#ironboneheadproductions — Public Fediverse posts

In a genre as insular as the often meme’d-and-mocked “one man raw black metal” offerings, Black Cilice have managed to become kind of a big deal. With an early release schedule that makes Coffins look like a bunch of slackers, their output has finally begun to slow down over the years, going from multiple splits and demos in one season to multi-year bouts of interruption. Votive Fire comes after an unusual four-year gap between full-lengths, claiming a slightly improved production and an emphasis on bigger songs. Black Cilice have been on a bit of an evolutionary bent as of late, transitioning from an almost impenetrable wall of noise into crafters of riffs with real might without sacrificing mood. I was curious to see how this newest creation would manifest itself, so go get your favorite goat to sacrifice and come take a walk through the fires with me.

How raw is raw? While older Black Cilice albums channel piercing treble tones through wind-tunnel cacophony, later works have tinkered with just a touch of varied emphasis. Previous LP Esoteric Atavism had decipherable leads which shimmered over the blast-heavy chords, and recent EP Tomb Emanations1 had a radical focus on emphasized doomy chord progressions in lieu of sheer assault. Votive Fire continues this slight change, returning to the more fog-and-moonlight murk of Transfixion of Spirits, but this time the band gives the listener a slightly brighter lantern. The drums have the bass kick cranked way up, giving every slowed rhythm a tribal pulse. The rest of the kit benefits too, with the expected speed in bits of “Into the Inner Temple” letting cymbals shine brightly in their fills and accents, somehow well articulated while still buried enough to offend people looking for something with the clarity of Necrophobic.

The net result of this production is an album that seeks to be meditative and soothing more than frightening and oppressive. The compositional approach of Votive Fire is four long songs that pick a key motif and then, ever so slightly, tweak and evolve the main riff through tempo changes and sustained chord pounding. It’s in these slower moments that the Fire shines the brightest; see the climactic slowdown ending “Released by Fire”, where the open space lets the drums run full scales while the looping chord progressions slowly build tension before exploding into another burst of speed without losing the established melancholy. That melancholy permeates the whole of Votive Fire. While Black Cilice could hardly be accused of ever making something uplifting, this particular album sidesteps the typical bleak claustrophobia with a vision much more inclined to introspection and self-reflection.

The one knock on Votive Fire is that, from a formula standpoint, each song follows roughly the same pattern: repetitive, hypnotic progressions under crystalline blasts evolving into a chunkier, punkier refrain before collapsing back into more anguished strums, all lashed forward by the glass-shattering vocals. With such a scant song selection, it may seem a little silly to try to find highlights. However, this is a headphone purist’s dream album, where the repetition of formula disguises the unique twists genuinely present, rewarding repeated listens in the right environment. “Vows Sworn for Centuries” hides a real gem of a riff in a shifting blast-beat instead of a slowdown, and “Deconstruction of All Realities” carries a main midtempo refrain which is both ritualistic and head-bangable. The production helps with this, somehow managing to mix everything to the bottom instead of to the front and letting the listener search for details articulated in the mire, rather than pushing everything forward and letting the disparate elements compete for attention. Consequently, this is a rare album that is raw af but somehow graceful to the ears, inviting the listener to dive deeper rather than partake in a display of auditory masochism.

Votive Fire manages to give itself an identity apart from previous Black Cilice releases, but where it can rank depends on what you’re looking for. It’s not as aggressive and riff-centric as Esoteric Atavism, not as punishingly raw as Summoning the Night, or as frighteningly atmospheric as Transfixion of Spirits. Instead, by fusing the riff game of the former into the misty comfort of the latter, Votive Fire transcends being a slab of aural abuse by way of offering moments with genuine, wistful beauty. That’s not a label I often get to associate with this genre, but I’m hardly disappointed. If you’re bored by the air-conditioner sound of your average one-man black metal, go light a candle and let the Votive Fire offer you a glimpse into something more, just beyond the veil.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Website: Album Bandcamp
Available Worldwide: May 1st, 2026

Affliction Vector – Contra Hominem Review

By Alekhines Gun

Sometimes you encounter a piece of work that stands as a testament to everything you love in music. Lovers of heavy tones and brutal riffs in all their permutations are constantly chasing that dragon, seeking the brutality to return us to our more joyful youth, or the blackened assaults that turn melted frowns into jubilant smiles. Some bands accomplish this through interesting cross-pollinations of sound, while others adhere to the straight and narrow definitions set by the genre’s torchbearers, who earn their merit through the strength of their songcraft and adherence to proper production. Either way, the quest is the same: create something to make audience and reviewer alike point in awe, stand smitten with horns raised high and tequila on our breath (or apple juice if you’re wholesome like Killjoy) and love in our hearts as we declare “This is good! This is real! This is excellent!” Fortunately for my limited well of superlatives, Contra Hominem is not such an album, and it’s not even close.

Affliction Vector have presented an album whose production is devoid of any real defining features. Somehow, at once lo-fi in mix yet hi-fi in tone, Contra Hominem offers a listen which avoids the abrasive, sharp tones of the brutal assault it pretends to offer, yet blends any melodies or riffs down into the mix until the entire album passes by in a listless haze. The aural equivalent of a glass of water, its sounds are featureless, smoothed over, and bland, with no sound grabbing the listener’s ear or providing any engagement despite its short 28-minute runtime. Faceless blast after faceless blast, so flavorless I’m offended a Faceless band name has already been taken, make attempts to walk in the cleft hoof of Teitanblood, but without the proper sound quality to match the necessary assault. Contra Hominem sounds lazy, meandering, and manages to take a package of high BPM assemblages somehow and make them sound as lethargic as the color scheme “adorning” the art.

But Gun! I hear you cry, what of the riffs? To be sure, this glass of water does contain a few ice cubes to chew on. Unfortunately, two of the biggest and most distinct cubes come in the shape of two interludes, one of which is nothing but the sound of running water. I’m more into album intros and interludes than some of my colleagues, but a sub-half-hour album has no need for interludes, let alone mere sound effects. The album opens with a twangy piano intro in an attempt to be spooky, but the melody is so protracted as to grate more than intimidate. “Lethal” manages to work a memorable moment above the deluge of textureless soundscapes, as does “Nero Gorgo”. The latter is the best song, with creative organ layering and a monster drop of a groove, which causes the ears to perk up in joy at the oasis in the barren desert across the rest of the album.

Performances by the members of Affliction Vector are serviceable in their delivery of mediocrity. Stefano S. handles drums, and the production does allow his kick to come through with meaty oomph, rendering blasts pleasing to the ear. Occasionally, he slows down enough to flirt with industrial tempos, particularly in “Ephemeral Lifeless.” Ans handles all other duties and shows competence in the delivery of solos. There’s a nifty time change in “Animalis Irae”, and he really lets his voice hit fever pitch at “To Lucifer.” But ultimately, these are fleeting moments in a lifeless experience, a few merciful snapshots of technical capability raising their head from the miasma of gray within.

Sorry to say, Contra Hominem is boring. The promo sheet described the album as trying to summon noise, which could bridge the gap between Heaven and Hell, but unfortunately, that’s a pretty big bridge to build. The first step is successfully crossing the gap in the points between my attention span, and in that goal, it has proven to be a cataclysmic failure. It’s boring in how it’s produced. It’s boring in how it’s performed. It’s boring in how it’s composed. Any one of the three are surmountable if the other two are used as strength (just see how the admittedly good production on the last Rivers album has people convinced the music itself is good) but this trifecta of drab and dreary only solidifies this album as memorable in how much I’ve not enjoyed my time with it, despite allowing numerable replays in a chance to win me over.

Rating: 1.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: afflictionvector.bandcamp.com | facebook.com/AnsAV666
Releases Worldwide: June 6th, 2025

#15 #2025 #AfflictionVector #BlackMetal #ContraHominem #IronBoneheadProductions #ItalianMetal #Jun25 #Review #Reviews #RiversOfNihil #Teitanblood #TheFaceless

Affliction Vector – Contra Hominem Review

By Alekhines Gun

Sometimes you encounter a piece of work that stands as a testament to everything you love in music. Lovers of heavy tones and brutal riffs in all their permutations are constantly chasing that dragon, seeking the brutality to return us to our more joyful youth, or the blackened assaults that turn melted frowns into jubilant smiles. Some bands accomplish this through interesting cross-pollinations of sound, while others adhere to the straight and narrow definitions set by the genre’s torchbearers, who earn their merit through the strength of their songcraft and adherence to proper production. Either way, the quest is the same: create something to make audience and reviewer alike point in awe, stand smitten with horns raised high and tequila on our breath (or apple juice if you’re wholesome like Killjoy) and love in our hearts as we declare “This is good! This is real! This is excellent!” Fortunately for my limited well of superlatives, Contra Hominem is not such an album, and it’s not even close.

Affliction Vector have presented an album whose production is devoid of any real defining features. Somehow, at once lo-fi in mix yet hi-fi in tone, Contra Hominem offers a listen which avoids the abrasive, sharp tones of the brutal assault it pretends to offer, yet blends any melodies or riffs down into the mix until the entire album passes by in a listless haze. The aural equivalent of a glass of water, its sounds are featureless, smoothed over, and bland, with no sound grabbing the listener’s ear or providing any engagement despite its short 28-minute runtime. Faceless blast after faceless blast, so flavorless I’m offended a Faceless band name has already been taken, make attempts to walk in the cleft hoof of Teitanblood, but without the proper sound quality to match the necessary assault. Contra Hominem sounds lazy, meandering, and manages to take a package of high BPM assemblages somehow and make them sound as lethargic as the color scheme “adorning” the art.

But Gun! I hear you cry, what of the riffs? To be sure, this glass of water does contain a few ice cubes to chew on. Unfortunately, two of the biggest and most distinct cubes come in the shape of two interludes, one of which is nothing but the sound of running water. I’m more into album intros and interludes than some of my colleagues, but a sub-half-hour album has no need for interludes, let alone mere sound effects. The album opens with a twangy piano intro in an attempt to be spooky, but the melody is so protracted as to grate more than intimidate. “Lethal” manages to work a memorable moment above the deluge of textureless soundscapes, as does “Nero Gorgo”. The latter is the best song, with creative organ layering and a monster drop of a groove, which causes the ears to perk up in joy at the oasis in the barren desert across the rest of the album.

Performances by the members of Affliction Vector are serviceable in their delivery of mediocrity. Stefano S. handles drums, and the production does allow his kick to come through with meaty oomph, rendering blasts pleasing to the ear. Occasionally, he slows down enough to flirt with industrial tempos, particularly in “Ephemeral Lifeless.” Ans handles all other duties and shows competence in the delivery of solos. There’s a nifty time change in “Animalis Irae”, and he really lets his voice hit fever pitch at “To Lucifer.” But ultimately, these are fleeting moments in a lifeless experience, a few merciful snapshots of technical capability raising their head from the miasma of gray within.

Sorry to say, Contra Hominem is boring. The promo sheet described the album as trying to summon noise, which could bridge the gap between Heaven and Hell, but unfortunately, that’s a pretty big bridge to build. The first step is successfully crossing the gap in the points between my attention span, and in that goal, it has proven to be a cataclysmic failure. It’s boring in how it’s produced. It’s boring in how it’s performed. It’s boring in how it’s composed. Any one of the three are surmountable if the other two are used as strength (just see how the admittedly good production on the last Rivers album has people convinced the music itself is good) but this trifecta of drab and dreary only solidifies this album as memorable in how much I’ve not enjoyed my time with it, despite allowing numerable replays in a chance to win me over.

Rating: 1.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: afflictionvector.bandcamp.com | facebook.com/AnsAV666
Releases Worldwide: June 6th, 2025

#15 #2025 #AfflictionVector #BlackMetal #ContraHominem #IronBoneheadProductions #ItalianMetal #Jun25 #Review #Reviews #RiversOfNihil #Teitanblood #TheFaceless

Affliction Vector – Contra Hominem Review

By Alekhines Gun

Sometimes you encounter a piece of work that stands as a testament to everything you love in music. Lovers of heavy tones and brutal riffs in all their permutations are constantly chasing that dragon, seeking the brutality to return us to our more joyful youth, or the blackened assaults that turn melted frowns into jubilant smiles. Some bands accomplish this through interesting cross-pollinations of sound, while others adhere to the straight and narrow definitions set by the genre’s torchbearers, who earn their merit through the strength of their songcraft and adherence to proper production. Either way, the quest is the same: create something to make audience and reviewer alike point in awe, stand smitten with horns raised high and tequila on our breath (or apple juice if you’re wholesome like Killjoy) and love in our hearts as we declare “This is good! This is real! This is excellent!” Fortunately for my limited well of superlatives, Contra Hominem is not such an album, and it’s not even close.

Affliction Vector have presented an album whose production is devoid of any real defining features. Somehow, at once lo-fi in mix yet hi-fi in tone, Contra Hominem offers a listen which avoids the abrasive, sharp tones of the brutal assault it pretends to offer, yet blends any melodies or riffs down into the mix until the entire album passes by in a listless haze. The aural equivalent of a glass of water, its sounds are featureless, smoothed over, and bland, with no sound grabbing the listener’s ear or providing any engagement despite its short 28-minute runtime. Faceless blast after faceless blast, so flavorless I’m offended a Faceless band name has already been taken, make attempts to walk in the cleft hoof of Teitanblood, but without the proper sound quality to match the necessary assault. Contra Hominem sounds lazy, meandering, and manages to take a package of high BPM assemblages somehow and make them sound as lethargic as the color scheme “adorning” the art.

But Gun! I hear you cry, what of the riffs? To be sure, this glass of water does contain a few ice cubes to chew on. Unfortunately, two of the biggest and most distinct cubes come in the shape of two interludes, one of which is nothing but the sound of running water. I’m more into album intros and interludes than some of my colleagues, but a sub-half-hour album has no need for interludes, let alone mere sound effects. The album opens with a twangy piano intro in an attempt to be spooky, but the melody is so protracted as to grate more than intimidate. “Lethal” manages to work a memorable moment above the deluge of textureless soundscapes, as does “Nero Gorgo”. The latter is the best song, with creative organ layering and a monster drop of a groove, which causes the ears to perk up in joy at the oasis in the barren desert across the rest of the album.

Performances by the members of Affliction Vector are serviceable in their delivery of mediocrity. Stefano S. handles drums, and the production does allow his kick to come through with meaty oomph, rendering blasts pleasing to the ear. Occasionally, he slows down enough to flirt with industrial tempos, particularly in “Ephemeral Lifeless.” Ans handles all other duties and shows competence in the delivery of solos. There’s a nifty time change in “Animalis Irae”, and he really lets his voice hit fever pitch at “To Lucifer.” But ultimately, these are fleeting moments in a lifeless experience, a few merciful snapshots of technical capability raising their head from the miasma of gray within.

Sorry to say, Contra Hominem is boring. The promo sheet described the album as trying to summon noise, which could bridge the gap between Heaven and Hell, but unfortunately, that’s a pretty big bridge to build. The first step is successfully crossing the gap in the points between my attention span, and in that goal, it has proven to be a cataclysmic failure. It’s boring in how it’s produced. It’s boring in how it’s performed. It’s boring in how it’s composed. Any one of the three are surmountable if the other two are used as strength (just see how the admittedly good production on the last Rivers album has people convinced the music itself is good) but this trifecta of drab and dreary only solidifies this album as memorable in how much I’ve not enjoyed my time with it, despite allowing numerable replays in a chance to win me over.

Rating: 1.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: afflictionvector.bandcamp.com | facebook.com/AnsAV666
Releases Worldwide: June 6th, 2025

#15 #2025 #AfflictionVector #BlackMetal #ContraHominem #IronBoneheadProductions #ItalianMetal #Jun25 #Review #Reviews #RiversOfNihil #Teitanblood #TheFaceless

Affliction Vector – Contra Hominem Review

By Alekhines Gun

Sometimes you encounter a piece of work that stands as a testament to everything you love in music. Lovers of heavy tones and brutal riffs in all their permutations are constantly chasing that dragon, seeking the brutality to return us to our more joyful youth, or the blackened assaults that turn melted frowns into jubilant smiles. Some bands accomplish this through interesting cross-pollinations of sound, while others adhere to the straight and narrow definitions set by the genre’s torchbearers, who earn their merit through the strength of their songcraft and adherence to proper production. Either way, the quest is the same: create something to make audience and reviewer alike point in awe, stand smitten with horns raised high and tequila on our breath (or apple juice if you’re wholesome like Killjoy) and love in our hearts as we declare “This is good! This is real! This is excellent!” Fortunately for my limited well of superlatives, Contra Hominem is not such an album, and it’s not even close.

Affliction Vector have presented an album whose production is devoid of any real defining features. Somehow, at once lo-fi in mix yet hi-fi in tone, Contra Hominem offers a listen which avoids the abrasive, sharp tones of the brutal assault it pretends to offer, yet blends any melodies or riffs down into the mix until the entire album passes by in a listless haze. The aural equivalent of a glass of water, its sounds are featureless, smoothed over, and bland, with no sound grabbing the listener’s ear or providing any engagement despite its short 28-minute runtime. Faceless blast after faceless blast, so flavorless I’m offended a Faceless band name has already been taken, make attempts to walk in the cleft hoof of Teitanblood, but without the proper sound quality to match the necessary assault. Contra Hominem sounds lazy, meandering, and manages to take a package of high BPM assemblages somehow and make them sound as lethargic as the color scheme “adorning” the art.

But Gun! I hear you cry, what of the riffs? To be sure, this glass of water does contain a few ice cubes to chew on. Unfortunately, two of the biggest and most distinct cubes come in the shape of two interludes, one of which is nothing but the sound of running water. I’m more into album intros and interludes than some of my colleagues, but a sub-half-hour album has no need for interludes, let alone mere sound effects. The album opens with a twangy piano intro in an attempt to be spooky, but the melody is so protracted as to grate more than intimidate. “Lethal” manages to work a memorable moment above the deluge of textureless soundscapes, as does “Nero Gorgo”. The latter is the best song, with creative organ layering and a monster drop of a groove, which causes the ears to perk up in joy at the oasis in the barren desert across the rest of the album.

Performances by the members of Affliction Vector are serviceable in their delivery of mediocrity. Stefano S. handles drums, and the production does allow his kick to come through with meaty oomph, rendering blasts pleasing to the ear. Occasionally, he slows down enough to flirt with industrial tempos, particularly in “Ephemeral Lifeless.” Ans handles all other duties and shows competence in the delivery of solos. There’s a nifty time change in “Animalis Irae”, and he really lets his voice hit fever pitch at “To Lucifer.” But ultimately, these are fleeting moments in a lifeless experience, a few merciful snapshots of technical capability raising their head from the miasma of gray within.

Sorry to say, Contra Hominem is boring. The promo sheet described the album as trying to summon noise, which could bridge the gap between Heaven and Hell, but unfortunately, that’s a pretty big bridge to build. The first step is successfully crossing the gap in the points between my attention span, and in that goal, it has proven to be a cataclysmic failure. It’s boring in how it’s produced. It’s boring in how it’s performed. It’s boring in how it’s composed. Any one of the three are surmountable if the other two are used as strength (just see how the admittedly good production on the last Rivers album has people convinced the music itself is good) but this trifecta of drab and dreary only solidifies this album as memorable in how much I’ve not enjoyed my time with it, despite allowing numerable replays in a chance to win me over.

Rating: 1.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: afflictionvector.bandcamp.com | facebook.com/AnsAV666
Releases Worldwide: June 6th, 2025

#15 #2025 #AfflictionVector #BlackMetal #ContraHominem #IronBoneheadProductions #ItalianMetal #Jun25 #Review #Reviews #RiversOfNihil #Teitanblood #TheFaceless

Tyrannic – Tyrannic Desolation Review

By Mark Z.

No matter how far today’s bands push the envelope, no matter how weird or experimental or innovative modern music becomes, there will always be bands who look around and simply say: “Fuck that, give me Celtic Frost.” Australia’s Tyrannic is one such band. The trio’s founding member, vocalist, and drummer “R.,” has readily admitted that Tom G. Warrior’s brainchild is their biggest influence, though the band’s music isn’t just another carbon copy of Morbid Tales. For the past decade, the group seems to have steadily been gaining attention in the underground due not just to their consistent “cemetery photoshoot” album art, but also their strange combination of black and doom metal. The band seemed to really start turning heads with their second album, 2021’s Mortuus Decadence, which I enjoyed for its sinister atmosphere and epic climaxes. With third album Tyrannic Desolation, the group has largely opted to stick to the same burial grounds as before, but are they able to continue unearthing interesting material?

Yes and no. At first listen, Tyrannic Desolation sounds like the lo-fi extreme metal of Throneum with a bit of Tyrannic’s own special sauce mixed in. Many of these eight songs fill a decent amount of their runtimes with tight, creaky guitar lines that are propelled by clattering, off-kilter drums and vocals that run the gamut from rancid rasps to fervent war shouts to anguished hollers. Perhaps most interesting, however, are the deep operatic vocals that wail just out of the foreground during the doomier segments. The album’s opening duo, “Prophetic Eyes of Glass” and the title track, both slow down after their faster first halves to deliver such operatic singing between eerie, immense, and twisting guitar lines that sound like Candlemass gone black metal.

The approach works well enough at first, but by the time “Impaled before Your Mirror of Fate” hits halfway through the record’s runtime, the “fast first half and doomy second half” songwriting formula begins to lose its footing. Fortunately, the album’s second half adds diversity via ideas that are doomier, gloomier, and weirder. “Dance on Graves Chained to the Labyrinth” is perhaps the most interesting track here,1 as the song creates a strange and ominous mood with its squealing, Mithras-style soloing and bold decision to have the entire band play with no drumming for almost all of the track’s five-and-a-half minute runtime. Later songs like “Incubus Incarnate” and the closer, “Morbid Sanctum,” really drive home the doom, with both songs featuring deathly and morose guitar lines that would sound perfectly fitting at a funeral.

Tyrannic Desolation contains compelling moments, but I can’t say the record as a whole blows me away. While I appreciate how naturally Tyrannic transitions between styles, the album seems content to merely twist and contort itself rather than offer any true hooks or standout riffs. Thus, even while things change in ways that should be compelling, the overall experience ends up just feeling inconsequential. Songs like “Only Death Can Speak My Name” and “Stillbirth in Still Life” are perhaps the least interesting of the bunch, with the former featuring odd, sour notes and the latter being little more than a long, anguished death crawl that doesn’t offer enough to stand out from its brethren. Fortunately, the dry and raw production is a good fit for what the band is going for, with the unpolished guitars and in-your-face sound somehow working together to create a surprisingly strong atmosphere. The drum performance also keeps everything fluid while possessing a natural, unassuming quality that I find endearing.

Tyrannic has a cool vibe, and I always appreciate bands that use a retro sound and aesthetic without regurgitating things we’ve heard a million times before. In this way, the band reminds me of what modern Darkthrone is doing, and Tyrannic’s ultimate level of quality here is about as mixed as Fenriz and company’s albums have been for the last two decades. For those interested in the odder and more foreboding edges of extreme metal, Tyrannic Desolation offers forty-eight minutes that might be worth your while. For me? While I can appreciate the band’s interesting style and ghastly atmosphere, I can’t say for certain I’ll be joining them on their next jaunt through the cemetery.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s CBR MP3
Label: Iron Bonehead Productions
Website: tyrannic.bandcamp.com
Releases Worldwide: November 22nd, 2024

#25 #2024 #AustralianMetal #BlackMetal #Candlemass #CelticFrost #Darkthrone #DoomMetal #IronBoneheadProductions #Mithras #Nov24 #Review #Reviews #Throneum #Tyrannic #TyrannicDesolation