#darkfuneral — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #darkfuneral, aggregated by home.social.
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Such a satisfying song. It simply ticks many of my boxes. #DarkFuneral #BlackMetal
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Dark Funeral have announced their new live album, A Beast To Praise.
The band has also shared the live video for "The Arrival Of Satan's Empire," captured during their 2022 performance at Fållan in Stockholm.
#DarkFuneral #BlackMetal #CenturyMedia #WeAreTheApocalypse #LiveAlbum
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New post: Dark Funeral announce new live album ‘A Beast To Praise’ and share first video / single https://moshville.co.uk/news/2026/06/dark-funeral-announce-new-live-album-a-beast-to-praise-and-share-first-video-single/ #DarkFuneral
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New post: Behemoth drop new video for ‘I, Scvlptor’ title track and announce massive UK co-headline date https://moshville.co.uk/news/video/2026/06/behemoth-drop-new-video-for-i-scvlptor-title-track-and-announce-massive-uk-co-headline-date/ #Behemoth #DarkFuneral #DimmuBorgir
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New post: Behemoth drop new video for ‘I, Scvlptor’ title track and announce massive UK co-headline date https://moshville.co.uk/news/video/2026/06/behemoth-drop-new-video-for-i-scvlptor-title-track-and-announce-massive-uk-co-headline-date/ #Behemoth #DarkFuneral #DimmuBorgir
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New post: Behemoth drop new video for ‘I, Scvlptor’ title track and announce massive UK co-headline date https://moshville.co.uk/news/video/2026/06/behemoth-drop-new-video-for-i-scvlptor-title-track-and-announce-massive-uk-co-headline-date/ #Behemoth #DarkFuneral #DimmuBorgir
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Laune heute nach dieser Paradewoche: https://musiccloud.io/KlwP8
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Laune heute nach dieser Paradewoche: https://musiccloud.io/KlwP8
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Sicarius – Nex Review By TymeSicarius hit the ground raging in 2017 when the Californian black metal upstarts released their scathingly vicious debut album, Serenade of Slitting Throats, which captured the metal heart of AMG’s Diabolus in Muzaka, earning a coveted 4.0. Sicarius’s sophomore effort, 2020’s God of Dead Roots, didn’t fare as well; the band, adjusting to the departure of founding guitarist Argyris, ultimately turned in a less visceral, more workmanlike product. Then, when original drummer Brandon Zackay left to focus on his career in Whitechapel, and the other members exited, both voluntarily and not, Sicarius ostensibly died, leaving God of Dead Roots an unanticipated swan song. Fast forward to 2024, when Argyris reunited with original bassist Carnage and joined forces with new vocalist Akéfalos and session drummer Levi Xvl to begin recording a third album, Nex, which, after six long years, has arrived to reintroduce this risen phoenix iteration of Sicarius to the masses.
Sicarius the resurrected doesn’t sound much different than Sicarius the dead. Nex adheres to the same modern black metal formula as its predecessors, maintaining channels of influence drawn from Dissection, Dark Funeral, Urgehal, and, despite Mick Kenney’s departure from the booth, Anaal Nathrakh. In keeping with their monikers’ Latin translation, Sicarius brings an assassin’s cache of weaponry to bear. Argyris sounds rejuvenated and lethal, his armory of blistering riffage (“Cold Death,” “No Witnesses”), chaotically tremolodic leads (“Nex”), and nifty solo work (“Crashing Into the Abyss”) on full display.1 Newcomer Akéfalos adds a layer of frigidity to Nex’s surgical, cold-steel across a warm-throat sound, his icy, high-pitched screeches a mix of Abbath and Hat from early Gorgoroth, while his low-bellied growls are reminiscent of Rotting Christ. Nex has the sound of a band pissed, Sicarius attempting to bury the remnants of what was for something altogether more destructive.
There’s no doubt Sicarius is exceptionally capable of speed, but for my money, I connected most with Nex’s melodies and mixed paces. Beginning with a brooding, tremoloed guitar melody, “Opened Obsidian Gateways” uses Sargeistian levels of repetition to drive its earwormy chord progressions home, a variation employed during the verses and identically replicated during the bridge before sliding into a nice, mid-song chug section and then back again. Simple yet effective, the song’s a highlight as I found myself humming the melody randomly throughout the day. Also noteworthy are the slow-moving melodic chords of “Banshee,” which gave off Dissection vibes, and the mid-paced marcher “The Hunger We Cannot Sate,” as it gallops along in true Watain fashion, instigating black-n-roll levels of head bobbery over its 5:24 runtime. There’s a lot of musical nuance woven into the details of Nex; my many play-throughs tell me as much, which makes it all the more disappointing that it’s so hard to hear them.
“With a (t)reble yell she cried, NO more, more, more.” I’ve taken some slight liberties with Mr. Idol’s classic lyric to illustrate Nex’s most glaring flaw: a thin, imbalanced mix. Nex sounds much louder than its DR score might suggest. Serenade of Slitting Throats, for instance, with a DR lower than Nex’s, sounds light years warmer because Kenney was able to give Serenade’s lower tones some weight. Nex is nearly devoid of low end, completely negating anything Carnage is doing on bass and robbing much of Levi Xvl’s bass drum work of power, making for an extremely exhausting experience. I had to break my focused listening sessions up, in fact, because trying to listen through all 44:10 of Nex’s runtime left me so audially spent that I was reaching for aspirin. Whether this was a deliberate choice, I don’t know. It sure lends Sicarius an icier-than-thou edge, as much black metal of this ilk is known for, but it really robbed a large portion of my enjoyment, which sucks because, in bite-sized pieces, Nex is actually a pretty decent album.Sicarius has returned with a vengeance and a we’re-not-fucking-around attitude, as evidenced in no small part by that brutally distinctive cover art. Alongside other bands like Impious Throne, Unholy Altar and Wuldorgast, Sicarius is bringing a sense of menace back to the US black metal scene. Nex is an album worth spinning, despite being hampered by a production that makes it too tiring to listen to in a single sitting, which left me to score it thusly. Still, I’ll be keeping my eyes and ears peeled for the next outing.
Rating: 2.5/5.0
#25 #2026 #AdirondackBlackMass #AmericanMetal #AnaalNathrakh #Apr26 #BlackMetal #DarkFuneral #Dissection #Nex #Review #Sicarius #Urgehal
DR: 6 | Format Reviewed: 320kbps mp3
Label: Adirondack Black Mass | Bandcamp (album)
Websites: Bandcamp | Instagram
Releases Worldwide: April 10th, 2026 -
Sicarius – Nex Review By TymeSicarius hit the ground raging in 2017 when the Californian black metal upstarts released their scathingly vicious debut album, Serenade of Slitting Throats, which captured the metal heart of AMG’s Diabolus in Muzaka, earning a coveted 4.0. Sicarius’s sophomore effort, 2020’s God of Dead Roots, didn’t fare as well; the band, adjusting to the departure of founding guitarist Argyris, ultimately turned in a less visceral, more workmanlike product. Then, when original drummer Brandon Zackay left to focus on his career in Whitechapel, and the other members exited, both voluntarily and not, Sicarius ostensibly died, leaving God of Dead Roots an unanticipated swan song. Fast forward to 2024, when Argyris reunited with original bassist Carnage and joined forces with new vocalist Akéfalos and session drummer Levi Xvl to begin recording a third album, Nex, which, after six long years, has arrived to reintroduce this risen phoenix iteration of Sicarius to the masses.
Sicarius the resurrected doesn’t sound much different than Sicarius the dead. Nex adheres to the same modern black metal formula as its predecessors, maintaining channels of influence drawn from Dissection, Dark Funeral, Urgehal, and, despite Mick Kenney’s departure from the booth, Anaal Nathrakh. In keeping with their monikers’ Latin translation, Sicarius brings an assassin’s cache of weaponry to bear. Argyris sounds rejuvenated and lethal, his armory of blistering riffage (“Cold Death,” “No Witnesses”), chaotically tremolodic leads (“Nex”), and nifty solo work (“Crashing Into the Abyss”) on full display.1 Newcomer Akéfalos adds a layer of frigidity to Nex’s surgical, cold-steel across a warm-throat sound, his icy, high-pitched screeches a mix of Abbath and Hat from early Gorgoroth, while his low-bellied growls are reminiscent of Rotting Christ. Nex has the sound of a band pissed, Sicarius attempting to bury the remnants of what was for something altogether more destructive.
There’s no doubt Sicarius is exceptionally capable of speed, but for my money, I connected most with Nex’s melodies and mixed paces. Beginning with a brooding, tremoloed guitar melody, “Opened Obsidian Gateways” uses Sargeistian levels of repetition to drive its earwormy chord progressions home, a variation employed during the verses and identically replicated during the bridge before sliding into a nice, mid-song chug section and then back again. Simple yet effective, the song’s a highlight as I found myself humming the melody randomly throughout the day. Also noteworthy are the slow-moving melodic chords of “Banshee,” which gave off Dissection vibes, and the mid-paced marcher “The Hunger We Cannot Sate,” as it gallops along in true Watain fashion, instigating black-n-roll levels of head bobbery over its 5:24 runtime. There’s a lot of musical nuance woven into the details of Nex; my many play-throughs tell me as much, which makes it all the more disappointing that it’s so hard to hear them.
“With a (t)reble yell she cried, NO more, more, more.” I’ve taken some slight liberties with Mr. Idol’s classic lyric to illustrate Nex’s most glaring flaw: a thin, imbalanced mix. Nex sounds much louder than its DR score might suggest. Serenade of Slitting Throats, for instance, with a DR lower than Nex’s, sounds light years warmer because Kenney was able to give Serenade’s lower tones some weight. Nex is nearly devoid of low end, completely negating anything Carnage is doing on bass and robbing much of Levi Xvl’s bass drum work of power, making for an extremely exhausting experience. I had to break my focused listening sessions up, in fact, because trying to listen through all 44:10 of Nex’s runtime left me so audially spent that I was reaching for aspirin. Whether this was a deliberate choice, I don’t know. It sure lends Sicarius an icier-than-thou edge, as much black metal of this ilk is known for, but it really robbed a large portion of my enjoyment, which sucks because, in bite-sized pieces, Nex is actually a pretty decent album.Sicarius has returned with a vengeance and a we’re-not-fucking-around attitude, as evidenced in no small part by that brutally distinctive cover art. Alongside other bands like Impious Throne, Unholy Altar and Wuldorgast, Sicarius is bringing a sense of menace back to the US black metal scene. Nex is an album worth spinning, despite being hampered by a production that makes it too tiring to listen to in a single sitting, which left me to score it thusly. Still, I’ll be keeping my eyes and ears peeled for the next outing.
Rating: 2.5/5.0
#25 #2026 #AdirondackBlackMass #AmericanMetal #AnaalNathrakh #Apr26 #BlackMetal #DarkFuneral #Dissection #Nex #Review #Sicarius #Urgehal
DR: 6 | Format Reviewed: 320kbps mp3
Label: Adirondack Black Mass | Bandcamp (album)
Websites: Bandcamp | Instagram
Releases Worldwide: April 10th, 2026 -
https://www.europesays.com/fi/134248/ Thrash metallin uusi aikakausi: nämä albumit täyttävät tänä vuonna 10 vuotta #abbath #AmonAmarth #anthrax #AvengedSevefold #DarkFuneral #DeathAngel #DevinTownsendProject #Entertainment #equilibrium #FI #Finland #Finnish #FleshgodApocalypse #gojira #HeavenShallBurn #insomnium #LostSociety #Megadeth #metallica #moonsorrow #Music #Musiikki #OmniumGatherum #Stam1na #Suomi #testament #viihde #volbeat
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Photos/Review: GWAR terrify Milwaukee’s The Rave on Halloween 2024:
#GWAR #SquidPisser #DarkFuneral #LiveReview #GWARHalloween #TheRave #Milwaukee
https://metalinsider.net/photos/photos-review-gwar-terrify-milwaukees-the-rave-on-halloween-2024
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Photos/Review: GWAR terrify Milwaukee’s The Rave on Halloween 2024:
#GWAR #SquidPisser #DarkFuneral #LiveReview #GWARHalloween #TheRave #Milwaukee
https://metalinsider.net/photos/photos-review-gwar-terrify-milwaukees-the-rave-on-halloween-2024
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#MetalInjection
Album Review: DARK FUNERAL Dark Funeral 30th Anniversary Editionhttps://metalinjection.net/reviews/album-review-dark-funeral-dark-funeral-30th-anniversary-edition
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#MetalInjection
Album Review: DARK FUNERAL Dark Funeral 30th Anniversary Editionhttps://metalinjection.net/reviews/album-review-dark-funeral-dark-funeral-30th-anniversary-edition
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#BraveWords
DARK FUNERAL Share Official Visualizer For "In The Sign Of The Horns" (Re-Recording 2024) -
#TheMetalDogArticleList
#BraveWords
DARK FUNERAL Share Official Visualizer For "In The Sign Of The Horns" (Re-Recording 2024) -
#TheMetalDogArticleList
#GhostCultMagazine
NEW MUSIC FRIDAY - Rock and Metal Releases for 8-9-24
What new Rock and Metal albums are you getting and spinning this week?https://ghostcultmag.com/new-music-friday-rock-and-metal-releases-for-8-9-24/
#NewMusicFriday #RockAndMetal #AeonWinds #AlexLifeson #AlignedInRuins #AndSoIWatchYouFromAfar #AshenHorde #AtomDriver #BlessTheDead #BlueOysterCult #CarnivoreDiprosopus #CrusHuman #DarkFuneral #Duhkha #EarthShip #EightFoldPath #FireballMinistry #FreeRide #Fulci #GeddyLee #GelatinSkeleton #Grinspoon
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#TheMetalDogArticleList
#GhostCultMagazine
NEW MUSIC FRIDAY - Rock and Metal Releases for 8-9-24
What new Rock and Metal albums are you getting and spinning this week?https://ghostcultmag.com/new-music-friday-rock-and-metal-releases-for-8-9-24/
#NewMusicFriday #RockAndMetal #AeonWinds #AlexLifeson #AlignedInRuins #AndSoIWatchYouFromAfar #AshenHorde #AtomDriver #BlessTheDead #BlueOysterCult #CarnivoreDiprosopus #CrusHuman #DarkFuneral #Duhkha #EarthShip #EightFoldPath #FireballMinistry #FreeRide #Fulci #GeddyLee #GelatinSkeleton #Grinspoon
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#MetalInjection
DARK FUNERAL Streams Re-Recorded Version Of "My Dark Desires"
Black metal, 30 years later.https://metalinjection.net/new-music/dark-funeral-streams-re-recorded-version-of-my-dark-desires
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#MetalInjection
DARK FUNERAL Streams Re-Recorded Version Of "My Dark Desires"
Black metal, 30 years later.https://metalinjection.net/new-music/dark-funeral-streams-re-recorded-version-of-my-dark-desires
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GWAR announce fall tour w/ Dark Funeral, Squid Pisser, & Cancer Bats:
#GWAR #DarkFuneral #SquidPisser #CancerBats #TourAlert #FallTour
https://metalinsider.net/touring/gwar-announce-fall-tour-w-dark-funeral-squid-pisser-cancer-bats
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GWAR announce fall tour w/ Dark Funeral, Squid Pisser, & Cancer Bats:
#GWAR #DarkFuneral #SquidPisser #CancerBats #TourAlert #FallTour
https://metalinsider.net/touring/gwar-announce-fall-tour-w-dark-funeral-squid-pisser-cancer-bats
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#TheMetalDogArticleList
#MetalInjection
DARK FUNERAL Announces 30th Anniversary Edition Of Their Debut EP
Featuring a re-recorded version and a remixed version of the original.#DarkFuneral #BlackMetal #ReRecordedEP #SwedishBlackMetal #LordAhriman #MetalMusic #MusicRelease #AnniversaryEdition
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#TheMetalDogArticleList
#MetalInjection
DARK FUNERAL Announces 30th Anniversary Edition Of Their Debut EP
Featuring a re-recorded version and a remixed version of the original.#DarkFuneral #BlackMetal #ReRecordedEP #SwedishBlackMetal #LordAhriman #MetalMusic #MusicRelease #AnniversaryEdition
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#MetalInjection
LAMB OF GOD, OCEANO, SANGUISUGABOGG, CRYPT SERMON & More Among Metal Injection's Top Tracks Of The Week
Plus Stick To Your Guns, Destruction, Dark Funeral, and more!#LambOfGod #Oceano #Sanguisugabogg #CryptSermon #StickToYourGuns #Destruction #DarkFuneral #Poppy #Portrait #Kvaen #Wormed #Candy #FloatOmen #VoidWitch #Wraith
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#TheMetalDogArticleList
#MetalInjection
LAMB OF GOD, OCEANO, SANGUISUGABOGG, CRYPT SERMON & More Among Metal Injection's Top Tracks Of The Week
Plus Stick To Your Guns, Destruction, Dark Funeral, and more!#LambOfGod #Oceano #Sanguisugabogg #CryptSermon #StickToYourGuns #Destruction #DarkFuneral #Poppy #Portrait #Kvaen #Wormed #Candy #FloatOmen #VoidWitch #Wraith
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#TheMetalDogArticleList
#MetalInjection
LAMB OF GOD, OCEANO, SANGUISUGABOGG, CRYPT SERMON & More Among Metal Injection's Top Tracks Of The Week
Plus Stick To Your Guns, Destruction, Dark Funeral, and more!#LambOfGod #Oceano #Sanguisugabogg #CryptSermon #StickToYourGuns #Destruction #DarkFuneral #Poppy #Portrait #Kvaen #Wormed #Candy #FloatOmen #VoidWitch #Wraith
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#TheMetalDogArticleList
#MetalInjection
LAMB OF GOD, OCEANO, SANGUISUGABOGG, CRYPT SERMON & More Among Metal Injection's Top Tracks Of The Week
Plus Stick To Your Guns, Destruction, Dark Funeral, and more!#LambOfGod #Oceano #Sanguisugabogg #CryptSermon #StickToYourGuns #Destruction #DarkFuneral #Poppy #Portrait #Kvaen #Wormed #Candy #FloatOmen #VoidWitch #Wraith
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#TheMetalDogArticleList
#MetalInjection
LAMB OF GOD, OCEANO, SANGUISUGABOGG, CRYPT SERMON & More Among Metal Injection's Top Tracks Of The Week
Plus Stick To Your Guns, Destruction, Dark Funeral, and more!#LambOfGod #Oceano #Sanguisugabogg #CryptSermon #StickToYourGuns #Destruction #DarkFuneral #Poppy #Portrait #Kvaen #Wormed #Candy #FloatOmen #VoidWitch #Wraith
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#TheMetalDogArticleList
#MetalInjection
These Are The Best Debut Albums From Classic Swedish Death & Black Metal Bands, According To You
One ran away with it.#SwedishDeathMetal #SwedishBlackMetal #ClassicMetal #MetalDebutAlbums #DarkFuneral #TheHaunted #AmonAmarth #Meshuggah #InFlames #Dismember #Dissection #Bathory #Opeth #Entombed #MetalNews #MetalTour #MetalRelease
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#TheMetalDogArticleList
#MetalInjection
These Are The Best Debut Albums From Classic Swedish Death & Black Metal Bands, According To You
One ran away with it.#SwedishDeathMetal #SwedishBlackMetal #ClassicMetal #MetalDebutAlbums #DarkFuneral #TheHaunted #AmonAmarth #Meshuggah #InFlames #Dismember #Dissection #Bathory #Opeth #Entombed #MetalNews #MetalTour #MetalRelease
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Maryland Deathfest announces first wave of bands for 2025: Dark Funeral, Kampfar, Paradise Lost, Unleashed, and more:
#MarylandDeathfest #DarkFuneral #Kampfar #ParadiseLost #Unleashed
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Vredehammer – God Slayer Review
By GardensTale
Vredehammer’s sophomore album, Violator, was released almost 8 years ago. The deadly blackened death record made it onto my very first top 10 list for AMG on account of the electrifying energy and excellent hooks. Successor Viperous slithered into my HM’s, and I may have underrated it at that. It increased the density of sound and used synths for a slick, neon battering ram. So when Steel waved the gorgeous-looking new promo over the writer’s pit, I leapt for it so fast and violently, three Melvins are still in intensive care. Is Vredehammer going three for three on my end-year list?
Not only is it gonna be on the list, it might obliterate all the competition altogether! Comparing God Slayer to Viperous, Per Valla (founder and sole bandmember, who does everything except drums) claims to have composed God Slayer with an increased focus on hooks rather than speed. He’s only about half right. Granted, the hooks are many, and they are razor-sharp, utterly addictive, and will stick in your skull morning til night. But well over half of God Slayer is every bit as expeditious as its predecessor. The opening salvo is a triple serving of Vredehammer at its best: muscular riffs at high speed, Valla’s crunchy growls, and drums not unlike a murderous machine (this time courtesy of Dominator, of Dark Funeral and Nordjevel fame). The first act culminates in the colossal violence of “God Slayer” whose indomitable chorus and epic mid-track build make me feel able and eager to reduce mountains to rubble with my forehead. Take this track into the gym and you will be hurling the barbells into the ceiling.
Though every track is a feast of riffs fit for a demigod warlord, each has a clear, singular identity. “From the Abyss” has an apocalyptic vibe with a focus on a single main hook, whereas “The Joker” utilizes frequent speed changes and a looser song structure to keep you on the wrong foot. There are epic dark fantasy overtones to “The Dragons Burn” and its shimmering tremolos, while the furious and feral “Blood of Wolves” lives up to its title with sheer unbridled aggression. The synths that made such an industrial affair of Viperous are less prominent, moving the focus back to the guitars, but they return to the spotlight on a few occasions, particularly on the album’s third act. One such occasion is “Death Becomes the New Day,” which stands out in a line-up of excellence as the sole ‘merely really good’ track, lingering a bit too long on medium intensity. But hot on its heels comes the extra-catchy “Product Human Slave” with its death ‘n roll rhythms and cyberpunk interlude to restart the riff-machine.
If you’re still waiting for a ‘but’ you can keep waiting. All I got is a tiny handful of minor nags and niggles, most of which have their own buts. Closer “Obliterator” isn’t quite as memorable as most of the tracks preceding it and ends the album a bit sudden, but it’s still very impressive with a killer ascending midsection. The dynamic range has gone off a cliff from a 9 to a 5, but somehow the production comes out none the worse for wear. The master sounds great, compact and burly but not overly tiring on the ears despite the often dense sound and high tempo. There is little detectable loss of impact to the delectable drums, and the mix is spot on, with nothing getting buried or doing the burying.
Vredehammer has repeatedly demonstrated to be in the upper echelons of blackened death metal. Violator meshed raw power with addictive hooks, Viperous upped the speed and unflinching attitude. God Slayer combines the best of both to become the peak of the band’s illustrious career. It’s five gallons of adrenaline pumped through a wrought iron IV. It’s a nuclear train with no breaks that won’t even slow down after it leaves the tracks. It’s addictive like speedballs and victory, and as catchy as Captain Trips from The Stand. It’s singular in its vision of uncompromising headbangability with all the variety of a perfect anthology. It’s 40 minutes of me wanting to bare-knuckle mythological beasts to death. It’s the best album I’ve heard this year. Get it.
Rating: 4.5/5.0
DR: 5 | Format Reviewed: PCIM
Label: Indie Recordings
Websites: vredehammer.bandcamp.com | vredehammer.no | facebook.com/vredehammer
Releases Worldwide: May 24th, 2024#2024 #45 #BlackMetal #DarkFuneral #DeathMetal #GodSlayer #IndieRecordings #May24 #Nordjevel #NorwegianMetal #Review #Reviews #Vredehammer
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Vredehammer – God Slayer Review
By GardensTale
Vredehammer’s sophomore album, Violator, was released almost 8 years ago. The deadly blackened death record made it onto my very first top 10 list for AMG on account of the electrifying energy and excellent hooks. Successor Viperous slithered into my HM’s, and I may have underrated it at that. It increased the density of sound and used synths for a slick, neon battering ram. So when Steel waved the gorgeous-looking new promo over the writer’s pit, I leapt for it so fast and violently, three Melvins are still in intensive care. Is Vredehammer going three for three on my end-year list?
Not only is it gonna be on the list, it might obliterate all the competition altogether! Comparing God Slayer to Viperous, Per Valla (founder and sole bandmember, who does everything except drums) claims to have composed God Slayer with an increased focus on hooks rather than speed. He’s only about half right. Granted, the hooks are many, and they are razor-sharp, utterly addictive, and will stick in your skull morning til night. But well over half of God Slayer is every bit as expeditious as its predecessor. The opening salvo is a triple serving of Vredehammer at its best: muscular riffs at high speed, Valla’s crunchy growls, and drums not unlike a murderous machine (this time courtesy of Dominator, of Dark Funeral and Nordjevel fame). The first act culminates in the colossal violence of “God Slayer” whose indomitable chorus and epic mid-track build make me feel able and eager to reduce mountains to rubble with my forehead. Take this track into the gym and you will be hurling the barbells into the ceiling.
Though every track is a feast of riffs fit for a demigod warlord, each has a clear, singular identity. “From the Abyss” has an apocalyptic vibe with a focus on a single main hook, whereas “The Joker” utilizes frequent speed changes and a looser song structure to keep you on the wrong foot. There are epic dark fantasy overtones to “The Dragons Burn” and its shimmering tremolos, while the furious and feral “Blood of Wolves” lives up to its title with sheer unbridled aggression. The synths that made such an industrial affair of Viperous are less prominent, moving the focus back to the guitars, but they return to the spotlight on a few occasions, particularly on the album’s third act. One such occasion is “Death Becomes the New Day,” which stands out in a line-up of excellence as the sole ‘merely really good’ track, lingering a bit too long on medium intensity. But hot on its heels comes the extra-catchy “Product Human Slave” with its death ‘n roll rhythms and cyberpunk interlude to restart the riff-machine.
If you’re still waiting for a ‘but’ you can keep waiting. All I got is a tiny handful of minor nags and niggles, most of which have their own buts. Closer “Obliterator” isn’t quite as memorable as most of the tracks preceding it and ends the album a bit sudden, but it’s still very impressive with a killer ascending midsection. The dynamic range has gone off a cliff from a 9 to a 5, but somehow the production comes out none the worse for wear. The master sounds great, compact and burly but not overly tiring on the ears despite the often dense sound and high tempo. There is little detectable loss of impact to the delectable drums, and the mix is spot on, with nothing getting buried or doing the burying.
Vredehammer has repeatedly demonstrated to be in the upper echelons of blackened death metal. Violator meshed raw power with addictive hooks, Viperous upped the speed and unflinching attitude. God Slayer combines the best of both to become the peak of the band’s illustrious career. It’s five gallons of adrenaline pumped through a wrought iron IV. It’s a nuclear train with no breaks that won’t even slow down after it leaves the tracks. It’s addictive like speedballs and victory, and as catchy as Captain Trips from The Stand. It’s singular in its vision of uncompromising headbangability with all the variety of a perfect anthology. It’s 40 minutes of me wanting to bare-knuckle mythological beasts to death. It’s the best album I’ve heard this year. Get it.
Rating: 4.5/5.0
DR: 5 | Format Reviewed: PCIM
Label: Indie Recordings
Websites: vredehammer.bandcamp.com | vredehammer.no | facebook.com/vredehammer
Releases Worldwide: May 24th, 2024#2024 #45 #BlackMetal #DarkFuneral #DeathMetal #GodSlayer #IndieRecordings #May24 #Nordjevel #NorwegianMetal #Review #Reviews #Vredehammer
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Vredehammer – God Slayer Review
By GardensTale
Vredehammer’s sophomore album, Violator, was released almost 8 years ago. The deadly blackened death record made it onto my very first top 10 list for AMG on account of the electrifying energy and excellent hooks. Successor Viperous slithered into my HM’s, and I may have underrated it at that. It increased the density of sound and used synths for a slick, neon battering ram. So when Steel waved the gorgeous-looking new promo over the writer’s pit, I leapt for it so fast and violently, three Melvins are still in intensive care. Is Vredehammer going three for three on my end-year list?
Not only is it gonna be on the list, it might obliterate all the competition altogether! Comparing God Slayer to Viperous, Per Valla (founder and sole bandmember, who does everything except drums) claims to have composed God Slayer with an increased focus on hooks rather than speed. He’s only about half right. Granted, the hooks are many, and they are razor-sharp, utterly addictive, and will stick in your skull morning til night. But well over half of God Slayer is every bit as expeditious as its predecessor. The opening salvo is a triple serving of Vredehammer at its best: muscular riffs at high speed, Valla’s crunchy growls, and drums not unlike a murderous machine (this time courtesy of Dominator, of Dark Funeral and Nordjevel fame). The first act culminates in the colossal violence of “God Slayer” whose indomitable chorus and epic mid-track build make me feel able and eager to reduce mountains to rubble with my forehead. Take this track into the gym and you will be hurling the barbells into the ceiling.
Though every track is a feast of riffs fit for a demigod warlord, each has a clear, singular identity. “From the Abyss” has an apocalyptic vibe with a focus on a single main hook, whereas “The Joker” utilizes frequent speed changes and a looser song structure to keep you on the wrong foot. There are epic dark fantasy overtones to “The Dragons Burn” and its shimmering tremolos, while the furious and feral “Blood of Wolves” lives up to its title with sheer unbridled aggression. The synths that made such an industrial affair of Viperous are less prominent, moving the focus back to the guitars, but they return to the spotlight on a few occasions, particularly on the album’s third act. One such occasion is “Death Becomes the New Day,” which stands out in a line-up of excellence as the sole ‘merely really good’ track, lingering a bit too long on medium intensity. But hot on its heels comes the extra-catchy “Product Human Slave” with its death ‘n roll rhythms and cyberpunk interlude to restart the riff-machine.
If you’re still waiting for a ‘but’ you can keep waiting. All I got is a tiny handful of minor nags and niggles, most of which have their own buts. Closer “Obliterator” isn’t quite as memorable as most of the tracks preceding it and ends the album a bit sudden, but it’s still very impressive with a killer ascending midsection. The dynamic range has gone off a cliff from a 9 to a 5, but somehow the production comes out none the worse for wear. The master sounds great, compact and burly but not overly tiring on the ears despite the often dense sound and high tempo. There is little detectable loss of impact to the delectable drums, and the mix is spot on, with nothing getting buried or doing the burying.
Vredehammer has repeatedly demonstrated to be in the upper echelons of blackened death metal. Violator meshed raw power with addictive hooks, Viperous upped the speed and unflinching attitude. God Slayer combines the best of both to become the peak of the band’s illustrious career. It’s five gallons of adrenaline pumped through a wrought iron IV. It’s a nuclear train with no breaks that won’t even slow down after it leaves the tracks. It’s addictive like speedballs and victory, and as catchy as Captain Trips from The Stand. It’s singular in its vision of uncompromising headbangability with all the variety of a perfect anthology. It’s 40 minutes of me wanting to bare-knuckle mythological beasts to death. It’s the best album I’ve heard this year. Get it.
Rating: 4.5/5.0
DR: 5 | Format Reviewed: PCIM
Label: Indie Recordings
Websites: vredehammer.bandcamp.com | vredehammer.no | facebook.com/vredehammer
Releases Worldwide: May 24th, 2024#2024 #45 #BlackMetal #DarkFuneral #DeathMetal #GodSlayer #IndieRecordings #May24 #Nordjevel #NorwegianMetal #Review #Reviews #Vredehammer
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Blaze of Perdition – Upharsin Review
By Dear Hollow
“Upharsin” is part of an Aramaic phrase seen in the Hebrew Bible, in which the words “mene, mene, tekel, upharsin” appear mysteriously upon the wall of the palace of King Belshazzar, which are interpreted by the prophet Daniel as foretelling the fall of Babylon and its dispersion to the Persians and the Medes. The rich religious undertone pervades the Polish Blaze of Perdition, not as a point of blasphemy but of portent. Catholicism is a specter that haunts Poland, one whose national identity has historically been intertwined with religion – and the inevitable trail of pain wrought from the iron fist in the shadow of the cross. A consistently vicious output of black metal often sees this as a backdrop, as acts like Blaze of Perdition, Batushka, and of course, Behemoth have all cried mightily against the heavens, acknowledging the burning shrine from the pews.
Contrary to the gaudy goth-rock influences of 2020 predecessor The Harrowing of Hearts, Blaze of Perdition opts to embrace the blackened fury once more in a density and viciousness that portrays the divisions of humanity, abetted by religion, and man’s affinity for violence. Upharsin is dispersion to the Persians and Medes, a singular division whose existential despair is only outmatched by its intensity. While certainly avoiding the tempo-dismissing blastbeat-loving style of Dark Funeral, its simmering and slow-building midtempo attack feels just as devastating, movements steeped in melancholy and melody. Balance defines every movement, as anger and lamentation collide with seamless fluidity – the result is a pure return to form, a dangerous and untainted foray that dwells in misery.
Blaze of Perdition’s greatest asset is to present its anti-religious themes as not the devil-worshiping and novelty-driven attack of its blackened kin, but with an existential weight. The lyrics, entirely in their native Polish, present alienation of God, a divinity given life through cold and suffering,1 and the self-flagellation that the aloof father requires. This theme is animated by their distinctly Polish black metal attack, thick and ferocious while maintaining the trademark second-wave frigidity, with vocals commanding the attack with sermonic charisma. Guitars spread a tapestry of blasphemous intensity, morphing seamlessly into passages of wrenching melody, while drums burst with climactic and sporadic blastbeats and intense ritualistic buildups. Blaze of Perdition injects liturgical weight into their sound, making their ebb and flow feel more like a crisis of faith rather than a burning church.
The natural progressions of the sound make Upharsin feel like a tapestry of color, rich and vibrant with each passage, but the passages of subtle melodic undercurrents and memorable brutality add to Blaze of Perdition’s story as it plays out across the threads. The melodies of “Niezmywalne” and “W kwiecie rozlamu” inject passages of sustained and intertwined guitar work, alongside their heart-pounding elements, while the former deals in depressive wails and adrenaline-pumping barks. Meanwhile, the chants of “Przez rany” and “Architekt” inject a necessary pummeling that stand in neat contrast to the more placid moments. While these standout moments are notable, Blaze of Perdition’s songwriting ensures a tangible consistency across the forty-one-minute runtime. What makes Upharsin a notable progression from its immovable catalog is its weariness: while previous blasphemy emerged from violence, tracks contained herein explode from a weathered and wounded spirit.
The only obvious detractor of Upharsin occurs in closer “Mlot, miecz i bat,” in which a rip-roaring guitar solo cuts through the carefully calculated melancholy with novel recklessness, which only barely leaves a bitter taste to an otherwise stellar album. Blaze of Perdition rights the ship after the experimental and divisive The Harrowing of Hearts with a sound that returns it to the trademark viciousness while maintaining subtlety and melancholy through each movement. While blasphemy and defiance dominate the blackened arts and Upharsin’s tapestry reflects this tradition, Blaze of Perdition’s story plays out as distinctly wounded, as if the novelty has worn off to reveal the beating heart beneath – one that tried to believe and fell to ashes.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: blazeofperdition.bandcamp.com | facebook.com/blazeofperdition
Releases Worldwide: April 19th, 2024#2024 #40 #Apr24 #Batushka #Behemoth #BlackMetal #BlazeOfPerdition #DarkFuneral #MetalBladeRecords #PolishMetal #Review #Reviews #Upharsin
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Blaze of Perdition – Upharsin Review
By Dear Hollow
“Upharsin” is part of an Aramaic phrase seen in the Hebrew Bible, in which the words “mene, mene, tekel, upharsin” appear mysteriously upon the wall of the palace of King Belshazzar, which are interpreted by the prophet Daniel as foretelling the fall of Babylon and its dispersion to the Persians and the Medes. The rich religious undertone pervades the Polish Blaze of Perdition, not as a point of blasphemy but of portent. Catholicism is a specter that haunts Poland, one whose national identity has historically been intertwined with religion – and the inevitable trail of pain wrought from the iron fist in the shadow of the cross. A consistently vicious output of black metal often sees this as a backdrop, as acts like Blaze of Perdition, Batushka, and of course, Behemoth have all cried mightily against the heavens, acknowledging the burning shrine from the pews.
Contrary to the gaudy goth-rock influences of 2020 predecessor The Harrowing of Hearts, Blaze of Perdition opts to embrace the blackened fury once more in a density and viciousness that portrays the divisions of humanity, abetted by religion, and man’s affinity for violence. Upharsin is dispersion to the Persians and Medes, a singular division whose existential despair is only outmatched by its intensity. While certainly avoiding the tempo-dismissing blastbeat-loving style of Dark Funeral, its simmering and slow-building midtempo attack feels just as devastating, movements steeped in melancholy and melody. Balance defines every movement, as anger and lamentation collide with seamless fluidity – the result is a pure return to form, a dangerous and untainted foray that dwells in misery.
Blaze of Perdition’s greatest asset is to present its anti-religious themes as not the devil-worshiping and novelty-driven attack of its blackened kin, but with an existential weight. The lyrics, entirely in their native Polish, present alienation of God, a divinity given life through cold and suffering,1 and the self-flagellation that the aloof father requires. This theme is animated by their distinctly Polish black metal attack, thick and ferocious while maintaining the trademark second-wave frigidity, with vocals commanding the attack with sermonic charisma. Guitars spread a tapestry of blasphemous intensity, morphing seamlessly into passages of wrenching melody, while drums burst with climactic and sporadic blastbeats and intense ritualistic buildups. Blaze of Perdition injects liturgical weight into their sound, making their ebb and flow feel more like a crisis of faith rather than a burning church.
The natural progressions of the sound make Upharsin feel like a tapestry of color, rich and vibrant with each passage, but the passages of subtle melodic undercurrents and memorable brutality add to Blaze of Perdition’s story as it plays out across the threads. The melodies of “Niezmywalne” and “W kwiecie rozlamu” inject passages of sustained and intertwined guitar work, alongside their heart-pounding elements, while the former deals in depressive wails and adrenaline-pumping barks. Meanwhile, the chants of “Przez rany” and “Architekt” inject a necessary pummeling that stand in neat contrast to the more placid moments. While these standout moments are notable, Blaze of Perdition’s songwriting ensures a tangible consistency across the forty-one-minute runtime. What makes Upharsin a notable progression from its immovable catalog is its weariness: while previous blasphemy emerged from violence, tracks contained herein explode from a weathered and wounded spirit.
The only obvious detractor of Upharsin occurs in closer “Mlot, miecz i bat,” in which a rip-roaring guitar solo cuts through the carefully calculated melancholy with novel recklessness, which only barely leaves a bitter taste to an otherwise stellar album. Blaze of Perdition rights the ship after the experimental and divisive The Harrowing of Hearts with a sound that returns it to the trademark viciousness while maintaining subtlety and melancholy through each movement. While blasphemy and defiance dominate the blackened arts and Upharsin’s tapestry reflects this tradition, Blaze of Perdition’s story plays out as distinctly wounded, as if the novelty has worn off to reveal the beating heart beneath – one that tried to believe and fell to ashes.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: blazeofperdition.bandcamp.com | facebook.com/blazeofperdition
Releases Worldwide: April 19th, 2024#2024 #40 #Apr24 #Batushka #Behemoth #BlackMetal #BlazeOfPerdition #DarkFuneral #MetalBladeRecords #PolishMetal #Review #Reviews #Upharsin
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Blaze of Perdition – Upharsin Review
By Dear Hollow
“Upharsin” is part of an Aramaic phrase seen in the Hebrew Bible, in which the words “mene, mene, tekel, upharsin” appear mysteriously upon the wall of the palace of King Belshazzar, which are interpreted by the prophet Daniel as foretelling the fall of Babylon and its dispersion to the Persians and the Medes. The rich religious undertone pervades the Polish Blaze of Perdition, not as a point of blasphemy but of portent. Catholicism is a specter that haunts Poland, one whose national identity has historically been intertwined with religion – and the inevitable trail of pain wrought from the iron fist in the shadow of the cross. A consistently vicious output of black metal often sees this as a backdrop, as acts like Blaze of Perdition, Batushka, and of course, Behemoth have all cried mightily against the heavens, acknowledging the burning shrine from the pews.
Contrary to the gaudy goth-rock influences of 2020 predecessor The Harrowing of Hearts, Blaze of Perdition opts to embrace the blackened fury once more in a density and viciousness that portrays the divisions of humanity, abetted by religion, and man’s affinity for violence. Upharsin is dispersion to the Persians and Medes, a singular division whose existential despair is only outmatched by its intensity. While certainly avoiding the tempo-dismissing blastbeat-loving style of Dark Funeral, its simmering and slow-building midtempo attack feels just as devastating, movements steeped in melancholy and melody. Balance defines every movement, as anger and lamentation collide with seamless fluidity – the result is a pure return to form, a dangerous and untainted foray that dwells in misery.
Blaze of Perdition’s greatest asset is to present its anti-religious themes as not the devil-worshiping and novelty-driven attack of its blackened kin, but with an existential weight. The lyrics, entirely in their native Polish, present alienation of God, a divinity given life through cold and suffering,1 and the self-flagellation that the aloof father requires. This theme is animated by their distinctly Polish black metal attack, thick and ferocious while maintaining the trademark second-wave frigidity, with vocals commanding the attack with sermonic charisma. Guitars spread a tapestry of blasphemous intensity, morphing seamlessly into passages of wrenching melody, while drums burst with climactic and sporadic blastbeats and intense ritualistic buildups. Blaze of Perdition injects liturgical weight into their sound, making their ebb and flow feel more like a crisis of faith rather than a burning church.
The natural progressions of the sound make Upharsin feel like a tapestry of color, rich and vibrant with each passage, but the passages of subtle melodic undercurrents and memorable brutality add to Blaze of Perdition’s story as it plays out across the threads. The melodies of “Niezmywalne” and “W kwiecie rozlamu” inject passages of sustained and intertwined guitar work, alongside their heart-pounding elements, while the former deals in depressive wails and adrenaline-pumping barks. Meanwhile, the chants of “Przez rany” and “Architekt” inject a necessary pummeling that stand in neat contrast to the more placid moments. While these standout moments are notable, Blaze of Perdition’s songwriting ensures a tangible consistency across the forty-one-minute runtime. What makes Upharsin a notable progression from its immovable catalog is its weariness: while previous blasphemy emerged from violence, tracks contained herein explode from a weathered and wounded spirit.
The only obvious detractor of Upharsin occurs in closer “Mlot, miecz i bat,” in which a rip-roaring guitar solo cuts through the carefully calculated melancholy with novel recklessness, which only barely leaves a bitter taste to an otherwise stellar album. Blaze of Perdition rights the ship after the experimental and divisive The Harrowing of Hearts with a sound that returns it to the trademark viciousness while maintaining subtlety and melancholy through each movement. While blasphemy and defiance dominate the blackened arts and Upharsin’s tapestry reflects this tradition, Blaze of Perdition’s story plays out as distinctly wounded, as if the novelty has worn off to reveal the beating heart beneath – one that tried to believe and fell to ashes.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: blazeofperdition.bandcamp.com | facebook.com/blazeofperdition
Releases Worldwide: April 19th, 2024#2024 #40 #Apr24 #Batushka #Behemoth #BlackMetal #BlazeOfPerdition #DarkFuneral #MetalBladeRecords #PolishMetal #Review #Reviews #Upharsin
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The Infernal Sea – Hellfenlic Review
By Dear Hollow
Black metal is a finnicky beast. While it’s cohesively devoted to the barbed-wire sonic abuse of the darkest variety, and themes range from the occult, misanthropy, and our old pal Satan, The Infernal Sea dwells in history’s halls. While prior full-lengths Negotium Crucis and The Great Mortality respectively deal with themes such as the medieval church’s exploitation and the Black Death, 2024 finds the Brits exploring a distinct figure: the “Witchfinder General” Matthew Hopkins. Son of a Puritan minister, Hopkins’ three-year crusade against witches and other perceived heresies, through brutal confession extraction and torture in the name of God, would live on in infamy. The Infernal Sea embraces the viciousness of this theme, never neglecting a tangible weight through a riff-first assault, tinged by meditation and tragedy.
The Infernal Sea would likely not raise heads with their style of second-wave. The quartet relies primarily on the unholy trinity of tremolo, blastbeats, and shrieks to carry their style, but attack it with a sour attitude and violent ruthlessness. Hellfenlic tells the tale of the Witchfinder General from zealotry to brutality to downfall through the dark lens of blackened barbarousness, a distinct album-long lyrical and sonic crescendo. With hints of thrash, black n’ roll, and atmosphere, The Infernal Sea composes their third full-length like a story, with tangible darkness and realized tragedy. Ultimately a wonky affair of intense proportions sidewinded by different genre influences and unhinged segments, while its reach exceeds its grasp periodically, Hellfenlic is an intriguing piece of storytelling whose vicious M.O. never questions the allegiance to “trve kvlt.”
If riffy black metal is your jam, The Infernal Sea has got you covered in the 1349 and Dark Funeral School of the Dark Arts. From the scathing Darkthrone tremolo of openers “Lord Abhorrent” and dancing raw melodies of “Shadow of the Beast,” to the head-bobbing heavy metal groove of “Witchfinder” and black ‘n roll riffs and punky rhythms of “Black Witchery,” Hellfenlic will not hesitate to beat you senseless with their uniquely scathingly raw yet hefty guitar tone. Tasty leads that behold a multitude of motifs are utilized throughout to convey the gravity of its source material. Bass is utilized beautifully, injecting a sinister contemplativeness into the abusive tracks “Witchfinder” and “Bastard of the East.” Proving they are not just a one-trick pony witchfinder, the closing tracks elevate Hellfenlic to a more evocative and human dimension. “Frozen Fen” incorporates sprawling and textured overlapping riffs that give a tangible meditation of Hopkins’ downfall, while closer “Messenger of God” utilizes mournful violin and emotive chord progressions alongside contemplative blastbeats to convey the tragedy and destruction wrought in the Witchfinder General’s wake, that indeed, his godly intentions led to the deepest cruelty.
The problems that plague The Infernal Sea are rooted in the adherence to the thrashing second-wave that can often derail creative compositions. Most notably, without several listens to dive into the first half in particular, the tracks can blur together: “Shadow of the Beast” and “The Hunter” have identical structure and lose memorability, starting with a frenetic tremolo/blastbeat assault, before succumbing to a punchy groove about two-thirds of the way in. “Bastard of the East” features a frail chord progression that derails the darker vibe that preceded, and its concluding kickass riff is its only saving grace; “Witchfinder” is likewise an album highlight but its kickass closing riff comes at the end of a tempo-wavering sloppy chug. Despite the nitpicks, the biggest qualm of Hellfenlic is that it is unabashed black metal. Schooled in both the cutthroat speed of Dark Funeral as well as the riff-centric blackened thrash of Absu or Toxic Holocaust, The Infernal Sea is loud and proud with little subtlety to spare.
At the end of the day, Hellfenlic is an album I can blast again and again in spite of its flaws. Tracks like “Black Witchery” and “Witchfinder” are vicious and venomous thrashers, while “Frozen Fen” and “Messenger of God” are thoughtful respites in the attack. The Infernal Sea neatly balances the riff, rooted in thrash and black ‘n roll, with its heavy-handed commentary on an infamous figure that somehow avoids the pitfalls of insensitivity or compositional neglect. While it’s unashamed black metal through and through, and that may not be for everyone, its intriguing theme and sonic blend of the thoughtful and vicious.
Rating: 3.0/5.0
DR: NA | Format Reviewed: Stream
Label: Candlelight Records
Websites: theinfernalsea.bandcamp.com | facebook.com/theinfernalsea
Releases Worldwide: January 26th, 2024#1349 #2024 #30 #Absu #BlackMetal #BlackNRoll #BlackenedThrashMetal #BritishMetal #CandlelightRecords #DarkFuneral #Darkthrone #Hellfenlic #Jan24 #Review #Reviews #TheInfernalSea #ToxicHolocaust
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The Infernal Sea – Hellfenlic Review
By Dear Hollow
Black metal is a finnicky beast. While it’s cohesively devoted to the barbed-wire sonic abuse of the darkest variety, and themes range from the occult, misanthropy, and our old pal Satan, The Infernal Sea dwells in history’s halls. While prior full-lengths Negotium Crucis and The Great Mortality respectively deal with themes such as the medieval church’s exploitation and the Black Death, 2024 finds the Brits exploring a distinct figure: the “Witchfinder General” Matthew Hopkins. Son of a Puritan minister, Hopkins’ three-year crusade against witches and other perceived heresies, through brutal confession extraction and torture in the name of God, would live on in infamy. The Infernal Sea embraces the viciousness of this theme, never neglecting a tangible weight through a riff-first assault, tinged by meditation and tragedy.
The Infernal Sea would likely not raise heads with their style of second-wave. The quartet relies primarily on the unholy trinity of tremolo, blastbeats, and shrieks to carry their style, but attack it with a sour attitude and violent ruthlessness. Hellfenlic tells the tale of the Witchfinder General from zealotry to brutality to downfall through the dark lens of blackened barbarousness, a distinct album-long lyrical and sonic crescendo. With hints of thrash, black n’ roll, and atmosphere, The Infernal Sea composes their third full-length like a story, with tangible darkness and realized tragedy. Ultimately a wonky affair of intense proportions sidewinded by different genre influences and unhinged segments, while its reach exceeds its grasp periodically, Hellfenlic is an intriguing piece of storytelling whose vicious M.O. never questions the allegiance to “trve kvlt.”
If riffy black metal is your jam, The Infernal Sea has got you covered in the 1349 and Dark Funeral School of the Dark Arts. From the scathing Darkthrone tremolo of openers “Lord Abhorrent” and dancing raw melodies of “Shadow of the Beast,” to the head-bobbing heavy metal groove of “Witchfinder” and black ‘n roll riffs and punky rhythms of “Black Witchery,” Hellfenlic will not hesitate to beat you senseless with their uniquely scathingly raw yet hefty guitar tone. Tasty leads that behold a multitude of motifs are utilized throughout to convey the gravity of its source material. Bass is utilized beautifully, injecting a sinister contemplativeness into the abusive tracks “Witchfinder” and “Bastard of the East.” Proving they are not just a one-trick pony witchfinder, the closing tracks elevate Hellfenlic to a more evocative and human dimension. “Frozen Fen” incorporates sprawling and textured overlapping riffs that give a tangible meditation of Hopkins’ downfall, while closer “Messenger of God” utilizes mournful violin and emotive chord progressions alongside contemplative blastbeats to convey the tragedy and destruction wrought in the Witchfinder General’s wake, that indeed, his godly intentions led to the deepest cruelty.
The problems that plague The Infernal Sea are rooted in the adherence to the thrashing second-wave that can often derail creative compositions. Most notably, without several listens to dive into the first half in particular, the tracks can blur together: “Shadow of the Beast” and “The Hunter” have identical structure and lose memorability, starting with a frenetic tremolo/blastbeat assault, before succumbing to a punchy groove about two-thirds of the way in. “Bastard of the East” features a frail chord progression that derails the darker vibe that preceded, and its concluding kickass riff is its only saving grace; “Witchfinder” is likewise an album highlight but its kickass closing riff comes at the end of a tempo-wavering sloppy chug. Despite the nitpicks, the biggest qualm of Hellfenlic is that it is unabashed black metal. Schooled in both the cutthroat speed of Dark Funeral as well as the riff-centric blackened thrash of Absu or Toxic Holocaust, The Infernal Sea is loud and proud with little subtlety to spare.
At the end of the day, Hellfenlic is an album I can blast again and again in spite of its flaws. Tracks like “Black Witchery” and “Witchfinder” are vicious and venomous thrashers, while “Frozen Fen” and “Messenger of God” are thoughtful respites in the attack. The Infernal Sea neatly balances the riff, rooted in thrash and black ‘n roll, with its heavy-handed commentary on an infamous figure that somehow avoids the pitfalls of insensitivity or compositional neglect. While it’s unashamed black metal through and through, and that may not be for everyone, its intriguing theme and sonic blend of the thoughtful and vicious.
Rating: 3.0/5.0
DR: NA | Format Reviewed: Stream
Label: Candlelight Records
Websites: theinfernalsea.bandcamp.com | facebook.com/theinfernalsea
Releases Worldwide: January 26th, 2024#1349 #2024 #30 #Absu #BlackMetal #BlackNRoll #BlackenedThrashMetal #BritishMetal #CandlelightRecords #DarkFuneral #Darkthrone #Hellfenlic #Jan24 #Review #Reviews #TheInfernalSea #ToxicHolocaust
