestic and triumphant without getting pissy. Thy Darkened Shade continue to slip past me, even them being the feature release for August didn't see me get around to this album. A lot more interesting than I originally expected so definitely worth venturing further with the whole album.
So barring Devil Master and Deafheaven (who I can sort of get to grips with, just not for ten minutes plus) this was a great month again.
November =
1 Body 6 Graves - "Cleaved in Half" (from "EP", 2022)
Mortuous - "Graveyard Rain" (from "Upon Desolation", 2022)
Tribal Gaze - "And How They Wept For Eternity" (from "The Nine Choirs", 2022)
Deathsiege - "Throne of Heresy" (from "Throne of Heresy", 2022)
Celestial Sanctuary - "Trapped Within the Rank Membrane" (from "Trapped Within the Rank Membrane", 2022)
Fluids - "Hounded" (from "Split w/ Nunslaughter" 2022)
I've not heard the new Hulder yet Vinny, is it any good?
My first experience of her but yes, considering a vinyl purchase.