Gouge - Beyond Death [Full length] (2015, Hells Headbangers)

Kolbotn, Norway, is perhaps best known for fathering Darkthrone. With Gouge, there's really no semblance to those legends, turning more towards an American style of thrashing, grinding, old schooling death metal in the dirtiest style imaginable.

Their album debut, released on respected label Hells Headbangers, is about as graceful as a car crashing at a hundred miles per hour against a flock of devoted christians. The count-in of the opening track 'Wretched Passion' is about as classic as it gets. In that way the demented Norwegian death metal duo portray their convictions rather vividly at an early stage. Paying tribute to the legends of early American extreme metal, Gouge represent a state of mind that's all about combining riffs designed to be played at insane speeds with equally fast drumming. Since this hasn't been tampered with to the point of musical regurgitation in ProTools, this means it sounds a bit sloppy. Just like it should.

When you aim for the legacy of the likes of Repulsion, Impetigo, Autopsy and Master, slowing down once in a while may not always seem to be part of the equation. But without the contrast between fast and slow, the faster, thrashier parts don't stand out as well. Tracks like 'Butcher Attack', 'Devil's Debt' and 'Morbid Curse' do this adequately, but they are the exception to the rule it would seem. The fist-fight riffs are forcefully captivating, but it all gets a bit much over the course of the half hour Beyond Death lasts without slower parts to mediate the sonic chaos that is Gouge.

While I enjoy grinding death metal as much as the next guy, I also like when neckbreaking speed is juxtaposed with slower, churning sections. Maintaining an evil atmosphere by speed alone is tough when the majority of the riffing is savagely simple, and the longer tracks - especially the title track, which also serves as the closing track - are easily the best on Beyond Death. Whether the band's debut is beyond anything but a respecting homage to the groups that started it all I'm not too sure, but it is a fun listen nonetheless, even if it doesn't quite soar to modern classic status. 7/10 guitars.

Tracklist:
1. Wretched Passion
2. Breath of the Reaper
3. I Smell of Rotten Death
4. Blood Feast
5. Putrefaction
6. Butcher Attack
7. Morbid Curse
8. Malady Macabre
9. Uncontrollable Madness
10. Chaos and Horror
11. Devil's Debt
12. Beyond Death

GOUGE offical facebook
Hells Headbangers official site

Non Opus Dei & Morowe - Dwizki Dwie [Split] (2013, Witching Hour Productions)

Since the late 90's Non Opus Dei have graced Europe with several albums of black metal from their stronghold in Poland. They represent the old school of the genre, but aren't shy of pushing the boundaries a little every now and then - Something that they make evident on their split with country-mates Morowe. And when I say that Non Opus Dei are more old school I mean that strictly in the sense that their approach to song writing is more straight forward. Morowe hail from a different part of Poland, and in the same manner as Non Opus Dei, their approach is tinged by the tendencies of the time in which they started out. In Morowe's case, that means a much more modern take on black metal, often lending them the definition "post-black metal".

Using the split-release format for something particular is always more interesting than two bands that sound exactly alike or that are worlds apart making a split for no apparent reason. On the Dziwki Dwie split-release, we find two bands from the same country, but from two different currents of the black metal subgenre. While not entirely removed from one another, the stylings of Morowe and Non Opus Dei compliment each other sufficiently to communicate the general idea and to promote each band and their individual strengths.

Both bands offer up three choice cuts created especially for the split. And both offerings are good for quite a few listens.
I suppose you have to be into simple song progression with a clinical edge for it to have lasting appeal, because mostly I found especially the songs of Non Opus Dei to be a little too ordinary. The highlight on Dziwki Dwie for me remains Kat Kota by Morowe after many a listen. The riffs presented there are unique and interesting while being easily recognizable and different - Something that precious few bands master. This, coupled with their unusual rhythm section has swayed in their favor, which is something that isn't easily done as I find the whole "progressive-posty-wosty black metal" thing to be usually more of a shitty gimmick than a descriptor that holds any real merit. What it usually means is riffs starting and stopping awkwardly to the sound of poorly timed drums and drugged out vocals, or extremely long stretches of useless noise or acoustic guitar. Yuck.

Dwizki Dwie is a great example of exactly how to make a split. The bands compliment each other without overlapping too much in regards to style and purpose, and it certainly helps when the songs don't sound like throwaway garbage that wasn't good enough for the upcoming album. While the great old ones of the genre are busy reinventing themselves as a speed metal outfit or playing opera houses accompanied by huge orchestras and choirs, this is the part of the scene that still knows what it's all about. Ass-kicking blast beats and gruesome riffs. 7/10 guitars.

Tracklist:
1. Non Opus Dei - Dziwki Dwie
2. Non Opus Dei - Kres Hanby
3. Non Opus Dei - Szaleniec Glupiec Opeetany
4. Morowe - Czij to Glos
5. Morowe - Kat Kota
6. Morowe - Obustronne Oczy Patrza

MOROWE official site
NON OPUS DEI official site

Black Rock - Black Rock [Demo] (2013, Self-released)

Something is stirring in Finland, disturbing the peace. Apart from the vast horde of great black metal bands, in the later years Finland has been home to several thrashing, rocking speed metal groups such as Speedtrap and the almighty Ranger. Another band, which at the time of writing remains on the demo stage with just one small release, joining them is Black Rock from Hyvinkää.

I'm gonna go out on a limb and say they're pretty fond of Hellhammer and crust punk. Black Rock's simplistic blackened speed metal riffs coupled with a raw, shouting-styled vocal brings to mind other similar bands, and the bridge parts in The Forbidden Portal and Into the Dungeon even bears strong resemblance to newer Darkthrone material, albeit in a very crude way. One could easily imagine Nocturno Culto or Tom Warrior groaning these occult lyrics to the sounds of Black Rock's prominent guitar and drums.

The band itself is a duo consisting of Vehmaa behind the drumkit and Willberg shredding the guitars and screaming the vocals. On the demo they were joined for a brief period by Kuusisto on bass. People familiar with Hellhammer's history will know that this almost sounds like the early incarnations of that classic band. Black Rock's music is obviously more punk-inspired than that of the other bands mentioned, and where the real resemblance comes in is in the structures of the songs.

To be honest, the brute directness of the music takes some getting used to. Darkthrone have great production and Hellhammer were just incredibly brutal for their time. Seen in the light (or darkness) of metal today Black Rock positions themselves dangerously close to sounding dated and sloppy. One must not forget that the reason late 80's production sounds so gritty was the absence of the possibility to sound any better. Nowadays everybody and their grandma can conjure up something that sounds pretty good soundwise. The gritty production in this case is a matter of reverence for the bands of yore.

Taking in Black Rock and fully appreciate their beastly compositions took quite a few listens. If the demo EP hadn't been so short, I doubt I would've given it the benefit of the doubt and listened to it as much as I ended up doing. It falls just short of fourteen minutes with four tracks, and that results in a much more easily digestible piece of metal. Don't expect too much in regards to advanced songwriting or anything, and just sit back with a beer or six and enjoy the oddly beseeching choruses, bridges and elementary riffs. 7/10 guitars.

Final sidenote: The cover isn't necro enough.

Tracklist:
1. Black Rock
2. The Forbidden Portal
3. The Phantom Sailor
4. Into the Dungeon

Black Rock on Facebook
Black Rock on Bandcamp

Uncoffined - Ritual Death and Funeral Rites [Full length] (2013, Memento Mori)

The mix of doom metal and death metal has arguably been around in some form since some time in the 80's and has since been perfected by notable and influential bands like Asphyx and Autopsy. The Finnish scene especially is known for it's gloomy ways in death metal, and much in the same way we find the British band Uncoffined, who've subscribed to the old ways of down-doomed metal of death.

Spanish label Memento Mori heeded their growling calls and released their debut album "Ritual Death and Funeral Rites" in the autumn of 2013. Treated to a few classic quotes from the British school of horror flicks, we're sent on a journey through heavily distorted and down-tuned guitar melodies and roaring, cavernous vocals. The whole thing is set at a murderously slow pace, showing no signs of ever halting its forward momentum.

The churning chugs mixed in with a few darkly melancholic melodies are adequately accentuated by a powerful bass. One can only guess whether the immensely simple yet compelling songwriting is the result of one man's effort or the orchestrated endeavor of the entire band, but the musicianship in itself speaks of a band seasoned in the arts of metal. Indeed, all the members of the heavy quartet have play in several bands of varying nature - Something that is highly evident on Ritual Death and Funeral Rites.

Were I to compare the accomplisment of Uncoffined to a more established act, it would be Finland's shooting stars Hooded Menace. However, this is also where the British band's shortcomings are revealed. Hooded Menace are a result of the international death/doom scene booming in these last few years, probably reaching its all time high in popularity. And by that standard, Uncoffined have joined the movement in the eleventh hour, almost completely missing the boat. Were it not for the great craftsmanship with which their material is presented, they would by now already feel very dated, like a band seeking to cash in on a trend.

What Ritual Death and Funeral Rites really lacks are more tempo changes. The distorted convulsions of guitar are of the essence in this manner, but without even slower or some faster passages to emphasize their meaning and effect it's hard to fully appreciate the crushing broadsides of sluggish overdrive and fuzz in the long run, which in this case of just above forty minutes of murky horror-worship. 7/10 guitars.

Tracklist:
1. Twisted Shape of Creeping Terror
2. Night of the Witch Childe
3. Ritual Death and Funeral Rites
4. Blasphemous Execration of Holy Ground
5. The Devil and the Old Cursed Tree
6. Frustrations

Visit Uncoffined on Facebook
Visit Memento Mori

Deathlord - Maximum Perversion [Demo] (2013, Self-released)

When you get down to business and back to basics with death metal what you're left with is indisputable. Stomache churning vocals, gut wrenching instrumentals, loathsome melodies and ass kicking drums. It's been like that since day one. There's absolutely nothing abstruse or profoundly intelligent about it, and neither does there need to be. That is indeed the modus operandi of the Dutch band of death metal motherfuckers Deathlord. Even the name in itself seems to be giving the middle finger to overly thought out, image-based hipster metal.

The warm gusts of burly attacks can seem downright primitive, so much so that tracks like the immense opener "War" and "Into the Depths" have incredible impact just from the sheer brutal rhythm that underlines the entire demo. The vocals are nothing if not honest - It's basically just a guy screaming his guts out, spewing all kinds of filth about death, gore and even more obscure subjects. Lastly of course, the demo is garnished with a cover of Nunslaughter's "Burning Away". At this point it seems almost obvious, like we'd all seen it coming miles away. And that's what Maximum Perversion is all about; Deathlord pervert the very notion that you have to be smart about your music and not just play what sounds fucking awesome. Combine Morbid Angel's ominous melodies and Asphyx's sturdy rhythms, add dual vocals, and there you have it. The bastard child is Deathlord.

The unceremonious arrangements found on Maximum Perversion viciously deals with any pretention. Herein lies both the strength and the weakness of Deathlord. For were it not for their twist with two very different vocal styles spewed forth by the lead singer and the bassist - who both remain unnamed - their style in itself would be rather anonymous. The rough screams put forth as vocals serve as a great identifier for the band, but is as Maximum Perversion is presented one of the only elements that set Deathlord apart from similar bands - Their churning rhythms and steady war-machine beats aren't quite enough. The guitar work is quite astounding on tracks like "Cursed to Live", and I only wish that this element would be used to greater effect on the release as a whole.

In the end Deathlord's mix of short and longer songs mix things up at regular intervals, always ready to assault with something new. Be it slow-burning, steady grinders, gloomy doom-laden bursts or explosions of violent death, Maximum Persersion has anything a good death metal album needs. 7/10 guitars.

Tracklist:
1. War
2. Maximum Perversion
3. Altars in Flames
4. Lord of Death
5. Into the Depths
6. Cursed to Live
7. Kill is the Command
8. Burning Away (Nunslaughter Cover)

Visit Deathlord on Facebook
Get Maximum Perversion for pay-what-you-want on Bandcamp

Malichor - The Serum [Single] (2014, Self-released)

Ah yes, here we are again. We find ourselves once more in the company of Malichor from Australia, brandishing the proud tradition of blackened thrash metal. Malichor's previous releases have left me expecting nothing but the best in ruthless metal riffing and music from lovecraftian hell. With equal measures Re-Animator and From Beyond we're being spoiled with a take on lovecraftian tales that don't involve the standard Cthulhu/Nyarlathotep schtick.

Side West kicks things off with what is arguably the bands fastest piece yet, their violent tunes rip-and-tearing their way into existence with savage ferocity. Great tempo is achieved through impeccable tremolos and brutish blast beats, a time-tested recipe perfected and distilled into a fine spirit of Malichor. Side Tillinghast dogmatically preach that humans are such easy prey, and promptly makes a reality of their threats to prey upon you. The release is a single, of that there can be little doubt, and it effectively eliminates any meandering and thoughtful lingering that might have found its way into their earlier songs, not once leering its ugly head for fear of being swiftly decapitated in true Re-Animator style.

Some aspects of songwriting come at the cost of other prime elements. On The Serum, the riffs seem to have taken somewhat of a step down from the high quality of the previous material, and in general most of the songwriting has taken a back seat in pursuit of faster speeds. The Australian band's modus operandi has always been a simple one, mixing almost elementary riffs and straight-forward drumming with absolutely exquisitely intense compositions. That method has only been made more apparent when Malichor took the step forward into faster tempos, but a rather uninteresting sound that lacks force results in only a vague interest in getting to know the material. The two tracks presented on side West and side Tillinghast are thoroughly deserving of almost the same praise Malichor's previous material has had, but at first it warrants nothing but a cursory glance. 7/10 guitars.

Tracklist:
1. The Serum
2. Easy Prey

Malichor on Bandcamp
Malichor on Facebook

Armagedon - Thanatology [Full length] (2013, Mystic Production)

Go digging around in Poland's heavy metal history and you'll come up with quite a few gems. Only a few Polish metal bands exist in the mind of the general populace, some of the more prominent ones being Behemoth, Vader, Dead Infection, Graveland and Kat, only a few of which have their roots in the 80's. Then there's Armagedon from Kwidzyn, Poland. Their carreer originally stretched from 1987 to 1994 where they released a few demos and the album "Invisible Circle". In 2006 the original members, the Maryniewski brothers, again picked up the mantle of Armagedon, going on to release the moderately appreciated "Death Then Nothing" album in 2009 and finally "Thanatology" in 2013.

Aside from an introductory section of the opening track, Helix, which sounds like something lifted from a Paul W.S. Anderson film, the new incarnation of the band offers brutally chiseled death metal, carved from the same material that gave us Vader, Sphere, Embrional, Empatic and Hate. The album reflects a certain respect for where death metal has come from, but also a desire to show where death metal should go. Through a presentation of highly kinetic songwriting and commendably immersive production the various fluctuations between grave melodies and simpler, more primal elements the Thanatology album achieves the fine balance between various subgenres to make the release an everflowing stream of interesting and modern angles on a genre that has already been thoroughly mapped and explored.

There is a certain duality to be found within the music of Armagedon. This schizophrenia comes mainly at the hands of the many different elements brought to use in their tracks. Where songs like Cemeteries focuses on eerie, drawn out aspects, a shorter opus like Self Destruction feels significantly more primitive and primordial in both its composition and its delivery. Slawomir's hollow growls neatly puts the finishing touches on the glorious monument to death metal created by the effective rhythms and gruesome riffs provided by the rest of the band, convincingly showing off the internal dynamics achieved between the band members. But - Because there's always a but - in the long run and the grand scheme of things Thanatology lacks hooks. The album deserves a few listenes from any death metal fanatic, but it never soars above being merely thoroughly enjoyable. The grueling song Altar of Death and Vultures both have the gist of classics in them, but common between all the tracks is that they arbitrarily shift between tremolos, chugs and various melodies set to blastbeats or double-pedal punishment at the drummer's discretion. The inaudibility of the lyrics makes it feel like the lyrical content doesn't matter at all, and when held to the incredibly high standard set by many of their peers, Armagedon just doesn't quite compare. 7/10 guitars.

Tracklist:
1. Helix
2. Vultures
3. Cemeteries
4. Self Destruction
5. Altar of Death
6. Black Seed
7. Corridor
8. Tragic Journey


Visit ARMAGEDON on Facebook or at their official site
Visit Mystic Production

Deus Otiosus - Rise [Full length] (2014, Deepsend Records)

Deus Otiosus represent the comet-like carreers of some contemporary death metal acts. Since the release of their first album, Murderer, in 2010 - only 4 years ago - the seasoned Danish group have toured extensively in Denmark and have signed with Deepsend Records. For those unfamiliar with Deus Otiosus their mission statement has always been returning to the roots of thrashy death metal through a more modern sound and production. The members' involvement in various other prolific Danish metal bands has previously meant a generally high quality of songwriting, valuing tormentingly ruthless content.

Long-time fans of the group will be pleased to find that Rise continues in much the same style and quality of the prior albums, Murderer and Godless. Newcomers should likewise easily be able to appreciate the dauntless riffs, the punishment of the drumkit, the powerfully booming bass and the hoarsely growled vocals which all make up the signature sound of Deus Otiosus. And this is exactly what the band is all about; While they are highly derivative of classic death metal their material never quite comes off as a complete rip off. Listening to tracks like Breeding Maggots or Iron Rule feels like greeting an old friend you forgot you had, sounding familiar while still adding various musical chunks giving it that modern aftertaste.

Staying in the spiritual neighbourhood of old school death metal means there's only so much you can do to experiment while still finding yourself within the frame of mind set by those standards. As such the third album sometimes feels unadventurous, often depending on the same elements and build-ups over and over again. That recipe is effective in live settings, providing ridiculous amounts of head-banging circle-pitting material, but when you've got the music all to yourself at home it has a habbit of making the listening experience a bit tedious over time.

Having early on adopted a way of enticing listeners with get-the-job-done lyrics like "Don't fuck with the dead, or the dead will fuck with you" the by now well known Danish band aren't exactly focusing on virtuosity or groundbreaking musicianship, and in that lies the very appeal of Deus Otiosus. They're not trying to be something they're not and they stick to what they know: Effective ass-kicking death metal. 7/10 guitars.

Tracklist:
1. Rising War
2. Iron Rule
3. Don't Fuck With the Dead
4. Breeding Maggots
5. Vultures
6. Walk the Shadows
7. Stand Up and Fight
8. Will and Fear
9. Fall of the West

Visit Deus Otiosus' official website
Like them on Facebook
Check out Deepsend Records

Rozamov - Of Gods and Flesh [EP] (2013, Self-released)

In 2011 a gathering of four created Rozamov, and since then two EPs have been released. Since the release of the latest offering, Of Gods and Flesh, the group has been reduced to a trio with guitarist/vocalist Liz Doom no longer being a part of Rozamov.

Atmosphere ranks highly on the list of aspects to the EP. The massive walls of distorted guitars, bass and drumming provide the solid core of the manufacture, formed with mood-setting gusts of ethereal vapors around it. Rozamovs boons of bountiful distortion are like sludgy mires of doom metal infused with the thick musk of stoner metal. The simplicity of the songwriting doesn't reflect a lack of talent or will to play within the band, but is moreso a statement bent on dense heaviness. No, their craftsmanship as musicians more than adequately becomes apparent through the massive appeal of the mastodontic nature of their cro-magnon riffs.

Even so the EP is more or less the very definition of hit-and-miss. Basically what you've got is four tracks, two of which are fantastic doom-laden sludge-mounds, the other two being easily written off as boring fillers. Rozamov convinces even the most elitist sludge freaks with their beseeching hymns of disaster, but take a few unnecessary detours down Tradition Avenue on the way there. They're not reinventing anything, nor are they trying to. In that way their 2013 EP is a well spent 20 minute experience into Sludge Country. 7/10 guitars.

Tracklist:
1. Famine
2. Empty Sky
3. Shadow of the Vulture
4. Of Gods and Flesh

Visit Rozamov on Facebook
Listen to Rozamov on Bandcamp

Ancst - The Humane Condition [EP] (2013, Dark Omen Records)

Ancst are nothing if not productive. In the short time their carreer has spanned hitherto the German duo has produced no less than 7 releases, 5 of which were released in 2013. The prime question that springs to mind is whether or not this productivity comes at the cost of creativity and originality.

Though seeming to take a turn for bleak atmospherics, as is so trendy nowadays, Ancst narrowly avoid the usual clichés of the modern scene. The tempestuous vocals provided by Torsten tend to sound exceedingly hardcoresque in their crude, shouted manner, and at times - even if they're in the back of the mix - they detract attention from the formidable threads of guitar laid down presumably by the second part of the duo, Tom. The EP consists of the songs Ascetic and Entropie, two tracks that at first glance are so immaculate in their execution that they come off as aimless attempts at a modern trend. Only through further delving into their sound do the tracks open up for the immense detail work that lies hidden in the exceptionally well-crafted riffing.

Writing, recording and releasing only a few songs at a time looks to be the way Ancst get around being making a slew of uninteresting, mass-produced tracks. For the most part on The Humane Condition EP, it works. As mentioned the riffs are strong and creative, but this is where the fun ends. The lack of an actual drummer leaves Ancst at a disadvantage with programmed drums that never quite fills the roll appropriately. In much the same manner the vocals feel like a fish out of water. While this type of shouted vocals isn't entirely out of the ordinary in this genre, Torsten's screams never quite penetrate the misty atmosphere the same way the guitars do.

All in all every instrument feels well-balanced within the mix, but this doesn't mean every part that makes up this machine are equal in quality. It's all put together in a way that diverts attention from any shortcomings, and the vocals and drums aren't as such a complete blunder. But they never come through and prove their point. Entropie, the EP's last track, is arguably the best of the two songs due to variation crafted in a sleek and stylish manner and a great use of momentum and sense of pace. The Humane Condition is by no means a terrible EP, and it's entirely worth the roughly 12 minutes it takes. 7/10 guitars.

Tracklist:
1. Ascetic
2. Entropie

Visit Ancst's Bandcamp
Visit Ancst's Facebook
Visit Dark Omen Records

AK-11 - Legendary, Demonic & Invincible [Demo] (2011, Self-released)

Self-proclaimed "triumphant black war metal" band AK-11 started out in 2011 with Valak being the only member. Valak had fashioned this demo, "Legendary, Demonic & Invincible", already by November the same year as a tribute to classic black metal acts like Celtic Frost, Burzum, Emperor and others. In 2013 two new members were added to the lineup, but AK-11 has yet to release anything as a trio.

Though black metal is traditionally stripped down to the bare necessities this goes especially for AK-11. On this demo there is not a breath wasted, not an effort spilled on fancy solos, symphonic orchestrations or overly complex compositions. What the sole member, Valak, puts forth on this first demo is convincingly simple black metal tunes condensed to a fine spirit. Though AK-11 hails from Australia, at least half the demo is sung in Russian as a tribute to the famous Avtomat Kalashnikov assault rifle. While this doesn't have any direct influence on the music found on "Legendary..." it accentuates the vodka-fueled slavic sounds that tracks like Shest' Shest' Shest' i Katyusha take on through inventive guitar riffs.

Most of the tracks are almost literally bursting with energy. Tracks like the satanic "Sniper's Glory" and Slava Rossii stand out as tracks of an especially engaging kind with their enticingly traditional riffs and mechanical blast beats, and the "Legendary..." demo is characterized by an unusually high lowest point in terms of songwriting quality. The riffs in particular catch the eye as one of the demo's strongest competences, Valak's raw vocals and his overall ability to write captivating material not falling far behind.

Production is often devalued in black metal, the genre often being seen as inherently lo-fi. This deep-rooted disregard for quality of sound seems to have also been part of the recording process with AK-11. Seeing as Legendary, Demonic & Invincible is a demo this can more or less be excused, and the - what I assume is a - drum machine has the samples fairly balanced with the abrasive sound of the guitar and the grey veil of Valak's vocals. The demo warrants excitement for future releases by AK-11 and is itself well worth a listen. Australian black metal often takes on a strong thrash metal influence as seen with bands like Deströyer 666, Nocturnal Graves, Gospel of the Horns, Atomizer, Malichor, Razor of Occam and so on and so forth. AK-11 sticks out like a sore thumb in this crowd as a band trying out new things, even if these elements aren't necessarily major parts of the band's sound. 7/10 guitars.

Tracklist:
1. The Cleansing Stream
2. Vechnyi Ogon'
3. Slava Rossii
4. Legendary, Demonic & Invincible
5. Sniper's Glory (Satan Guides My Aim)
6. Shest' Shest' Shest' i Katyusha

Visit AK-11 on Facebook
Download the demo FOR FREE

Sguaguarahchristis - Der Nacht [Full length] (2014, This Winter Will Last Forever Records)

Having been formed in 2011, Sguaguarahchristis - or SG666 for short - are hardly old timers within the scene. Self-proclaimed anti-human black metal, the group currently consists of three members, with Pesten seemingly being the driving force behind the band. Since their debut album in 2012, they've released a few minor offerings of black metal with the newest being the second act of their dark performance, Der Nacht. The album saw the light of day (or dark of night, one might say, as the album is meant as an homage to the same) in 2013 and was released in February 2014 through bandcamp, with a physical release through This Winter Will Last Forever Records in March.

It becomes apparent rather quickly that the band are, to say the least, enthusiastic about the general atmosphere and songwriting of second-wave certain black metal legends. They themselves mention early Emperor and Arcturus as influences, and the similarities - while faint - are definitely there. The music of SG666 emphatically fluctuates between cascades of assailing blast beats and seamless, astral melodies, both on guitar and synth. The raw attitude of some tracks greatly contrast the vast harmony of others. It is when the band wholeheartedly open the gates to their core of melodies that the music of Sguaguarahchristis soars above being anything but bland text-book black metal. Most of the tracks on Der Nacht have interesting melodic compositions that play around with the idea of turning the music toward a less esoteric audience, but without fully doing so. These oftentimes rhapsodic themes come across as the very element the rest of the music is built around, though neatly intertwined with the intrusive tone of the band's inherent black metal style, which itself often lies on the raw side of the spectrum.

The songwriter(s) of the band has great feel for the flow and length of an album. Barely exceeding 40 minutes, Der Nacht would seem long had it not been for the way the band captivates the listener through its glorious, ethereal melodies. It is not something exceedingly out of the ordinary, but the music resonates with me in a way that makes it a worthwhile listen. Der Nacht is a wholesome album that essentially feels pure - The synths don't seem out of place among the cold guitar tracks, the bass isn't "there" just because, and the drumming feels relevant and applied. 7/10 guitars.

Tracklist:
1. Under the Moon We Are the Hunters
2. Transparent Tears from Saturnus
3. Black Waves of Thy Winter
4. My Sideral Journey
5. The Howling Wind Whispers My Destiny
6. Mother Night, Eternal Labyrinth
7. Der Nacht (Your World is Covered by Lies)

Listen for yourself on Bandcamp
Like them on Facebook
Visit the label

Fathomhell - Non Pietatem Erit [EP] (2012, Runenstein Records)

I have previously reviewed Balmog and Amnion from Spain, but the country itself is hardly known for its black metal scene. Perhaps it has something to do with the sunny weather, although the country's economic crisis in recent years and its towering youth unemployment rates should provide enough frustration, drive and lyrical material to go around. Or maybe those subjects are instead fueling thrash metal, punk and grindcore bands. Who knows. In any case there is something intriguing and exciting about extreme metal bands from unlikely places, and if black metal from Spain isn't an unlikely match I don't know what is.

Non Pietatem Erit is thus far Fathomhell's only release. The duo started in 2010 and by 2012 had their first EP ready, centered around a cold atmosphere with a small amount of modernity added through the use of sparsely used synths and carefully programmed drums. More often than not programmed drumming is a product of laziness and as such often sounds completely terrible and poorly thought through. A few bands can bear this simplistic, inhuman, cold and mechanical approach, but most bands cannot. But with Fathomhell the drumming really isn't an issue; It feels thoroughly worked through and well-considered, and above all it is commendably well-integrated.

This is not the only feat of Non Pietatem Erit, obviously. The sounds brought forth by the Spanish duo is that of a traditional approach to black metal without leaning decisively on any regional sound. It proposes glimpses into the melodic side of black metal, followed by deluges of distortion and blast beats, all neatly arranged into immaculate sequences. The track Illusions of Death reaches for titanic and epic magnificence with one of Fathomhell's most ambitious riffs, while "Devours the Light, Eats their Soul" goes a more traditional way with uninterrupted grittiness.

The overall expression of Fathomhell's music is pretty good, although a tad bit ordinary. Even when they're feeling adventurous they're still just clinging to the same vestiges of melodic black metal. Even if the EP is well-crafted it feels like they're playing it safe and as a result comes across as completely inoffensive. Only rarely does Fathomhell break the veil of inocuousness, and whenever this happens it only leaves the listener with a feeling of wanting this part to play a bigger role in the grand scheme of things. 7/10 guitars.

Tracklist:
1. Intro ad Tartarum
2. Devours the Light, Eats their Souls
3. Illusions of Death
4. Fall to the Infinite Depths of Abyss
5. Dante's Inferno
6. Fathom Hell


Visit FATHOMHELL on Facebook
Visit Runenstein Records

LISTEN BELOW

Apocryfal - Ravens [Demo] (2012, Self-released)

In regards to death metal Finland is primarily known for the filthy, doom-laden kind, but Apocryfal from Jyväskylä go in the opposite direction. Featuring the classic lineup of 5 people - you guess their respective roles - 2012 saw the release of the band's first demo, one that had been underway for 3 years. The result? 3 songs that add up to 12 minutes all in all of full-throttle death metal.

The style on Ravens is hard to pinpoint. It's somewhere in the grim borderlands between decisively old school and shamelessly modern without leaning to heavily on either. Their sound is centered around heavy guitars and bass forming the core with sprawling 6-string melodies changing things up a bit every so often, once or twice leaning on some technical and blackened elements giving the demo a few ounces of variation. The rhythm section itself feels well-rehearsed with the drums forming a laudable basis for the rest of the instrumentation through a fast and modern approach. The guitars have the spirit of the early-to-mid 90's about them while at the same time augmenting the modernized sound of the vocals.

This brings me to my next point. When the vocals work and the singer is creaming his lungs out it sounds fine, but once or twice his superficial growls made me physically cringe because they sounded like weird groans painfully wrenched from the vocalist's throat. The vocals aren't as such bad, but they're just bland. Some more definition and vocal variation could really bring some depth to the Apocryfal demo that the smooth transitions that otherwise permeate the music can't do by themselves.

In the end Apocryfal sound like a band with lots to offer and a band that are sure of themselves. A certain feel of confidence imbues the demo and with good reason - The songs are well-crafted and it is a first effort worth being proud of compared to those of countless other bands. The production is a bit too compressed and as a result lacks the kind of punch and definition a wider sound spectrum would give, but in the grand scheme of things it's a small thing. 7/10 guitars.

Tracklist:
1. Dark Matter
2. Ravens
3. The Script

Visit APOCRYFAL on Facebook

The Infernal Sea - The Crypt Sessions [EP] (2013, Self-released)

Some may argue that black metal has never had much of a hold in the UK, apart from a few well-known black metal influenced bands like Cradle of Filth, Bal-Sagoth and Anaal Nathrakh. In recent years though, a large number of worthwhile acts within the genre have emerged from the British scene, a few of which I have previously reviewed. Bands like Winterfylleth, Wodensthrone and Fen have garnered many a positive review, and the tendency in the scene leans heavily on the atmospheric and pagan kind.

Though The Infernal Sea belong to this new wave of british black metal their style is far removed from the folky, celtic or pagan tendencies and atmospheric moods of their brethren, relying more heavily on a crusty, chaotic and gritty mode of musical expression. Their second release, "The Crypt Sessions" EP from 2013, takes - like their music - a rather unorthodox approach to the structure of a release, with every actual track being preceeded by a sort of introduction track. The way British quartet breaks with the norms of how to build up an EP makes it a more interesting listening experience, being thoroughly underlined by the pulsating abrasive nature of their riffs and the hoarse screams of the lead singer.

The crustier elements brings to mind some recent efforts by Darkthrone - barring The Underground Resistance - but it is far from the same prevailing quality as it was with those Darkthrone albums. On The Crypt Sessions it's a much more subtle influence, accentuating the indigenous coarse aspects of black metal.

There is something cathartic about the psychosis-like rambling structures of the blasting, chaotic parts of The Infernal Sea's music. At times they can go from completely unhinged anarchic torrents to pieces of a more composed disposition. These variations serves as means to release the tensiouns created by the British group, and mostly it works. But at times these shifts in temperament can be a bit flow-breaking and anti beneficial to the wholesomeness of the release, and I feel that it is only in Skinwalker that these changes work ideally.

The Crypt Sessions seems at the same time both highly experimental and like a tribute to the traditions of the genre. It is this ambiguosity that, along with the unusual flow, makes it tempting to start it all over when the EP is done playing. 7/10 guitars.

Tracklist:
1. Stumpp
2. Skinwalker
3. The Scourging
4. The Circle Closes
5. Desolation
6. Into the Unknown

Visit The Infernal Sea's official facebook
Get the EP on their official Bandcamp

Please leave a comment here on the blog - Tell me what you're thinking, and feel free to share if you want to support underground metal!

Amnion / Balmog - Grim Repulse of the Southern Lodge [Split] (2013, Filthy Cave Records)

Spain isn't exactly the first country that comes to mind when thinking of black metal. Nevertheless, Spain is the country that both Amnion and Balmog hail from, and on the "Grim Repulse of the Southern Lodge" 7" split from 2013 they showcase the best of what Spain has to offer in terms of black metal. Both bands have over 10 years of experience in the genre, and both bands have as such released a slew of miscellaneous demos, splits and EPs.

With Amnion there are no obvious influences - Their style bears a resemblance to so great an amount of bands that singling out specific elements or influences would be to do them injustice, and it is exactly this that also makes "Semper Mors Erit Dux Tuus", Amnion's side of the split, stand out. You can talk for hours on end about "this little riff", "that small portion", "those blastbeats" and "that bassline", but in actuality the Spanish trio's music is best if taken for what it is: A mishmash of black metal sounds centered around a morbid cacophony made of guitars and a cavernous atmosphere. Though a great portion of the track is of a blastbeat-driven disposition, Amnion still have a nice way with rhythm that is seldomly seen in black metal of this sort. It's not a predominant component in the band's music, but does give it a nice touch and much needed variety.

I'm not going to say that Balmog is the polar opposite or the exact same as Amnion. Though there are similarities given that they both fall under the same categorization, there are at least as many differences. Balmog's songwriting centers more around riffing - which some may argue is a more traditional approach - but also has a more modern sound. The way they arpeggiate through their malicious chords and scales are reminiscent of a few contemporary groups, but Balmog's main strength lies with their ear for melody and the way these a put together over a strong, ponderous rhythm-section. They only occassionally lurch into life with faster tremolo-pieces only to soon fall back into the realms of arpeggiated riffs.

The efforts of both Spanish bands speaks of great musical integrity and a creativity that many current groups and bands lack. There's not much new under the sun about neither Amnion nor Balmog, but their songwriting styles both contrasts and complements each other with their vast differences and many likenesses. If you're expecting the next big thing in progressive, experimental black metal, you need to keep looking. But if you're into varying degrees of traditional black metal with several twists and turns, look no further. 7/10 guitars.

Tracklist:
1. Amnion - Semper Mors Erit Dux Tuus
2. Balmog - Putrid Emanations from the Tomb

BALMOG official FaceBook
Filthy Cave Records official site

Please leave a comment here on the blog - Tell me what you're thinking, and feel free to share if you want to support underground metal!

Tod Huetet Uebel - Morte e Caos [EP] (2013, Self-released)

Tod Huetet Uebel. An unusual name for an unusual band. Portuguese musician Daniel C. created the band alone in 2012, quickly producing and releasing the 3-track EP "Morte e Caos", Death and Chaos, in March 2013.

There is something sinister and oddly ancient about the sounds of Tod Huetet Uebel. The Portuguese project emanates a substantial know-how of black metal history and as such bears a resemblance to some well-known and highly influential acts from the genre while also taking in abundant influences from more modern acts where the tremolo riffs, treble sound, abysmal drumming and foggy raw vocals are just a byproduct of an experimental blackened death metal recipe. Naysayers will say that Morte e Caos is merely a product of circumstance, following in the wake of the success of bands like Teitanblood, Antediluvian or Mitochondrion. True, Tod Huetet Uebel may well be inspired by these acts, but the project features considerably less elements of decay and cessation, relying more on the misanthropic and emotionally depressing moods of black metal rather than the primal brutality of death metal.

The fact that the Portuguese band is a solo-project doesn't shine through. Daniel C. brandishes an impressive talent for production and songwriting. The force with which the riffs are delivered makes Morte e Caos a passionate attempt at an old genre in a modern way while definitely still paying homage to some of the originators of the second wave of black metal. But the supposed downfall of Tod Huetet Uebel is a lack of variation and taste. The drums seem to mostly be blast beats thrown in for good meassure, but in the long run this is something that becomes rather tiresome to listen to. It's a minor thing, really, and it does accentuate the weirdly melodic solo in the middle of the first track, Caos. It suggests that there's an idea behind every action and composition on the EP, and it really does exude an aura of violent and malevolent purpose.

Morte e Caos is an intense soundscape of, dare I say, lovecraftian disposition. Tod Huetet Uebel succeeds in portraying cyclopean arrangements in a classic yet contemporary way, and in this way takes a well known modus operandi and gives it new form. Contemporaneousness is a keyword in the discussion of Tod Huete Uebel. To put it simply, it's an extant piece of new music with an old sound. While there are many time-tested aspects of the concoction that is Morte e Caos it is not something that would be seen or heard in, say, the 90's. The band aspires to be something great and achieves some form of that magnitude by the sheer force of this EP. 7/10 guitars.

Tracklist:
1. Caos
2. Decaída
3. Odor a Morte

Visit TOD HUETET UEBEL's official Bandcamp for news, downloads and such

Please leave a comment here on the blog - Tell me what you're thinking, and feel free to share if you want to support underground metal!

Vesterian - Anthems for the Coming War Age [Full length] (2013, Glorious North Productions)

Vesterian has existed in some form since 1994 and can soon celebrate their 20th anniversary. Until '96 they were known as Centurion and released two demos under this name. The name change brought 5 more demos until 2013 where the American band released their first album "Anthems for the Coming War Age" through Glorious North Productions. The fact that only demo material has been produced up until now, the name change and the large time gap between some demos speaks of a very turbulent background in the form of a relocation from North Carolina to California and a revolving door lineup.

From the roots of black metal like early Bathory, Venom and Hellhammer there has always been a sort of clumsy approach to music in the pursuit of extremity. But with Vesterian there is a much more modern attitude. There's nothing unsure or half-assed about it, neither the songwriting nor the enactment of the music.

Anthems for the Coming War Age features among other things a drummer that doesn't know how to relax and is probably way too generous with his blastbeats. It's always fast, all the time, even when it feels like a more controlled, deliberate pace would be more fitting. There are countless examples of black metal bands that use blastbeats very prominently in their music, and this is obviously not always a bad thing, but bands like Marduk seem to have it down to an art to use it with a bit more taste and deliberation. When all is said and done it seems like a small thing in the grand scheme of things, but it does mean that at times Vesterian's music will become a bit monotonous and unvaried.
What the American quintet lacks in variation they more than make up for in sheer power though. There is not much to be left wanting in regards to envigoratingly furious guitar riffs, and the groaning Abbath-y vocals often venture beyond the realms of orthodox black metal in pursuit of greater depth and atmosphere.

In the end what it comes down to with Vesterian's debut album is whether or not you can tolerate the lengthier tracks that the band puts forth. With songs like Morax Gates, pt. 2, with its galloping drumwork, multiple layers of somewhat dissonant guitars, epic solo and long vocal-less stretches, it's proven that Vesterian aren't a one trick pony in any sense, and the Ancient Bloodthirst track shows that they have the capacity for more spectacular and grandios songwriting as well, but when almost every track is in excess of 6 minutes in length it seems weird that most songs seem to follow a pretty standard progression pattern. It's not that Anthems for the Coming War Age doesn't live up to its name, and it is a fun listen that I would recommend to all black metal fanatics, but it's been done before to the same standards. Even so, it's a magnificent example of modern black metal with no bullshit symphonic elements or 10-minute ambient intros, interludes and outros. 7/10 guitars.

Tracklist:
1. Gathering
2. Under the Red Moon
3. Morax Gates, pt. 2
4. Ancient Bloodthirst
5. Unknown Spells Cast from Nibiru's Watch Tower
6. For Battles to Come
7. Dead Kings of Tyranny
8. Dark Oceans Roar During the Cosmic Upheaval
9. Blasphemous Sorcery of a Witch King

Visit VESTERIAN on Facebook
Visit Glorious North Production's official site

Nordland - The True Cult of the Earth [Full length] (2013, Glorious North Productions)

EDIT:

So, according to a recent post on Facebook Vorh is apparently tired of the constant Bathory-comparison as he claims there is no connection what so ever to the band and the Nordland I and II albums and that his main source of inspiration does not lie with Bathory. Fair enough I guess.

Vorh, the force behind Nordland, started the band in 2011, whereupon he promptly released the highly commendable and self-titled full length debut "Nordland". Vorh hails from the northeastern parts of the United Kingdom, an area that like most other parts of the UK has a damp and rainy climate. Historically the tidal island of Lindisfarne in this area is famous for being raided by vikings in the year 793, ushering in the Viking Age of Northern Europe.

Whether the sort of Bathory-esque viking tendencies on the True Cult of the Earth album is a coincidence is left to pure speculation, but the area's history and the fact that the name Nordland could well be taken from the two Bathory albums certainly suggest there being a correlation.
I lauded the eponymous album Nordland from 2011, giving it an 8/10 rating for its genuinely enjoyable composure and the way it sticks to the roots of black metal without merely copying them. A vast difference between the Nordland and the True Cult of the Earth albums is that while there was hardly any folky viking feelings leftover on the first album, these seem to have found their way unto the lates opus, although in very limited quantities.

Vorh's Nordland project issues 7 tracks on The True Cult of the Earth clocking in at a little over an hour in playtime. As such it is a pretty lengthy album with no songs under 5 minutes in length, and bravely starting out with the 13 minute monster The Great Hall of the Sky. This track among most of the others seem to favor the pondering tones of slow and well-tempered black metal, and in extention of this the guitarwork and groaning vocals of Vorh are equally ponderous, sometimes bordering on meandering.

It is the same wandering behaviour circling around the viking heritage of Bathory and other similar bands that gives Nordland a kind of hypnotic aspect that is hard to dislike, but it also creates a sense of not really... going anywhere. The True Cult of the Earth has a sound as naturalistic as the previous album but lacks the memorability that graced it. It's a bit unadventurous, but the recipe still works. The lyrics and the way the vocals drift around is still unmistakingly that of Nordland and as such recognizably different from other bands within the genre, and the guitars are faithfully interwoven with the varying drumtracks in the same way.

The True Cult of the Earth displays a traditional form of black metal that at the same time is removed from the almost religiously orthodox tyranny that many bands practice and enforce. It is this tenacity that Nordland primarily benefits from on this album, and it is by these means that the ends are met. 7/10 guitars.

Tracklist:
1. The Great Hall of the Sky
2. Dawn Calling of Thunor
3. Elthtelor
4. Heathen Lands
5. I Am the Winds of the Earth
6. A Mound to Lay my Bones Upon
7. Crows

Visit the official site of NORDLAND
Check out NORDLAND on Facebook
Visit the official site of Glorious North Productions

Master Fury - Circles of Hell [Compilation] (2013, Contaminated Tones Productions)

When you say thrash metal most people think 1980's USA. There are the essential giants like Slayer, Overkill, Testament and Metallica, and the hidden and forgotten gems like Holocross, Heretic and Powerlord. Formed in 1986 they only ever released 2 albums, the rough Hell Party album from 1988 and the barbarous Circles of Hate album from 1989. They went on hold for an unknown number of years and then had a brief reunion in 2010, but it wasn't before 2013 we would see another Master Fury release, the two albums compiled on Circles of Hell by Contaminated Tones Productions.

Master Fury has a very abrasive sound. Their approach to thrash metal is on the chaotic side of things and more focussed on speed and coarseness than anything else, making them probably one of the fastest bands at the time. Through the metallic din of Master Fury's aggressive guitars the amazingly precise riffs shine. Where Hell Party thrives on a coarse, simplistic thrash recipe building up to and colliding in the final mosh-inducing track "Riot" the second half of the compilation, the Circles of Hate album, takes a more technical and commonplace approach to the genre. The early material is distinguished by the near constant speed with which it is furiously provided. On Circles of Hate Master Fury were progressing as songwriters and were more comfortable with slowing down once in a while in order to build up momentum for a particularly epic solo or building atmosphere.

The band seems to have always favoured a trio-lineup consisting of the guitars and vocals of Digg Rouze and various bassists and drummers. As mentioned above Master Fury evolved as a band even if their was only 1 year between the 25-minute Hell Party and the slightly longer Circles of Hate. On tracks like Corporate War and Life's a Bitch they give way for their crossover tendencies fuelled by ferocious d-beats and gang-shouts, a style that wasn't at all present of Hell Party. I could imagine a song like Road Hog off of Hell Party being an early example of the Motörhead/Venom-inspired punky speed metal that has recently made a comeback, and there are more examples of songs that fit the bill as really good metal songs, but with the production being so muddy and deranged it's hard to make out anything other than a few riffs here and there, making the tracks hard to tell apart.

Master Fury already perfectly sum up their material with their name. Furious, fast as fuck thrash. The extremity of the albums put Master Fury somewhere in the grey area between thrash and death metal that had a couple of years prior been completely dominated by bands like Death and Possessed. Master Fury may not be the authors of the most original or memorable kind of thrash metal, but if you feel like getting your skull pounded by uncompromising riffs, powerful drumming and screaming vocals The Circles of Hell compilation is as good a way get your needs fulfilled as any. The combination of the two tracks celebrate an above-average band, though their material never quite achieves true classic or gem status. 7/10 guitars.

Tracklist:
1. Hell Party
2. Crash
3. Are All Men Blind
4. Time is Right
5. Semper Furious
6. Flat Against the Wall
7. Road Hog
8. Riot
9. Die In Your Sleep
10. Lies
11. Circus of Hate
12. Son of Man
13. Corporate War
14. The Way
15. Life's a Bitch
16. V.O.H.

Track 1-8: Hell Party
Track 9-16: Circles of Hate

MASTER FURY on MySpace
Contaminated Tones Productions official site