#blackened-thrash — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #blackened-thrash, aggregated by home.social.
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SKULL SERVANT (Estats Units) presenta nou àlbum: "Seven Trumpets" #SkullServant #BlackenedThrash #DoomMetal #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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SKULL SERVANT (Estats Units) presenta nou àlbum: "Seven Trumpets" #SkullServant #BlackenedThrash #DoomMetal #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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MISTWALKER (Canadà) presenta nou àlbum: "The Obsidian Gospel" #Mistwalker #RawBlackMetal #BlackenedThrash #HeavyMetal #Maig2026 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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MISTWALKER (Canadà) presenta nou àlbum: "The Obsidian Gospel" #Mistwalker #RawBlackMetal #BlackenedThrash #HeavyMetal #Maig2026 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Today is a great day for #metal as is the release day for the new #Hellripper 🤘🐐🤘
#Hellripper #Coronarch #goatcvlt #thrashmetal #speedmetal #blackenedthrash
https://hellripper.bandcamp.com/album/coronach-24-bit-hd-audio
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Today is a great day for #metal as is the release day for the new #Hellripper 🤘🐐🤘
#Hellripper #Coronarch #goatcvlt #thrashmetal #speedmetal #blackenedthrash
https://hellripper.bandcamp.com/album/coronach-24-bit-hd-audio
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Today is a great day for #metal as is the release day for the new #Hellripper 🤘🐐🤘
#Hellripper #Coronarch #goatcvlt #thrashmetal #speedmetal #blackenedthrash
https://hellripper.bandcamp.com/album/coronach-24-bit-hd-audio
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Today is a great day for #metal as is the release day for the new #Hellripper 🤘🐐🤘
#Hellripper #Coronarch #goatcvlt #thrashmetal #speedmetal #blackenedthrash
https://hellripper.bandcamp.com/album/coronach-24-bit-hd-audio
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PUTRID (Perú) presenta nou àlbum: "All That We Hate" #Putrid #BlackenedThrash #DeathMetal #Desembre2025 #Perú #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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PUTRID (Perú) presenta nou àlbum: "All That We Hate" #Putrid #BlackenedThrash #DeathMetal #Desembre2025 #Perú #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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PUTRID (Perú) presenta nou EP: "We´ve Always Despised You" #Putrid #BlackenedThrash #DeathMetal #Novembre2025 #Perú #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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PUTRID (Perú) presenta nou EP: "We´ve Always Despised You" #Putrid #BlackenedThrash #DeathMetal #Novembre2025 #Perú #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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PUTRID (Perú) presenta nou EP: "We´ve Always Despised You" #Putrid #BlackenedThrash #DeathMetal #Novembre2025 #Perú #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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PUTRID (Perú) presenta nou EP: "We´ve Always Despised You" #Putrid #BlackenedThrash #DeathMetal #Novembre2025 #Perú #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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PUTRID (Perú) presenta nou EP: "We´ve Always Despised You" #Putrid #BlackenedThrash #DeathMetal #Novembre2025 #Perú #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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❗ "Crimson Dawn" de 𝗗𝗲𝗮𝘁𝗵𝗵𝗮𝗺𝗺𝗲𝗿 est une superbe orgie de Black/Thrash tonitruant...
https://www.coreandco.fr/chroniques/deathhammer-crimson-dawn-10558.html
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A few years back, wifey and I did a project together, as we often do. We wanted to do a very specific mashup - death metal and Pokémon. It's admittedly a niche. But we wanted to choose Cubone because that's the name of our furry son (the one in my avi). And the Pokémon's back story, wearing his dead mom's skull, it's pretty metal. Original shirt inspiration on the right, for reference (I have a very worn copy of this one). I sketched it out, she painted (she's so talented-- the REAL talent between us). She of course added her excellent flair to it. Acrylic on canvas.
#metal #DeathMetal #Pokémon #art #Cubone #AcrylicPainting #painting #ThrashMetal #BlackenedThrash #MetalArt #AcrylicArt #mashup #mashups #MastoArt #Skeletonwitch @brian @HailsandAles
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A few years back, wifey and I did a project together, as we often do. We wanted to do a very specific mashup - death metal and Pokémon. It's admittedly a niche. But we wanted to choose Cubone because that's the name of our furry son (the one in my avi). And the Pokémon's back story, wearing his dead mom's skull, it's pretty metal. Original shirt inspiration on the right, for reference (I have a very worn copy of this one). I sketched it out, she painted (she's so talented-- the REAL talent between us). She of course added her excellent flair to it. Acrylic on canvas.
#metal #DeathMetal #Pokémon #art #Cubone #AcrylicPainting #painting #ThrashMetal #BlackenedThrash #MetalArt #AcrylicArt #mashup #mashups #MastoArt #Skeletonwitch @brian @HailsandAles
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A few years back, wifey and I did a project together, as we often do. We wanted to do a very specific mashup - death metal and Pokémon. It's admittedly a niche. But we wanted to choose Cubone because that's the name of our furry son (the one in my avi). And the Pokémon's back story, wearing his dead mom's skull, it's pretty metal. Original shirt inspiration on the right, for reference (I have a very worn copy of this one). I sketched it out, she painted (she's so talented-- the REAL talent between us). She of course added her excellent flair to it. Acrylic on canvas.
#metal #DeathMetal #Pokémon #art #Cubone #AcrylicPainting #painting #ThrashMetal #BlackenedThrash #MetalArt #AcrylicArt #mashup #mashups #MastoArt #Skeletonwitch @brian @HailsandAles
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A few years back, wifey and I did a project together, as we often do. We wanted to do a very specific mashup - death metal and Pokémon. It's admittedly a niche. But we wanted to choose Cubone because that's the name of our furry son (the one in my avi). And the Pokémon's back story, wearing his dead mom's skull, it's pretty metal. Original shirt inspiration on the right, for reference (I have a very worn copy of this one). I sketched it out, she painted (she's so talented-- the REAL talent between us). She of course added her excellent flair to it. Acrylic on canvas.
#metal #DeathMetal #Pokémon #art #Cubone #AcrylicPainting #painting #ThrashMetal #BlackenedThrash #MetalArt #AcrylicArt #mashup #mashups #MastoArt #Skeletonwitch @brian @HailsandAles
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A few years back, wifey and I did a project together, as we often do. We wanted to do a very specific mashup - death metal and Pokémon. It's admittedly a niche. But we wanted to choose Cubone because that's the name of our furry son (the one in my avi). And the Pokémon's back story, wearing his dead mom's skull, it's pretty metal. Original shirt inspiration on the right, for reference (I have a very worn copy of this one). I sketched it out, she painted (she's so talented-- the REAL talent between us). She of course added her excellent flair to it. Acrylic on canvas.
#metal #DeathMetal #Pokémon #art #Cubone #AcrylicPainting #painting #ThrashMetal #BlackenedThrash #MetalArt #AcrylicArt #mashup #mashups #MastoArt #Skeletonwitch @brian @HailsandAles
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WRECKAGE (Bulgària) presenta nou single: "Cosmic Drive" #Wreckage #BlackenedThrash #DeathMetal #Juliol2025 #Bulgària #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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WRECKAGE (Bulgària) presenta nou single: "Cosmic Drive" #Wreckage #BlackenedThrash #DeathMetal #Juliol2025 #Bulgària #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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WRECKAGE (Bulgària) presenta nou single: "Cosmic Drive" #Wreckage #BlackenedThrash #DeathMetal #Juliol2025 #Bulgària #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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WRECKAGE (Bulgària) presenta nou single: "Cosmic Drive" #Wreckage #BlackenedThrash #DeathMetal #Juliol2025 #Bulgària #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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WRECKAGE (Bulgària) presenta nou single: "Cosmic Drive" #Wreckage #BlackenedThrash #DeathMetal #Juliol2025 #Bulgària #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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SKULL SERVANT (Estats Units) presenta nou àlbum en directe: "Live Magicks" #SkullServant #BlackenedThrash #DoomMetal #Abril2025 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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SKULL SERVANT (Estats Units) presenta nou àlbum en directe: "Live Magicks" #SkullServant #BlackenedThrash #DoomMetal #Abril2025 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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SKULL SERVANT (Estats Units) presenta nou àlbum en directe: "Live Magicks" #SkullServant #BlackenedThrash #DoomMetal #Abril2025 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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SKULL SERVANT (Estats Units) presenta nou àlbum en directe: "Live Magicks" #SkullServant #BlackenedThrash #DoomMetal #Abril2025 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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SKULL SERVANT (Estats Units) presenta nou àlbum en directe: "Live Magicks" #SkullServant #BlackenedThrash #DoomMetal #Abril2025 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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HEXECUTOR (França) presenta nou àlbum: "…Where Spirit Withers in Its Flesh Constraint" #Hexecutor #BlackenedThrash #HeavyMetal #Març2025 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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HEXECUTOR (França) presenta nou àlbum: "…Where Spirit Withers in Its Flesh Constraint" #Hexecutor #BlackenedThrash #HeavyMetal #Març2025 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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HEXECUTOR (França) presenta nou àlbum: "…Where Spirit Withers in Its Flesh Constraint" #Hexecutor #BlackenedThrash #HeavyMetal #Març2025 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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HEXECUTOR (França) presenta nou àlbum: "…Where Spirit Withers in Its Flesh Constraint" #Hexecutor #BlackenedThrash #HeavyMetal #Març2025 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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HEXECUTOR (França) presenta nou àlbum: "…Where Spirit Withers in Its Flesh Constraint" #Hexecutor #BlackenedThrash #HeavyMetal #Març2025 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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❗ Black/Death joliment roudoudou, Death/Thrash qui cavale et montre les crocs, et Melodeath relativement classique, 𝗡𝗲𝗰𝗿𝗼𝗽𝗮𝗻𝘁𝗵𝗲𝗿 varie les plaisirs dans "Betrayal"...
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Bewitcher – Spell Shock Review
By Mark Z.
Bewitcher has always felt different than the blackened speed metal wave that emerged in the last decade or so. I’ve enjoyed some Midnight or Hellripper in my day, but by the late 2010s, it seemed like there were way too many groups offering a stock combination of raspy black metal vocals, bouncy riffs in the style of Exciter or Kill ‘Em All, and a chorus where they shout something about fire or Satan or some shit. By the 666th time I’ve heard a song like that, it just starts feeling tired and disingenuous. Not so with Bewitcher. Not only was their 2016 self-titled debut more ferocious than much of the blackened speed metal it preceded, but Bewitcher also quickly broke beyond the style’s tight leather confines. With 2019’s terrific Under the Witching Cross, this Portland trio began incorporating hard rock elements, an influence that became even more pronounced with their Century Media debut, 2021’s Cursed Be Thy Kingdom. Through it all, the band is more fun, genuine, and inspired than most of their peers. Now, with our resident Bewitcher scribe Holdeneye unavailable due to entirely unsuspicious circumstances,1 I must bear the burden of reviewing Bewitcher’s fourth album, Spell Shock.
Spell Shock feels like a logical continuation of Cursed Be Thy Kingdom. With the resources of Century Media still behind them, the band has crafted another album brimming with sharp hooks, and a modern, punchy production,2 and plenty of hard rock influences. “We Die in Dust” has perhaps the most blatant rock vibes, with stomping beats and crunchy riffs that sound like 80s hair metal performed by Venom. At times, the rock similarities are even more direct. The main riff of barnstorming opener “Starfire Maelstrom” evokes the main riff from HIM’s “You Are the One” repurposed for a speed metal context, while the guitar line in the bridge of the title track sounds like a reinvention of the main guitar melody from Heart’s “Crazy on You.”
Spell Shock finds Bewitcher’s increasing rocky influences not only working but also making the more typical blackened thrash moments hit harder. “Lavish Desecration,” the album’s second track, charges forward with the playful and jumpy riffing we’ve all come to expect from Bewitcher, but fresher and more invigorated. Other tracks strike equally hard. While gang vocals are an oft-used trope in this style, I still can’t help but throw my grimy fist in the air when the chants of “Spell shock!” hit in the title track. “Out against the Law” burns rubber like classic Motörhead, while “Seasons of Foul Harvest” crafts a simple hook using sustained bends that recall heavy metal’s golden age. Through it all, vocalist and guitarist M. Von Bewitcher keeps an eye toward extremity with his gruff and charismatic rasp, sounding better than ever over his kinetic riffing. The man’s leads are also an unholy force to behold, with almost every one of these ten tracks containing slick and wild solos that fly high and reek of vintage charm.
The best thing about Spell Shock, though, is how it feels like a refinement of the last album. Whereas Cursed Be Thy Kingdom felt like a collection of (good) songs, Spell Shock has a better sense of cohesion and structure. Spell Shock’s penultimate track, “Pagan Shadows,” is a two-minute Western Americana instrumental, which is somehow exactly what the album needed at that point. Likewise, the band wisely forego a third iteration of the chorus on the closer “Ride of the Iron Fox,” ending the record more effectively with an extended instrumental outro of clean picking, rocking solos, and a weird atmospheric sample. While some songs aren’t as impressive (“Dystopic Demonolatry”), most of the tracks are great, if uniform; a weird curveball or two wouldn’t have hurt. Lars Frederiksen of punk legends Rancid also does an excellent job on production duties, offering a vibrant guitar tone and an overall sound that’s powerful and clear without being sterile.
If Spell Shock isn’t the best Bewitcher album, then it’s certainly the most fully realized. It’s an improvement over the last album while featuring the same high energy and fantastic hooks they’ve always had. This time, it’s with better production and a renewed swagger. Ultimately, Spell Shock is a terrific addition to the Bewitcher catalog and I’d recommend it to even the crustiest and most jaded of heavy metal fans.
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: bewitcher.bandcamp.com | bewitcher.us | facebook.com/bewitcherofficial
Releases Worldwide: September 27th, 2024#2024 #40 #AmericanMetal #Bewitcher #BlackMetal #BlackenedThrash #CenturyMediaRecords #Exciter #Heart #Hellripper #HIM #Midnight #Motörhead #Rancid #Review #Reviews #Sep24 #SpeedMetal #SpellShock #Venom
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Bewitcher – Spell Shock Review
By Mark Z.
Bewitcher has always felt different than the blackened speed metal wave that emerged in the last decade or so. I’ve enjoyed some Midnight or Hellripper in my day, but by the late 2010s, it seemed like there were way too many groups offering a stock combination of raspy black metal vocals, bouncy riffs in the style of Exciter or Kill ‘Em All, and a chorus where they shout something about fire or Satan or some shit. By the 666th time I’ve heard a song like that, it just starts feeling tired and disingenuous. Not so with Bewitcher. Not only was their 2016 self-titled debut more ferocious than much of the blackened speed metal it preceded, but Bewitcher also quickly broke beyond the style’s tight leather confines. With 2019’s terrific Under the Witching Cross, this Portland trio began incorporating hard rock elements, an influence that became even more pronounced with their Century Media debut, 2021’s Cursed Be Thy Kingdom. Through it all, the band is more fun, genuine, and inspired than most of their peers. Now, with our resident Bewitcher scribe Holdeneye unavailable due to entirely unsuspicious circumstances,1 I must bear the burden of reviewing Bewitcher’s fourth album, Spell Shock.
Spell Shock feels like a logical continuation of Cursed Be Thy Kingdom. With the resources of Century Media still behind them, the band has crafted another album brimming with sharp hooks, and a modern, punchy production,2 and plenty of hard rock influences. “We Die in Dust” has perhaps the most blatant rock vibes, with stomping beats and crunchy riffs that sound like 80s hair metal performed by Venom. At times, the rock similarities are even more direct. The main riff of barnstorming opener “Starfire Maelstrom” evokes the main riff from HIM’s “You Are the One” repurposed for a speed metal context, while the guitar line in the bridge of the title track sounds like a reinvention of the main guitar melody from Heart’s “Crazy on You.”
Spell Shock finds Bewitcher’s increasing rocky influences not only working but also making the more typical blackened thrash moments hit harder. “Lavish Desecration,” the album’s second track, charges forward with the playful and jumpy riffing we’ve all come to expect from Bewitcher, but fresher and more invigorated. Other tracks strike equally hard. While gang vocals are an oft-used trope in this style, I still can’t help but throw my grimy fist in the air when the chants of “Spell shock!” hit in the title track. “Out against the Law” burns rubber like classic Motörhead, while “Seasons of Foul Harvest” crafts a simple hook using sustained bends that recall heavy metal’s golden age. Through it all, vocalist and guitarist M. Von Bewitcher keeps an eye toward extremity with his gruff and charismatic rasp, sounding better than ever over his kinetic riffing. The man’s leads are also an unholy force to behold, with almost every one of these ten tracks containing slick and wild solos that fly high and reek of vintage charm.
The best thing about Spell Shock, though, is how it feels like a refinement of the last album. Whereas Cursed Be Thy Kingdom felt like a collection of (good) songs, Spell Shock has a better sense of cohesion and structure. Spell Shock’s penultimate track, “Pagan Shadows,” is a two-minute Western Americana instrumental, which is somehow exactly what the album needed at that point. Likewise, the band wisely forego a third iteration of the chorus on the closer “Ride of the Iron Fox,” ending the record more effectively with an extended instrumental outro of clean picking, rocking solos, and a weird atmospheric sample. While some songs aren’t as impressive (“Dystopic Demonolatry”), most of the tracks are great, if uniform; a weird curveball or two wouldn’t have hurt. Lars Frederiksen of punk legends Rancid also does an excellent job on production duties, offering a vibrant guitar tone and an overall sound that’s powerful and clear without being sterile.
If Spell Shock isn’t the best Bewitcher album, then it’s certainly the most fully realized. It’s an improvement over the last album while featuring the same high energy and fantastic hooks they’ve always had. This time, it’s with better production and a renewed swagger. Ultimately, Spell Shock is a terrific addition to the Bewitcher catalog and I’d recommend it to even the crustiest and most jaded of heavy metal fans.
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: bewitcher.bandcamp.com | bewitcher.us | facebook.com/bewitcherofficial
Releases Worldwide: September 27th, 2024#2024 #40 #AmericanMetal #Bewitcher #BlackMetal #BlackenedThrash #CenturyMediaRecords #Exciter #Heart #Hellripper #HIM #Midnight #Motörhead #Rancid #Review #Reviews #Sep24 #SpeedMetal #SpellShock #Venom
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Bewitcher – Spell Shock Review
By Mark Z.
Bewitcher has always felt different than the blackened speed metal wave that emerged in the last decade or so. I’ve enjoyed some Midnight or Hellripper in my day, but by the late 2010s, it seemed like there were way too many groups offering a stock combination of raspy black metal vocals, bouncy riffs in the style of Exciter or Kill ‘Em All, and a chorus where they shout something about fire or Satan or some shit. By the 666th time I’ve heard a song like that, it just starts feeling tired and disingenuous. Not so with Bewitcher. Not only was their 2016 self-titled debut more ferocious than much of the blackened speed metal it preceded, but Bewitcher also quickly broke beyond the style’s tight leather confines. With 2019’s terrific Under the Witching Cross, this Portland trio began incorporating hard rock elements, an influence that became even more pronounced with their Century Media debut, 2021’s Cursed Be Thy Kingdom. Through it all, the band is more fun, genuine, and inspired than most of their peers. Now, with our resident Bewitcher scribe Holdeneye unavailable due to entirely unsuspicious circumstances,1 I must bear the burden of reviewing Bewitcher’s fourth album, Spell Shock.
Spell Shock feels like a logical continuation of Cursed Be Thy Kingdom. With the resources of Century Media still behind them, the band has crafted another album brimming with sharp hooks, and a modern, punchy production,2 and plenty of hard rock influences. “We Die in Dust” has perhaps the most blatant rock vibes, with stomping beats and crunchy riffs that sound like 80s hair metal performed by Venom. At times, the rock similarities are even more direct. The main riff of barnstorming opener “Starfire Maelstrom” evokes the main riff from HIM’s “You Are the One” repurposed for a speed metal context, while the guitar line in the bridge of the title track sounds like a reinvention of the main guitar melody from Heart’s “Crazy on You.”
Spell Shock finds Bewitcher’s increasing rocky influences not only working but also making the more typical blackened thrash moments hit harder. “Lavish Desecration,” the album’s second track, charges forward with the playful and jumpy riffing we’ve all come to expect from Bewitcher, but fresher and more invigorated. Other tracks strike equally hard. While gang vocals are an oft-used trope in this style, I still can’t help but throw my grimy fist in the air when the chants of “Spell shock!” hit in the title track. “Out against the Law” burns rubber like classic Motörhead, while “Seasons of Foul Harvest” crafts a simple hook using sustained bends that recall heavy metal’s golden age. Through it all, vocalist and guitarist M. Von Bewitcher keeps an eye toward extremity with his gruff and charismatic rasp, sounding better than ever over his kinetic riffing. The man’s leads are also an unholy force to behold, with almost every one of these ten tracks containing slick and wild solos that fly high and reek of vintage charm.
The best thing about Spell Shock, though, is how it feels like a refinement of the last album. Whereas Cursed Be Thy Kingdom felt like a collection of (good) songs, Spell Shock has a better sense of cohesion and structure. Spell Shock’s penultimate track, “Pagan Shadows,” is a two-minute Western Americana instrumental, which is somehow exactly what the album needed at that point. Likewise, the band wisely forego a third iteration of the chorus on the closer “Ride of the Iron Fox,” ending the record more effectively with an extended instrumental outro of clean picking, rocking solos, and a weird atmospheric sample. While some songs aren’t as impressive (“Dystopic Demonolatry”), most of the tracks are great, if uniform; a weird curveball or two wouldn’t have hurt. Lars Frederiksen of punk legends Rancid also does an excellent job on production duties, offering a vibrant guitar tone and an overall sound that’s powerful and clear without being sterile.
If Spell Shock isn’t the best Bewitcher album, then it’s certainly the most fully realized. It’s an improvement over the last album while featuring the same high energy and fantastic hooks they’ve always had. This time, it’s with better production and a renewed swagger. Ultimately, Spell Shock is a terrific addition to the Bewitcher catalog and I’d recommend it to even the crustiest and most jaded of heavy metal fans.
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: bewitcher.bandcamp.com | bewitcher.us | facebook.com/bewitcherofficial
Releases Worldwide: September 27th, 2024#2024 #40 #AmericanMetal #Bewitcher #BlackMetal #BlackenedThrash #CenturyMediaRecords #Exciter #Heart #Hellripper #HIM #Midnight #Motörhead #Rancid #Review #Reviews #Sep24 #SpeedMetal #SpellShock #Venom
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Demiser – Slave to the Scythe Review
By Cherd
I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.
Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”
All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.
My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.
Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal
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Demiser – Slave to the Scythe Review
By Cherd
I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.
Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”
All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.
My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.
Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal
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Demiser – Slave to the Scythe Review
By Cherd
I generally avoid metal music videos. Way too often they’re overly self-serious retreads of the same spooky/angry/edgy schtick and ultimately just serve to remind you that metal bands don’t have the budget for music videos. Lyric videos are even worse, as they expose metal’s unfortunate dearth of skilled lyricists. So I was surprised when, after watching the lead video single from Demiser’s sophomore full-length Slave to the Scythe, I was left thinking “Damn. There’s a band who know who they are.” South Carolina’s leading researchers of all things infernal, Demiser present the findings of their scholarly research into the contents of Hades with the peer-reviewed case study “Hell is Full of Fire.” Like the song title and self-same chorus, the accompanying video is charmingly direct. Here’s the band playing in a garage or small club setting. Here they are drinking in a cemetery at night. Back to the band playing. Back to the cemetery, where they’ve somehow lit a grave on fire. Band playing. Someone brought a scythe to the cemetery and it’s on fire. Ope, hard to play that guitar when it’s on fire. The whole thing is lit low but warm and looks well shot for what it is.
Demiser are a metal throwback in spirit: hard drinking, fast playing, “Fuck yeah/you!” attitude. They’re a throwback in sound too, in that way only newer bands blend a bunch of throwback sounds into a sticky paste of pastiche. This is blackened thrash with a deep vein of NWOBHM combining the likes of Overkill, Motörhead, and Gorgoroth. “Feast” kicks things off with a very “Painkiller”-esque drum intro followed by sinister riffage and lightning-fast fret-work. It sets a blazing pace that rarely lets up over the next 40 minutes of vicious axe-wielding (Gravepisser, Phallomancer, and Defiler) and machine gun time-keeping (Infestor) while Demiser the Demiser holds court with his blackened shouts. Lyrical themes are mostly of the blasphemous variety, with memorable declarations of damned-ness in “Feast” (“All! Hell! Now! Opens wide!”), “Hell is Full of Fire,” and “In Nomine Baphomet,” but they do take a break from hailing Satan to talk about driving motorcycles real fast in the delightful “Carbureted Speed.”
All this results in a comfort food metal album that’s more fun than a Hell themed roller coaster with dangerously loose safety bars. I defy any metalhead, regardless of sub-genre preference, to keep their figurative pants on when the guitar solos hit in “Feast” or to keep their invisible fruit in their pockets when Demiser the Demiser declares “Hell! Is Full! Of Fire!” Slave to the Scythe is best when it keeps the gas pushed all the way to road pavement, which it does a lot, but the addition of a foot-stomping bop and some surprising melodicism elevates “Phallomancer the Phallomancer” to the position of album highlight. After the debut included the memorable “Demiser the Demiser,” the next record better give Gravepisser and Defiler their own eponymous ditties or else feelings are going to get hurt.
My issues with Slave to the Scythe are all relatively minor. When played front to back, the title track falls a little flat compared to the two rip snorters that sandwich it. As for the acoustic interlude, it’s nice enough and it adds to the 80s thrash vibe, but I quickly began skipping it after the second spin or so. The record is in no way overstuffed at a blazing 40 minutes, but final track “In Nomine Baphomet” stands out for being 8 minutes long, and it does go a bit mushy in the middle of that run time. Thankfully, these moments do little to detract from a record where even second-tier tracks like “Total Demise” or “Infernal Bust” have stank-face riffs and drive-it-like-it’s-stolen energy.
Demiser are a band who know who they are. They aren’t reinventing the wheel, but they are putting it on the front of a motorcycle and driving it recklessly. If you were a fan of their rollicking debut Through the Gate Eternal, you’ll get more of the same breakneck goodness on Slave to the Scythe. Given the talent involved here, I expect they’ll just keep churning out albums of sack-whipping blackened thrash for years to come.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: demiser.bandcamp.com | facebook.com/demiserofficial
Releases Worldwide: August 23rd, 2024#2024 #35 #AmericanMetal #Aug24 #BlackMetal #BlackenedThrash #Demiser #Gorgoroth #HeavyMetal #MetalBladeRecords #Motörhead #Review #Reviews #SlaveToTheScythe #ThrashMetal
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Duskwalker – Underground Forever Review
By Saunders
While my shortlist of noteworthy albums in 2024 continues to grow, my own reviewing assignments have thus far underwhelmed. Desperate times call for desperate blind leaps into the promo sump to hopefully reel in an underground gem. In this case the band in question is Canada’s Duskwalker, set to release third LP Underground Forever. First impressions from the cheesy, retro-inspired artwork is Duskwalker must revel in ’80s thrash worship, with perhaps a dose of horror movie shtick and crossover edge. Although Duskwalker certainly draw inspiration from metal’s storied past, the end result is something a little less straightforward to pigeonhole. Classic thrash vibes bleed through the band’s energetic and aggressive delivery, accompanied by an array of other styles and influences, from snippets of the blackened thrash fury and crunch of Skeletonwitch and Necropanther, to chunkier death and groove metal forays, and whiffs of Carcass. The sound is bright, modern, and crunchy, despite the old school flavors. But does this unsung, talented quartet have the songwriting chops to match their exuberance and instrumental talents?
A good opener is often key to setting an album’s momentum and platform to launch from. The bending, swaggering grooves and chunky death and groove metal crunch of “Crippled at the Core” does a serviceable job in this regard. From here Duskwalker forge ahead with hard rocking attitude and feisty gallops, meshing the aggressively punchy, with fun, rough-and-tumble vibes. “Never Going Back” unleashes a rapid-fire old school thrash attack, strengthened by a strong set of riffs and hooks, Pantera-esque grooves are coupled with blackened and death elements, adding an urgent, extreme bite to proceedings. The title track plays into Duskwalker’s mode of not taking themselves too seriously, combining classic ’80s metal guitar licks, with sing-along vocal hooks, anthemic thrash, and black n’ roll grooves. After a grinding, slow build opening, “Posing Corpses” eventually gets going and cranks out some urgent blackened thrash gallops, guitar acrobatics, and rugged grooves.
The heaving trample of “City on a Cemetery” channels Duskwalker’s death and groove-based tendencies, riding extra beefy riffs, fun dual vocal tradeoffs, and quality lead work. Inevitably there are elements of Duskwalker’s diverse sound that do not gel as well as others, leading to inconsistent and clunkier moments, balancing out Underground Forever’s more endearing qualities. The sample-laden, largely mid-paced thump of “Artillery Communion” fails to engage or rise to any great heights. Similarly, “Vanquisher” features a darker, tone and nice leads, but tends to drag and chug along without any real purpose or impact. Duskwalker right things towards the backend, ending with the death-doom-driven march of the awesomely titled, “Inhaling the Dust of Bones.” At 47 minutes Underground Forever never loses the plot, but hits a few lulls, resulting in an album that feels as though it runs a tad long. Several songs could use a slight trim to tighten up the final package.
Musically, Duskwalker is an accomplished band and the various old school and contemporary influences color sprightly performances. John Robinson clearly enjoys his work, wielding his axe with flair and appreciation of metal’s storied past. The album’s tone is a little uneven musically, but Robinson does his best to enliven things with beefy, chugging riffs, slashing solos, and groovy swagger, drawing from a well of thrash, death, black, trad, and hard rock influences. The rhythm section holds its own, with John Neadow’s bass given room to shake in the mix. Duskwalker tend to thrill more at higher speeds, but the varied territory they explore makes for a fun, if uneven ride. Meanwhile, Joey Scaringi’s versatile vocals switch from deathly bellows to thrashier barks and blackened screams, with reasonable spark and effectiveness.
Production-wise, Underground Forever features a clean, crisp profile that generally fits their sound, though it could benefit from a dirtier, less polished sound. Meanwhile, the loud master strips away breathing space, detracting from the more appealing sonic elements at play. Gripes aside, Underground Forever certainly has its high points and enjoyable moments. It’s a fun, groovy listen, full of infectious energy and some killer songs. Unfortunately, the package does not quite form something more formidable and noteworthy. Regardless, I have enjoyed my time with Underground Forever and if Duskwalker can refine their songwriting and hone their strengths, better things may be in store for future offerings.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: duskwalkerblacklion.bandcamp.com | facebook.com/DuskwalkerOfficial
Releases Worldwide: July 26th, 2024#2024 #30 #BlackLionRecords #BlackenedThrash #CanadianMetal #Carcass #DeathMetal #Duskwalker #Necropanther #Pantera #Review #Reviews #Skeletonwitch #ThrashMetal #UndergroundForever
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Duskwalker – Underground Forever Review
By Saunders
While my shortlist of noteworthy albums in 2024 continues to grow, my own reviewing assignments have thus far underwhelmed. Desperate times call for desperate blind leaps into the promo sump to hopefully reel in an underground gem. In this case the band in question is Canada’s Duskwalker, set to release third LP Underground Forever. First impressions from the cheesy, retro-inspired artwork is Duskwalker must revel in ’80s thrash worship, with perhaps a dose of horror movie shtick and crossover edge. Although Duskwalker certainly draw inspiration from metal’s storied past, the end result is something a little less straightforward to pigeonhole. Classic thrash vibes bleed through the band’s energetic and aggressive delivery, accompanied by an array of other styles and influences, from snippets of the blackened thrash fury and crunch of Skeletonwitch and Necropanther, to chunkier death and groove metal forays, and whiffs of Carcass. The sound is bright, modern, and crunchy, despite the old school flavors. But does this unsung, talented quartet have the songwriting chops to match their exuberance and instrumental talents?
A good opener is often key to setting an album’s momentum and platform to launch from. The bending, swaggering grooves and chunky death and groove metal crunch of “Crippled at the Core” does a serviceable job in this regard. From here Duskwalker forge ahead with hard rocking attitude and feisty gallops, meshing the aggressively punchy, with fun, rough-and-tumble vibes. “Never Going Back” unleashes a rapid-fire old school thrash attack, strengthened by a strong set of riffs and hooks, Pantera-esque grooves are coupled with blackened and death elements, adding an urgent, extreme bite to proceedings. The title track plays into Duskwalker’s mode of not taking themselves too seriously, combining classic ’80s metal guitar licks, with sing-along vocal hooks, anthemic thrash, and black n’ roll grooves. After a grinding, slow build opening, “Posing Corpses” eventually gets going and cranks out some urgent blackened thrash gallops, guitar acrobatics, and rugged grooves.
The heaving trample of “City on a Cemetery” channels Duskwalker’s death and groove-based tendencies, riding extra beefy riffs, fun dual vocal tradeoffs, and quality lead work. Inevitably there are elements of Duskwalker’s diverse sound that do not gel as well as others, leading to inconsistent and clunkier moments, balancing out Underground Forever’s more endearing qualities. The sample-laden, largely mid-paced thump of “Artillery Communion” fails to engage or rise to any great heights. Similarly, “Vanquisher” features a darker, tone and nice leads, but tends to drag and chug along without any real purpose or impact. Duskwalker right things towards the backend, ending with the death-doom-driven march of the awesomely titled, “Inhaling the Dust of Bones.” At 47 minutes Underground Forever never loses the plot, but hits a few lulls, resulting in an album that feels as though it runs a tad long. Several songs could use a slight trim to tighten up the final package.
Musically, Duskwalker is an accomplished band and the various old school and contemporary influences color sprightly performances. John Robinson clearly enjoys his work, wielding his axe with flair and appreciation of metal’s storied past. The album’s tone is a little uneven musically, but Robinson does his best to enliven things with beefy, chugging riffs, slashing solos, and groovy swagger, drawing from a well of thrash, death, black, trad, and hard rock influences. The rhythm section holds its own, with John Neadow’s bass given room to shake in the mix. Duskwalker tend to thrill more at higher speeds, but the varied territory they explore makes for a fun, if uneven ride. Meanwhile, Joey Scaringi’s versatile vocals switch from deathly bellows to thrashier barks and blackened screams, with reasonable spark and effectiveness.
Production-wise, Underground Forever features a clean, crisp profile that generally fits their sound, though it could benefit from a dirtier, less polished sound. Meanwhile, the loud master strips away breathing space, detracting from the more appealing sonic elements at play. Gripes aside, Underground Forever certainly has its high points and enjoyable moments. It’s a fun, groovy listen, full of infectious energy and some killer songs. Unfortunately, the package does not quite form something more formidable and noteworthy. Regardless, I have enjoyed my time with Underground Forever and if Duskwalker can refine their songwriting and hone their strengths, better things may be in store for future offerings.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: duskwalkerblacklion.bandcamp.com | facebook.com/DuskwalkerOfficial
Releases Worldwide: July 26th, 2024#2024 #30 #BlackLionRecords #BlackenedThrash #CanadianMetal #Carcass #DeathMetal #Duskwalker #Necropanther #Pantera #Review #Reviews #Skeletonwitch #ThrashMetal #UndergroundForever
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The Absence – The Absence Review
By Saunders
Florida’s The Absence have carved out a tidy career of dependable material across two separate career arcs since forming way back in 2002. Their first few albums were thrashy, slightly blackened melodeath bangers with killer riffs, striking melodies and catchy hooks in tow. Hardly groundbreaking stuff but solidly entertaining, nonetheless. Following an eight-year recording hiatus, The Absence kicked back into gear in 2018 and now we arrive at the third album of their recharged second era, and sixth overall, following on from 2021’s reliably solid Coffinized release. On this occasion, the veteran act decided to go the self-titled route, which often translates to a stylistic reinvention, or assertive back-to-basics approach. Reinvention is not on the cards with The Absence falling more so into the latter camp, crafting a taut, energetic collection of trademark thrash-infused melodic death tuneage. Taking cues from the classic Gothenburg scene, especially At the Gates, and merging with US-styled blackened thrash, The Absence unleash a slickly played and bouncy style, with enough sharpness and bite to provide a steelier edge.
Veterans in the game, The Absence possess a tight and playful sound, accentuating tasteful melodeath licks, punchy riffs, and groovy, headbanging swagger. Nastier, blackened throes and spiteful edge of early albums From Your Grave and Riders of the Plague have been buffed and smoothed over in later years. The accessible, streamlined approach on The Absence retains many of the band’s signature traits and foundations, albeit in a less urgent, edgier manner compared to their earlier work. Regardless, The Absence excel in ripping through workman-like melodeath tunes without resorting to gimmicks or compromising integrity with tacked-on elements to boost accessibility. The more streamlined material still packs a feisty punch, and the riffs are consistently solid, backed by ear-catching melodic leads and technical flourishes. Original member Jamie Stewart’s blackened growls feature a more weathered charm, while the crisp though stripped-back production lends the songs a grittier, no-frills edge. Right out the gate, The Absence rip out a trademark thrasher courtesy of lively opener “Communion Carbonized,” launching the album into gear.
“The Silent Eye” fits the bill well as a single and is a tidy way to attract newer listeners. Across nearly six minutes, The Absence mix some beguiling central melodies and vocal hooks with thrashier surges and earworm hooks. There are similarly strong cuts scattered across the album, such as the progressively leaning “Planetary Mortuary,” straight ahead riff rager “Grieving Winds,” and lean, mean thrasher, “Fleshwalker.” The Absence rarely hit peak form, but never really drop the ball either. Closer “Breeding Hysterics” ensures shit ends with a bang rather than whimper, its chunky riffs, feisty thrust and retro feel lend it a cool, old-school charm. Outside the highlights, the majority of songs leave solid, if sometimes unremarkable impression, while a couple of songs come across a bit by the numbers. Quibbles aside, The Absence is a largely enjoyable listen that continues the band’s lasting consistency. Guitarist Taylor Nordberg (also handling bass and keys) has been around the traps a long time and livens the material with spicy axework, an array of headbangable riffs, throwback old school leads and embellishments. The technical and mildly progressive elements help main interest. Meanwhile, experienced drummer Jeramie Kling (Inhuman Condition, Ex Deo) keeps pace with an aggressive, precision performance on the kit.
As previously mentioned, the production hits the spot. The clean, sharp tones offset by an uncluttered mix, dynamic master and organic, gritty tones, especially the drums. Overall, The Absence is a tidy entry into the band’s underappreciated catalog, despite feeling a little safe and less urgent than prior offerings. In particular, the frantic, blackened approach of their first few albums are missed, and the songs don’t hit quite as hard as previous album Coffinized. Regardless, The Absence is an endearing act that pump out consistently solid, thrash-infused melodeath tunes that are easy to like. The Absence may not be the most compelling selling point or entry in this veteran Floridian band’s lengthy career, however, it’s a solid batch of fun and no-frills melodeath tunes.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Listenable Insanity
Websites: theabsenceofficial.bandcamp.com | facebook.com/theabsenceofficial
Releases Worldwide: March 29th, 2024#2024 #30 #AmericanMetal #AtTheGates #BlackenedThrash #ExDeo #InhumanCondition #ListenableInsanityRecords #MelodicDeathMetal #Review #Reviews #TheAbsence #Thrash
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The Absence – The Absence Review
By Saunders
Florida’s The Absence have carved out a tidy career of dependable material across two separate career arcs since forming way back in 2002. Their first few albums were thrashy, slightly blackened melodeath bangers with killer riffs, striking melodies and catchy hooks in tow. Hardly groundbreaking stuff but solidly entertaining, nonetheless. Following an eight-year recording hiatus, The Absence kicked back into gear in 2018 and now we arrive at the third album of their recharged second era, and sixth overall, following on from 2021’s reliably solid Coffinized release. On this occasion, the veteran act decided to go the self-titled route, which often translates to a stylistic reinvention, or assertive back-to-basics approach. Reinvention is not on the cards with The Absence falling more so into the latter camp, crafting a taut, energetic collection of trademark thrash-infused melodic death tuneage. Taking cues from the classic Gothenburg scene, especially At the Gates, and merging with US-styled blackened thrash, The Absence unleash a slickly played and bouncy style, with enough sharpness and bite to provide a steelier edge.
Veterans in the game, The Absence possess a tight and playful sound, accentuating tasteful melodeath licks, punchy riffs, and groovy, headbanging swagger. Nastier, blackened throes and spiteful edge of early albums From Your Grave and Riders of the Plague have been buffed and smoothed over in later years. The accessible, streamlined approach on The Absence retains many of the band’s signature traits and foundations, albeit in a less urgent, edgier manner compared to their earlier work. Regardless, The Absence excel in ripping through workman-like melodeath tunes without resorting to gimmicks or compromising integrity with tacked-on elements to boost accessibility. The more streamlined material still packs a feisty punch, and the riffs are consistently solid, backed by ear-catching melodic leads and technical flourishes. Original member Jamie Stewart’s blackened growls feature a more weathered charm, while the crisp though stripped-back production lends the songs a grittier, no-frills edge. Right out the gate, The Absence rip out a trademark thrasher courtesy of lively opener “Communion Carbonized,” launching the album into gear.
“The Silent Eye” fits the bill well as a single and is a tidy way to attract newer listeners. Across nearly six minutes, The Absence mix some beguiling central melodies and vocal hooks with thrashier surges and earworm hooks. There are similarly strong cuts scattered across the album, such as the progressively leaning “Planetary Mortuary,” straight ahead riff rager “Grieving Winds,” and lean, mean thrasher, “Fleshwalker.” The Absence rarely hit peak form, but never really drop the ball either. Closer “Breeding Hysterics” ensures shit ends with a bang rather than whimper, its chunky riffs, feisty thrust and retro feel lend it a cool, old-school charm. Outside the highlights, the majority of songs leave solid, if sometimes unremarkable impression, while a couple of songs come across a bit by the numbers. Quibbles aside, The Absence is a largely enjoyable listen that continues the band’s lasting consistency. Guitarist Taylor Nordberg (also handling bass and keys) has been around the traps a long time and livens the material with spicy axework, an array of headbangable riffs, throwback old school leads and embellishments. The technical and mildly progressive elements help main interest. Meanwhile, experienced drummer Jeramie Kling (Inhuman Condition, Ex Deo) keeps pace with an aggressive, precision performance on the kit.
As previously mentioned, the production hits the spot. The clean, sharp tones offset by an uncluttered mix, dynamic master and organic, gritty tones, especially the drums. Overall, The Absence is a tidy entry into the band’s underappreciated catalog, despite feeling a little safe and less urgent than prior offerings. In particular, the frantic, blackened approach of their first few albums are missed, and the songs don’t hit quite as hard as previous album Coffinized. Regardless, The Absence is an endearing act that pump out consistently solid, thrash-infused melodeath tunes that are easy to like. The Absence may not be the most compelling selling point or entry in this veteran Floridian band’s lengthy career, however, it’s a solid batch of fun and no-frills melodeath tunes.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Listenable Insanity
Websites: theabsenceofficial.bandcamp.com | facebook.com/theabsenceofficial
Releases Worldwide: March 29th, 2024#2024 #30 #AmericanMetal #AtTheGates #BlackenedThrash #ExDeo #InhumanCondition #ListenableInsanityRecords #MelodicDeathMetal #Review #Reviews #TheAbsence #Thrash
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The Absence – The Absence Review
By Saunders
Florida’s The Absence have carved out a tidy career of dependable material across two separate career arcs since forming way back in 2002. Their first few albums were thrashy, slightly blackened melodeath bangers with killer riffs, striking melodies and catchy hooks in tow. Hardly groundbreaking stuff but solidly entertaining, nonetheless. Following an eight-year recording hiatus, The Absence kicked back into gear in 2018 and now we arrive at the third album of their recharged second era, and sixth overall, following on from 2021’s reliably solid Coffinized release. On this occasion, the veteran act decided to go the self-titled route, which often translates to a stylistic reinvention, or assertive back-to-basics approach. Reinvention is not on the cards with The Absence falling more so into the latter camp, crafting a taut, energetic collection of trademark thrash-infused melodic death tuneage. Taking cues from the classic Gothenburg scene, especially At the Gates, and merging with US-styled blackened thrash, The Absence unleash a slickly played and bouncy style, with enough sharpness and bite to provide a steelier edge.
Veterans in the game, The Absence possess a tight and playful sound, accentuating tasteful melodeath licks, punchy riffs, and groovy, headbanging swagger. Nastier, blackened throes and spiteful edge of early albums From Your Grave and Riders of the Plague have been buffed and smoothed over in later years. The accessible, streamlined approach on The Absence retains many of the band’s signature traits and foundations, albeit in a less urgent, edgier manner compared to their earlier work. Regardless, The Absence excel in ripping through workman-like melodeath tunes without resorting to gimmicks or compromising integrity with tacked-on elements to boost accessibility. The more streamlined material still packs a feisty punch, and the riffs are consistently solid, backed by ear-catching melodic leads and technical flourishes. Original member Jamie Stewart’s blackened growls feature a more weathered charm, while the crisp though stripped-back production lends the songs a grittier, no-frills edge. Right out the gate, The Absence rip out a trademark thrasher courtesy of lively opener “Communion Carbonized,” launching the album into gear.
“The Silent Eye” fits the bill well as a single and is a tidy way to attract newer listeners. Across nearly six minutes, The Absence mix some beguiling central melodies and vocal hooks with thrashier surges and earworm hooks. There are similarly strong cuts scattered across the album, such as the progressively leaning “Planetary Mortuary,” straight ahead riff rager “Grieving Winds,” and lean, mean thrasher, “Fleshwalker.” The Absence rarely hit peak form, but never really drop the ball either. Closer “Breeding Hysterics” ensures shit ends with a bang rather than whimper, its chunky riffs, feisty thrust and retro feel lend it a cool, old-school charm. Outside the highlights, the majority of songs leave solid, if sometimes unremarkable impression, while a couple of songs come across a bit by the numbers. Quibbles aside, The Absence is a largely enjoyable listen that continues the band’s lasting consistency. Guitarist Taylor Nordberg (also handling bass and keys) has been around the traps a long time and livens the material with spicy axework, an array of headbangable riffs, throwback old school leads and embellishments. The technical and mildly progressive elements help main interest. Meanwhile, experienced drummer Jeramie Kling (Inhuman Condition, Ex Deo) keeps pace with an aggressive, precision performance on the kit.
As previously mentioned, the production hits the spot. The clean, sharp tones offset by an uncluttered mix, dynamic master and organic, gritty tones, especially the drums. Overall, The Absence is a tidy entry into the band’s underappreciated catalog, despite feeling a little safe and less urgent than prior offerings. In particular, the frantic, blackened approach of their first few albums are missed, and the songs don’t hit quite as hard as previous album Coffinized. Regardless, The Absence is an endearing act that pump out consistently solid, thrash-infused melodeath tunes that are easy to like. The Absence may not be the most compelling selling point or entry in this veteran Floridian band’s lengthy career, however, it’s a solid batch of fun and no-frills melodeath tunes.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Listenable Insanity
Websites: theabsenceofficial.bandcamp.com | facebook.com/theabsenceofficial
Releases Worldwide: March 29th, 2024#2024 #30 #AmericanMetal #AtTheGates #BlackenedThrash #ExDeo #InhumanCondition #ListenableInsanityRecords #MelodicDeathMetal #Review #Reviews #TheAbsence #Thrash
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For #TuneTuesday the theme is #SongsAboutClassicMonsters, and what better way to celebrate the foul, shambling undead than Skeletonwitch's "Released from the Catacombs". 🧟
https://youtu.be/4K0-0HReapo?si=xJGFhH9RkmndB0N7
#metal #DeathMetal #BlackMetal #thrash #BlackenedThrash #zombies #undead #monsters #ClassicMonsters
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For #TuneTuesday the theme is #SongsAboutClassicMonsters, and what better way to celebrate the foul, shambling undead than Skeletonwitch's "Released from the Catacombs". 🧟
https://youtu.be/4K0-0HReapo?si=xJGFhH9RkmndB0N7
#metal #DeathMetal #BlackMetal #thrash #BlackenedThrash #zombies #undead #monsters #ClassicMonsters
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For #TuneTuesday the theme is #SongsAboutClassicMonsters, and what better way to celebrate the foul, shambling undead than Skeletonwitch's "Released from the Catacombs". 🧟
https://youtu.be/4K0-0HReapo?si=xJGFhH9RkmndB0N7
#metal #DeathMetal #BlackMetal #thrash #BlackenedThrash #zombies #undead #monsters #ClassicMonsters
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For #TuneTuesday the theme is #SongsAboutClassicMonsters, and what better way to celebrate the foul, shambling undead than Skeletonwitch's "Released from the Catacombs". 🧟
https://youtu.be/4K0-0HReapo?si=xJGFhH9RkmndB0N7
#metal #DeathMetal #BlackMetal #thrash #BlackenedThrash #zombies #undead #monsters #ClassicMonsters
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For #TuneTuesday the theme is #SongsAboutClassicMonsters, and what better way to celebrate the foul, shambling undead than Skeletonwitch's "Released from the Catacombs". 🧟
https://youtu.be/4K0-0HReapo?si=xJGFhH9RkmndB0N7
#metal #DeathMetal #BlackMetal #thrash #BlackenedThrash #zombies #undead #monsters #ClassicMonsters
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Listening to more of last year's Necropanther album 'Betrayal'. I overlooked it last year and it wouldn't have broken my top 20, but it's pretty good.
Necropanther of course have strong Skeletonwitch (blackened death-thrash) vibes, and are arguably doing it better now than Skeletonwitch (who had to switch to a different singer several years back).
'Betrayal' has some overly kinda proggy spots (for me, as I'm not into prog stuff) here and there. But I can't complain, I dig the overall sound.
https://necropanther.bandcamp.com/album/betrayal
#metal #DeathMetal #thrash #BlackMetal #BlackenedThrash #Necropanther #Skeletonwitch
-
Listening to more of last year's Necropanther album 'Betrayal'. I overlooked it last year and it wouldn't have broken my top 20, but it's pretty good.
Necropanther of course have strong Skeletonwitch (blackened death-thrash) vibes, and are arguably doing it better now than Skeletonwitch (who had to switch to a different singer several years back).
'Betrayal' has some overly kinda proggy spots (for me, as I'm not into prog stuff) here and there. But I can't complain, I dig the overall sound.
https://necropanther.bandcamp.com/album/betrayal
#metal #DeathMetal #thrash #BlackMetal #BlackenedThrash #Necropanther #Skeletonwitch
-
Listening to more of last year's Necropanther album 'Betrayal'. I overlooked it last year and it wouldn't have broken my top 20, but it's pretty good.
Necropanther of course have strong Skeletonwitch (blackened death-thrash) vibes, and are arguably doing it better now than Skeletonwitch (who had to switch to a different singer several years back).
'Betrayal' has some overly kinda proggy spots (for me, as I'm not into prog stuff) here and there. But I can't complain, I dig the overall sound.
https://necropanther.bandcamp.com/album/betrayal
#metal #DeathMetal #thrash #BlackMetal #BlackenedThrash #Necropanther #Skeletonwitch
-
Listening to more of last year's Necropanther album 'Betrayal'. I overlooked it last year and it wouldn't have broken my top 20, but it's pretty good.
Necropanther of course have strong Skeletonwitch (blackened death-thrash) vibes, and are arguably doing it better now than Skeletonwitch (who had to switch to a different singer several years back).
'Betrayal' has some overly kinda proggy spots (for me, as I'm not into prog stuff) here and there. But I can't complain, I dig the overall sound.
https://necropanther.bandcamp.com/album/betrayal
#metal #DeathMetal #thrash #BlackMetal #BlackenedThrash #Necropanther #Skeletonwitch
-
Listening to more of last year's Necropanther album 'Betrayal'. I overlooked it last year and it wouldn't have broken my top 20, but it's pretty good.
Necropanther of course have strong Skeletonwitch (blackened death-thrash) vibes, and are arguably doing it better now than Skeletonwitch (who had to switch to a different singer several years back).
'Betrayal' has some overly kinda proggy spots (for me, as I'm not into prog stuff) here and there. But I can't complain, I dig the overall sound.
https://necropanther.bandcamp.com/album/betrayal
#metal #DeathMetal #thrash #BlackMetal #BlackenedThrash #Necropanther #Skeletonwitch
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#TheMetalDogArticleList
#MetalInjection
VIDEO NASTIES Provides All The Blackened Thrash You Need On "Harvest Of Flies"
Very Tribulation-esque.#VideoNasties #NewMusic #BlackenedThrash #HarvestOfFlies #MetalInjection
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#TheMetalDogArticleList
#MetalInjection
VIDEO NASTIES Provides All The Blackened Thrash You Need On "Harvest Of Flies"
Very Tribulation-esque.#VideoNasties #NewMusic #BlackenedThrash #HarvestOfFlies #MetalInjection