#apr24 — Public Fediverse posts

Full of Hell – Coagulated Bliss Review

By Dolphin Whisperer

If you’ve been following the modern grindcore scene in any fashion over the past fifteen years, then you’ve at least heard of Maryland’s high-output, low-trend grindmongers Full of Hell. Collaborating or splitting space with everyone from tough punks Code Orange1 to Japanese static spinner Merzbow to pneumatic pulse demons The Body, Full of Hell scrapes ideas from every corner in the extreme music space to fuel the iterative process of the twenty to thirty-minute burners that are their “full-length” releases. In the truest sense, this eclectic and thirsty act follows the crack of their own whip, but when it comes to the stage that bears only Full of Hell in title, the path steers a touch more straightforward, though not quite predictable. Nevertheless, with the dial cranked to grind and a color palette that screams anti-monochromatic, does Coagulated Bliss amass all the right parts?

In many ways Coagulated Bliss is the Full of Hell we’ve come to expect, its bleeding extremities of punch-and-cackle powerviolence (“Doors to Mental Agony”), playful industrial deathgrind (“Fractured Bonds to Mecca”), drag ’em bleeding sludge (“Bleeding Horizon”), and unshackled grindcore (“Vomiting Glass”) congealing into a boisterous sonic injection. However, much like higher-treble back half of 2021’s Garden of Burning Apparitions and the whole of 2022’s Aurora Leaking from an Open Wound continued, Full of Hell has adopted a stronger penchant for groove and noise rock-infused, treble-loaded licks. No, Full of Hell does not suddenly sound like Melvins or The Jesus Lizard, but this incorporation of twangy, tasty tunes does help them come across more like the barking, manic side of Today Is the Day on a mystery bag of pills with one labeled ‘grindcore’ (“Coagulated Bliss,” “Gelding of Man”).2 And though the average BPM may render a bit lower than the most aggressive Full of Hell releases, but that doesn’t stop them from sneaking in a Discordance Axis riff or six.

A shift like this requires smart songwriting and a production job highlighting the force of new convictions. Freed from the chains of Kurt Ballou’s (Converge) hammering soundboard touch, both the growling lows and warm, twisting highs find new space to hook with vicious intent (“Half Life of Changelings,” “Coagulated Bliss”), ironically in the manner similar to 00s Converge classics like Jane Doe or Axe to Fall. And though Dave Bland’s (Jarhead Fertilizer) kit has remained reliably savage throughout Full of Hell’s catalog, booming industrial reverb cranks the assault of the most martial tracks (“Doors to Mental Agony,” “Fractured Bonds to Mecca,” “Gelding of Men”), and the traditionally speedy numbers, murderous cymbal crashes lay littered with interjecting tom scatters and cymbal drives that drill the ears with loving precision. Whether Full of Hell is channeling Thou (“Bleeding Horizon”) or Terrorizer (“Gasping Dust”), the space and pace of each moment feels natural in its intensity, a stark contrast to the oppressive landscape in which this band has previously existed.

However more approachable it may seem, Coagulated Bliss isn’t a turn toward the accessible. If anything, this breezier distillation of Dylan Walker’s paint-stripping shrieks and gutter punk tongue-lashing puts his inimitable incantations3 at the forefront in a frighteningly catchy way. With rhythms to which you could reasonably twerk, 4 it’s easier than ever to pick up a lyrics sheet and at least try to croak (inadvisably) along to the hypnotic swing of “Doors to Mental Agony” or provide the demonic guttural accompaniment to “Schizoid Rupture.” At first, this did make Ross Dolan’s (Immolation) punchy verse contribution on “Gasping Dust” and Jacob Bannon’s (Converge) goblin garble on “Malformed Ligature” feel like slightly lesser cuts. But with time and repeat exposure, the resplendence that Full of Hell can find in this soured worldview pours through these late-album swings all the same.

As a long-time enjoyer of Full of Hell, I’ve always hoped to come across one of their records that could feel like an ‘any day’ kind of jam. These contemporary torchbearers have always seemed to scoff at the notion though, with each of their efforts brimming and bursting with a talent so raw and crushing that the zig-zag experience would come across as impressive rather than attachable. Expansive in soundscape, focused in its weird expression, and reliable in foothold to the grind, Coagulated Bliss feeds a shredded, rocking, great time effortlessly.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Closed Casket Activities | Bandcamp
Website: fullofhell.com | fullofhell.bandcamp.com | facebook.com/fullofhell
Releases Worldwide: April 26th, 2024

#2024 #40 #AmericanMetal #Apr24 #ClosedCasketActivities #CoagulatedBliss #Converge #Deathgrind #DiscordanceAxis #FullOfHell #Grind #Grindcore #IndustrialDeathgrind #JarheadFertilizer #Melvins #NoiseRock #Review #Reviews #Sludge #Terrorizer #TheBody #TheJesusLizard #TheMelvins #Thou #TodayIsTheDay #Turian

Full of Hell – Coagulated Bliss Review

By Dolphin Whisperer

If you’ve been following the modern grindcore scene in any fashion over the past fifteen years, then you’ve at least heard of Maryland’s high-output, low-trend grindmongers Full of Hell. Collaborating or splitting space with everyone from tough punks Code Orange1 to Japanese static spinner Merzbow to pneumatic pulse demons The Body, Full of Hell scrapes ideas from every corner in the extreme music space to fuel the iterative process of the twenty to thirty-minute burners that are their “full-length” releases. In the truest sense, this eclectic and thirsty act follows the crack of their own whip, but when it comes to the stage that bears only Full of Hell in title, the path steers a touch more straightforward, though not quite predictable. Nevertheless, with the dial cranked to grind and a color palette that screams anti-monochromatic, does Coagulated Bliss amass all the right parts?

In many ways Coagulated Bliss is the Full of Hell we’ve come to expect, its bleeding extremities of punch-and-cackle powerviolence (“Doors to Mental Agony”), playful industrial deathgrind (“Fractured Bonds to Mecca”), drag ’em bleeding sludge (“Bleeding Horizon”), and unshackled grindcore (“Vomiting Glass”) congealing into a boisterous sonic injection. However, much like higher-treble back half of 2021’s Garden of Burning Apparitions and the whole of 2022’s Aurora Leaking from an Open Wound continued, Full of Hell has adopted a stronger penchant for groove and noise rock-infused, treble-loaded licks. No, Full of Hell does not suddenly sound like Melvins or The Jesus Lizard, but this incorporation of twangy, tasty tunes does help them come across more like the barking, manic side of Today Is the Day on a mystery bag of pills with one labeled ‘grindcore’ (“Coagulated Bliss,” “Gelding of Man”).2 And though the average BPM may render a bit lower than the most aggressive Full of Hell releases, but that doesn’t stop them from sneaking in a Discordance Axis riff or six.

A shift like this requires smart songwriting and a production job highlighting the force of new convictions. Freed from the chains of Kurt Ballou’s (Converge) hammering soundboard touch, both the growling lows and warm, twisting highs find new space to hook with vicious intent (“Half Life of Changelings,” “Coagulated Bliss”), ironically in the manner similar to 00s Converge classics like Jane Doe or Axe to Fall. And though Dave Bland’s (Jarhead Fertilizer) kit has remained reliably savage throughout Full of Hell’s catalog, booming industrial reverb cranks the assault of the most martial tracks (“Doors to Mental Agony,” “Fractured Bonds to Mecca,” “Gelding of Men”), and the traditionally speedy numbers, murderous cymbal crashes lay littered with interjecting tom scatters and cymbal drives that drill the ears with loving precision. Whether Full of Hell is channeling Thou (“Bleeding Horizon”) or Terrorizer (“Gasping Dust”), the space and pace of each moment feels natural in its intensity, a stark contrast to the oppressive landscape in which this band has previously existed.

However more approachable it may seem, Coagulated Bliss isn’t a turn toward the accessible. If anything, this breezier distillation of Dylan Walker’s paint-stripping shrieks and gutter punk tongue-lashing puts his inimitable incantations3 at the forefront in a frighteningly catchy way. With rhythms to which you could reasonably twerk, 4 it’s easier than ever to pick up a lyrics sheet and at least try to croak (inadvisably) along to the hypnotic swing of “Doors to Mental Agony” or provide the demonic guttural accompaniment to “Schizoid Rupture.” At first, this did make Ross Dolan’s (Immolation) punchy verse contribution on “Gasping Dust” and Jacob Bannon’s (Converge) goblin garble on “Malformed Ligature” feel like slightly lesser cuts. But with time and repeat exposure, the resplendence that Full of Hell can find in this soured worldview pours through these late-album swings all the same.

As a long-time enjoyer of Full of Hell, I’ve always hoped to come across one of their records that could feel like an ‘any day’ kind of jam. These contemporary torchbearers have always seemed to scoff at the notion though, with each of their efforts brimming and bursting with a talent so raw and crushing that the zig-zag experience would come across as impressive rather than attachable. Expansive in soundscape, focused in its weird expression, and reliable in foothold to the grind, Coagulated Bliss feeds a shredded, rocking, great time effortlessly.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Closed Casket Activities | Bandcamp
Website: fullofhell.com | fullofhell.bandcamp.com | facebook.com/fullofhell
Releases Worldwide: April 26th, 2024

#2024 #40 #AmericanMetal #Apr24 #ClosedCasketActivities #CoagulatedBliss #Converge #Deathgrind #DiscordanceAxis #FullOfHell #Grind #Grindcore #IndustrialDeathgrind #JarheadFertilizer #Melvins #NoiseRock #Review #Reviews #Sludge #Terrorizer #TheBody #TheJesusLizard #TheMelvins #Thou #TodayIsTheDay #Turian

Full of Hell – Coagulated Bliss Review

By Dolphin Whisperer

If you’ve been following the modern grindcore scene in any fashion over the past fifteen years, then you’ve at least heard of Maryland’s high-output, low-trend grindmongers Full of Hell. Collaborating or splitting space with everyone from tough punks Code Orange1 to Japanese static spinner Merzbow to pneumatic pulse demons The Body, Full of Hell scrapes ideas from every corner in the extreme music space to fuel the iterative process of the twenty to thirty-minute burners that are their “full-length” releases. In the truest sense, this eclectic and thirsty act follows the crack of their own whip, but when it comes to the stage that bears only Full of Hell in title, the path steers a touch more straightforward, though not quite predictable. Nevertheless, with the dial cranked to grind and a color palette that screams anti-monochromatic, does Coagulated Bliss amass all the right parts?

In many ways Coagulated Bliss is the Full of Hell we’ve come to expect, its bleeding extremities of punch-and-cackle powerviolence (“Doors to Mental Agony”), playful industrial deathgrind (“Fractured Bonds to Mecca”), drag ’em bleeding sludge (“Bleeding Horizon”), and unshackled grindcore (“Vomiting Glass”) congealing into a boisterous sonic injection. However, much like higher-treble back half of 2021’s Garden of Burning Apparitions and the whole of 2022’s Aurora Leaking from an Open Wound continued, Full of Hell has adopted a stronger penchant for groove and noise rock-infused, treble-loaded licks. No, Full of Hell does not suddenly sound like Melvins or The Jesus Lizard, but this incorporation of twangy, tasty tunes does help them come across more like the barking, manic side of Today Is the Day on a mystery bag of pills with one labeled ‘grindcore’ (“Coagulated Bliss,” “Gelding of Man”).2 And though the average BPM may render a bit lower than the most aggressive Full of Hell releases, but that doesn’t stop them from sneaking in a Discordance Axis riff or six.

A shift like this requires smart songwriting and a production job highlighting the force of new convictions. Freed from the chains of Kurt Ballou’s (Converge) hammering soundboard touch, both the growling lows and warm, twisting highs find new space to hook with vicious intent (“Half Life of Changelings,” “Coagulated Bliss”), ironically in the manner similar to 00s Converge classics like Jane Doe or Axe to Fall. And though Dave Bland’s (Jarhead Fertilizer) kit has remained reliably savage throughout Full of Hell’s catalog, booming industrial reverb cranks the assault of the most martial tracks (“Doors to Mental Agony,” “Fractured Bonds to Mecca,” “Gelding of Men”), and the traditionally speedy numbers, murderous cymbal crashes lay littered with interjecting tom scatters and cymbal drives that drill the ears with loving precision. Whether Full of Hell is channeling Thou (“Bleeding Horizon”) or Terrorizer (“Gasping Dust”), the space and pace of each moment feels natural in its intensity, a stark contrast to the oppressive landscape in which this band has previously existed.

However more approachable it may seem, Coagulated Bliss isn’t a turn toward the accessible. If anything, this breezier distillation of Dylan Walker’s paint-stripping shrieks and gutter punk tongue-lashing puts his inimitable incantations3 at the forefront in a frighteningly catchy way. With rhythms to which you could reasonably twerk, 4 it’s easier than ever to pick up a lyrics sheet and at least try to croak (inadvisably) along to the hypnotic swing of “Doors to Mental Agony” or provide the demonic guttural accompaniment to “Schizoid Rupture.” At first, this did make Ross Dolan’s (Immolation) punchy verse contribution on “Gasping Dust” and Jacob Bannon’s (Converge) goblin garble on “Malformed Ligature” feel like slightly lesser cuts. But with time and repeat exposure, the resplendence that Full of Hell can find in this soured worldview pours through these late-album swings all the same.

As a long-time enjoyer of Full of Hell, I’ve always hoped to come across one of their records that could feel like an ‘any day’ kind of jam. These contemporary torchbearers have always seemed to scoff at the notion though, with each of their efforts brimming and bursting with a talent so raw and crushing that the zig-zag experience would come across as impressive rather than attachable. Expansive in soundscape, focused in its weird expression, and reliable in foothold to the grind, Coagulated Bliss feeds a shredded, rocking, great time effortlessly.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Closed Casket Activities | Bandcamp
Website: fullofhell.com | fullofhell.bandcamp.com | facebook.com/fullofhell
Releases Worldwide: April 26th, 2024

#2024 #40 #AmericanMetal #Apr24 #ClosedCasketActivities #CoagulatedBliss #Converge #Deathgrind #DiscordanceAxis #FullOfHell #Grind #Grindcore #IndustrialDeathgrind #JarheadFertilizer #Melvins #NoiseRock #Review #Reviews #Sludge #Terrorizer #TheBody #TheJesusLizard #TheMelvins #Thou #TodayIsTheDay #Turian

Attic – Return of the Witchfinder Review

By Dr. A.N. Grier

Mmmmmm… King Diamond-core. It’s been seven years since Attic delivered its top-form masterpiece, Sanctimonious. And now, They’re back again to ensure I’m erect for the remainder of the year. This new record continues the trend the band has been on even before Kim Bendix Petersen was but a wily sperm in his father’s nutsack. Delivering no-frills, old-school Satanic heavy metal, this German quintet combines soaring falsettos, creepy organs, and Mercyful Fate-esque dueling guitar work to shape yet another hour’s worth of music. If you’ve followed the band since their 2012 debut, The Invocation, you’ll find nothing new on this year’s Return of the Witchfinder. But, that’s ok because it’s more about the performance and overall concept of their releases that keep me coming back for more. But, we all want to see if this new record can top their previous effort. Will the Witchfinder be worthy enough to stiffen Grier‘s trouser snake?

If anything, Return of the Witchfinder sports even more nifty guitar leads and dueling action than before. This is probably due in part to a new guitarist joining the fold. As lovers of all that is KD, it only makes sense to dig deeper into those Mercyful Fate tendencies. And Return of the Witchfinder is that album. You’ll also find more of Meister Cagliostro’s weirdly satisfying transitions from falsettos to low growls, as he haunts the airwaves with his Satanic prayers and witchy spells. Hell, there are even moments when the drums provide some flair to the record. The biggest difference between Sanctimonious and Return of the Witchfinder is that the former hit me right away, while the latter is a grower. Appreciating this new record requires repeat listens to experience all the new intricacies the band has subtly incorporated into the mix.

After the haunting strings of “The Covenant” set the mood, “Darkest Rites” dives right in with soaring falsettos that climb one second and dip into menacing growls in the next. The riffs are traditional to the style and, honestly, none too impressive. But, as I said before, the back-and-forth dueling solos are bigger and badder than ever. “The Thief’s Candle” takes the vocal performance even further—flailing, flying, and growling in absurd ways. The mid-paced plod lends well to the flow of the vocals until it approaches hooking, midpoint leads that eventually fall away to nothing. It kicks back in with melodic, reverberating guitars and soft vocals before growing to a climactic finish. But, the follow-up title track tops the others for hooks and dueling guitar work. This chugger pounds away on your brain and impregnates it with one of the speediest and most memorable choruses on the album. Unlike the others, the guitars play off each other not in the ways of Mercyful Fate but, instead, Iron Maiden. This subtle axe work adds even more influence to the song and propels it in ways the band has never achieved.

That said, the best tracks on the album are the beefy “Azrael” and the bombastic “The Baleful Baron.” The first charges out the gate with badass, intricate, old-school Mercyful Fate riffage that takes me way back. When it hits the chorus, I almost forgot which album I was listening to. Completely out of his wheelhouse, Meister Cagliostro sacrifices the falsettos for powerful clean vocals that stunned me. But in a good way because I can’t find fault in the decision, and the song wouldn’t work any other way. As it transitions to traditional King Diamond territories, it builds once more to predictable solo work to close out. Set up beautifully by its instrumental predecessor, “The Baleful Baron” showcases lively kit work before diving headfirst into perhaps the most killer riff on the record. With a tight, five-minute runtime, this track is a powerful piece that builds as it goes, concluding with stellar overlapping King Diamond vocal action.

As a complete package, Return of the Witchfinder is a strong addition to the band’s catalog. Where Sanctimonious sucked me in right away, the new additions and required investment of Return of the Witchfinder made it fun on repeat listens because there is always something new I didn’t catch on the previous spin. The only downside of the record is that it takes a while to get going. While I don’t fault tracks like “Darkest Rites” and “Hailstorm and Tempest,” I’m not really invested until I hit “The Thief’s Candle.” But, once you get to that point, everything else is worth it as the album gets stronger as it goes. In the end, the band hasn’t quite achieved that record that would push them into counter-decimation territories, but Attic shouldn’t be as good as they are. Once again, I’m impressed, swollen like an eggplant, and spinning this album like a top until I get more.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: attic-vanrecords.bandcamp.com | facebook.com/atticfuneral
Releases Worldwide: April 5th, 2024

#2024 #35 #Apr24 #Attic #GermanMetal #HeavyMetal #IronMaiden #KingDiamond #MercyfulFate #ReturnOfTheWitchfinder #Review #Reviews #VanRecords

Attic – Return of the Witchfinder Review

By Dr. A.N. Grier

Mmmmmm… King Diamond-core. It’s been seven years since Attic delivered its top-form masterpiece, Sanctimonious. And now, They’re back again to ensure I’m erect for the remainder of the year. This new record continues the trend the band has been on even before Kim Bendix Petersen was but a wily sperm in his father’s nutsack. Delivering no-frills, old-school Satanic heavy metal, this German quintet combines soaring falsettos, creepy organs, and Mercyful Fate-esque dueling guitar work to shape yet another hour’s worth of music. If you’ve followed the band since their 2012 debut, The Invocation, you’ll find nothing new on this year’s Return of the Witchfinder. But, that’s ok because it’s more about the performance and overall concept of their releases that keep me coming back for more. But, we all want to see if this new record can top their previous effort. Will the Witchfinder be worthy enough to stiffen Grier‘s trouser snake?

If anything, Return of the Witchfinder sports even more nifty guitar leads and dueling action than before. This is probably due in part to a new guitarist joining the fold. As lovers of all that is KD, it only makes sense to dig deeper into those Mercyful Fate tendencies. And Return of the Witchfinder is that album. You’ll also find more of Meister Cagliostro’s weirdly satisfying transitions from falsettos to low growls, as he haunts the airwaves with his Satanic prayers and witchy spells. Hell, there are even moments when the drums provide some flair to the record. The biggest difference between Sanctimonious and Return of the Witchfinder is that the former hit me right away, while the latter is a grower. Appreciating this new record requires repeat listens to experience all the new intricacies the band has subtly incorporated into the mix.

After the haunting strings of “The Covenant” set the mood, “Darkest Rites” dives right in with soaring falsettos that climb one second and dip into menacing growls in the next. The riffs are traditional to the style and, honestly, none too impressive. But, as I said before, the back-and-forth dueling solos are bigger and badder than ever. “The Thief’s Candle” takes the vocal performance even further—flailing, flying, and growling in absurd ways. The mid-paced plod lends well to the flow of the vocals until it approaches hooking, midpoint leads that eventually fall away to nothing. It kicks back in with melodic, reverberating guitars and soft vocals before growing to a climactic finish. But, the follow-up title track tops the others for hooks and dueling guitar work. This chugger pounds away on your brain and impregnates it with one of the speediest and most memorable choruses on the album. Unlike the others, the guitars play off each other not in the ways of Mercyful Fate but, instead, Iron Maiden. This subtle axe work adds even more influence to the song and propels it in ways the band has never achieved.

That said, the best tracks on the album are the beefy “Azrael” and the bombastic “The Baleful Baron.” The first charges out the gate with badass, intricate, old-school Mercyful Fate riffage that takes me way back. When it hits the chorus, I almost forgot which album I was listening to. Completely out of his wheelhouse, Meister Cagliostro sacrifices the falsettos for powerful clean vocals that stunned me. But in a good way because I can’t find fault in the decision, and the song wouldn’t work any other way. As it transitions to traditional King Diamond territories, it builds once more to predictable solo work to close out. Set up beautifully by its instrumental predecessor, “The Baleful Baron” showcases lively kit work before diving headfirst into perhaps the most killer riff on the record. With a tight, five-minute runtime, this track is a powerful piece that builds as it goes, concluding with stellar overlapping King Diamond vocal action.

As a complete package, Return of the Witchfinder is a strong addition to the band’s catalog. Where Sanctimonious sucked me in right away, the new additions and required investment of Return of the Witchfinder made it fun on repeat listens because there is always something new I didn’t catch on the previous spin. The only downside of the record is that it takes a while to get going. While I don’t fault tracks like “Darkest Rites” and “Hailstorm and Tempest,” I’m not really invested until I hit “The Thief’s Candle.” But, once you get to that point, everything else is worth it as the album gets stronger as it goes. In the end, the band hasn’t quite achieved that record that would push them into counter-decimation territories, but Attic shouldn’t be as good as they are. Once again, I’m impressed, swollen like an eggplant, and spinning this album like a top until I get more.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: attic-vanrecords.bandcamp.com | facebook.com/atticfuneral
Releases Worldwide: April 5th, 2024

#2024 #35 #Apr24 #Attic #GermanMetal #HeavyMetal #IronMaiden #KingDiamond #MercyfulFate #ReturnOfTheWitchfinder #Review #Reviews #VanRecords

Attic – Return of the Witchfinder Review

By Dr. A.N. Grier

Mmmmmm… King Diamond-core. It’s been seven years since Attic delivered its top-form masterpiece, Sanctimonious. And now, They’re back again to ensure I’m erect for the remainder of the year. This new record continues the trend the band has been on even before Kim Bendix Petersen was but a wily sperm in his father’s nutsack. Delivering no-frills, old-school Satanic heavy metal, this German quintet combines soaring falsettos, creepy organs, and Mercyful Fate-esque dueling guitar work to shape yet another hour’s worth of music. If you’ve followed the band since their 2012 debut, The Invocation, you’ll find nothing new on this year’s Return of the Witchfinder. But, that’s ok because it’s more about the performance and overall concept of their releases that keep me coming back for more. But, we all want to see if this new record can top their previous effort. Will the Witchfinder be worthy enough to stiffen Grier‘s trouser snake?

If anything, Return of the Witchfinder sports even more nifty guitar leads and dueling action than before. This is probably due in part to a new guitarist joining the fold. As lovers of all that is KD, it only makes sense to dig deeper into those Mercyful Fate tendencies. And Return of the Witchfinder is that album. You’ll also find more of Meister Cagliostro’s weirdly satisfying transitions from falsettos to low growls, as he haunts the airwaves with his Satanic prayers and witchy spells. Hell, there are even moments when the drums provide some flair to the record. The biggest difference between Sanctimonious and Return of the Witchfinder is that the former hit me right away, while the latter is a grower. Appreciating this new record requires repeat listens to experience all the new intricacies the band has subtly incorporated into the mix.

After the haunting strings of “The Covenant” set the mood, “Darkest Rites” dives right in with soaring falsettos that climb one second and dip into menacing growls in the next. The riffs are traditional to the style and, honestly, none too impressive. But, as I said before, the back-and-forth dueling solos are bigger and badder than ever. “The Thief’s Candle” takes the vocal performance even further—flailing, flying, and growling in absurd ways. The mid-paced plod lends well to the flow of the vocals until it approaches hooking, midpoint leads that eventually fall away to nothing. It kicks back in with melodic, reverberating guitars and soft vocals before growing to a climactic finish. But, the follow-up title track tops the others for hooks and dueling guitar work. This chugger pounds away on your brain and impregnates it with one of the speediest and most memorable choruses on the album. Unlike the others, the guitars play off each other not in the ways of Mercyful Fate but, instead, Iron Maiden. This subtle axe work adds even more influence to the song and propels it in ways the band has never achieved.

That said, the best tracks on the album are the beefy “Azrael” and the bombastic “The Baleful Baron.” The first charges out the gate with badass, intricate, old-school Mercyful Fate riffage that takes me way back. When it hits the chorus, I almost forgot which album I was listening to. Completely out of his wheelhouse, Meister Cagliostro sacrifices the falsettos for powerful clean vocals that stunned me. But in a good way because I can’t find fault in the decision, and the song wouldn’t work any other way. As it transitions to traditional King Diamond territories, it builds once more to predictable solo work to close out. Set up beautifully by its instrumental predecessor, “The Baleful Baron” showcases lively kit work before diving headfirst into perhaps the most killer riff on the record. With a tight, five-minute runtime, this track is a powerful piece that builds as it goes, concluding with stellar overlapping King Diamond vocal action.

As a complete package, Return of the Witchfinder is a strong addition to the band’s catalog. Where Sanctimonious sucked me in right away, the new additions and required investment of Return of the Witchfinder made it fun on repeat listens because there is always something new I didn’t catch on the previous spin. The only downside of the record is that it takes a while to get going. While I don’t fault tracks like “Darkest Rites” and “Hailstorm and Tempest,” I’m not really invested until I hit “The Thief’s Candle.” But, once you get to that point, everything else is worth it as the album gets stronger as it goes. In the end, the band hasn’t quite achieved that record that would push them into counter-decimation territories, but Attic shouldn’t be as good as they are. Once again, I’m impressed, swollen like an eggplant, and spinning this album like a top until I get more.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: attic-vanrecords.bandcamp.com | facebook.com/atticfuneral
Releases Worldwide: April 5th, 2024

#2024 #35 #Apr24 #Attic #GermanMetal #HeavyMetal #IronMaiden #KingDiamond #MercyfulFate #ReturnOfTheWitchfinder #Review #Reviews #VanRecords