#wise-blood-records — Public Fediverse posts

Graveripper – From Welkin to Tundra Review

By Tyme

Hoosier hellraisers Graveripper have been spewing their brand of blackened thrash on the streets and in the back alleys of Indianapolis since 2019. Their 2023 debut album, Seasons Dreaming Death, was covered favorably here by our dear friend Holdeneye, and while it didn’t receive one of Holdy’s famous 4.0s, it did put a ‘big, dumb smile’ on his face nonetheless, proving Graveripper had potential. Divested of all his Seasons Dreaming Death bandmates, guitarist and vocalist Corey Parks partnered with new bassist Steve Garcia and drummer Nick James to soldier on as a trio. And so, with their stable label partner, Wise Blood Records, still in tow, Graveripper prepare to release their sophomore effort, From Welkin to Tundra. Parks’ decision to wipe Graveripper’s slate clean and bring in fresh blood so soon was a bold move, but it made me curious what impact it would have on their sound. Is From Welkin to Tundra the ‘truly savage’ thing Holdeneye felt Graveripper capable of, or will this new iteration require further gestation?

As evidenced by the wickedly bleak Adam Burke cover art and Carpathian Forestry of instrumental intro “Welkin, Now Tundra,” it’s clear Graveripper leaned further into the black. Still, there’s plenty of straightforward thrashery afoot, as Parks fires off a plethora of furiously fast riffs, his vocal barks, shouts, growls, and rasps sounding as vicious as ever. Beneath the surface, Steve Garcia’s bass rumbles and runs as Nick James straight d-beats his way through most of From Welkin to Tundra’s thirty-three minutes, capably corralling the craziness. Midwest mates Midnight and Wraith still hold as valid comparators (“Death’s Cold Embrace”), however, darkened mists of Aura Noir (“New Gods, New Masters”) blended with punky clouds of Darkthrone and shades of dissonant Dissection (“…And Now It’s Dark”) serve to complete the black metal side of Graveripper’s blackened thrash equation, as they manage to merge the two elements of their songwriting more cohesively than on the debut, lending From Welkin to Tundra a better sense of balance and consistency.

What Graveripper’s From Welkin to Tundra lacks in complexity is made up for in execution. ‘Simple is as simple does’ is the motto that carries the day for early highlights “Bring Upon Pain” and “Hexenhammer,” the former’s rapid-fire riffing and old-school Kreator vibe, combining with the latter’s blackened tremolos, harmonic leads, and vicious vocals, creating the basis for success. Yet, for my money, it’s the very Megadethic melodicism of the leads and speeds of “Bullet Laden Crown,” in tandem with the absolutely blistering riff-fest that is “Burning Barren Plains,” that not only end the record on a high note but are two of my favorite tracks on the album. Niko Albanese and Joe Causey provide vastly improved mixing and mastering, respectively, enhancing the consonance among tracks, improving the flow, and alleviating many of the production woes that impacted Seasons Dreaming Death.

As improved a unit as Graveripper presents here, especially considering the near-complete scrubbing of its membership, there were a couple of things on From Welkin to Dusk that left me wanting. First, and this is a minor issue of pacing, is the lull I continuously experienced in the run of songs from “Death’s Cold Embrace” to “Hounds of Hell,” each track adhering to a straight thrash riff-riff-run-and-done approach that bleeds the three tracks together before returning to more blackened climes on “New Gods, New Masters.” Second, there’s a dearth of shred on offer that I definitely would have liked to hear more of. Parks’ broadening solo skills shine bright on the horizons of “Bring Upon Pain” and “Burning Barren Plains,” but aside from a very brief foray on “Hounds of Hell,” From Welkin to Dusk is void of solo work, an element that, if effectively incorporated, could push Graveripper to the next level.

It’s nice to highlight that there’s more to Indiana than corn and The 500, as Graveripper, alongside bands like Wraith, Wolftooth, and others, continue to shine in a solid Hoosier metal scene. From Welkin to Dusk is a formidable step in the right direction for Graveripper. I’m hopeful this lineup will maintain its continuity, as I am sure, with a little more high-tone shred poured in, they’re capable of loftier levels of lethality. For now, I encourage you to take From Welkin to Dusk for a spin and don’t stop at my numerical score because this thing is, in fact, good!

Score: 3.0/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Wise Blood Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 17th, 2025

#2025 #30 #AmericanMetal #AuraNoir #BlackMetal #CarpathianForest #Darkthrone #FromWelkinToDusk #GraveRipper #Midnight #Oct25 #Review #ThrashMetal #WiseBloodRecords #Wraith

Bloodletter – Leave the Light Behind Review

By ClarkKent

Hot off Holdeneye’s 3.5 for their third album, Chicago’s Bloodletter jumps right back into more thrashy melodeath with album number four, Leave the Light Behind. Holdeneye saw a big improvement between sophomore record Funeral Hymns and A Different Kind of Hell, saying he finally saw what so enamored Angry Metal Guy about Funeral Hymns.1 I too, grew enamored when I first set my ears on their style of smooth, polished thrash. Bloodletter play my kind of kryptonite—catchy, melodic guitar leads with tons of energy. When I saw this hit the promo bin, I immediately snatched it before Dr. AMG could get his hands on it. I was anxious to discover if Bloodletter could keep up with the energy and expert melodicism of their previous work.

Leave the Light Behind continues in the melothrash vein of its predecessor, combining thunderous, lightning-fast blast beats with memorable harmonic riffs. Bloodletter sounds as if they were born of an orgy between Black Dahlia Murder, Death Angel, Exodus, and At the Gates. If that doesn’t sound like a good time, then you should get your ears checked by one of our staff doctors. Bloodletter has an undeniable polish, giving them a modern sound, though that means they miss out on the charms of the raw energy of Bonded by Blood or Slaughter of the Soul. In some ways, they’ve even upped their thrash game—some of those tremolos are so speedy I can’t help but wonder if they contracted Flash as a special guest. However, it’s not all speed all the time. A few songs slow things down to a mid-tempo while still managing to sound fresh and vivacious (“Terminal,” “Call of the Deep One”). They even have a moment on “Night Terrors” where a haunting piano intro lulls you into expecting a ballad before the sudden booming snare drum knocks you flat. Nonetheless, the album’s breakneck velocity ensures that its 34 minutes are over in the blink of an eye. So you better pay attention.

Between Funeral Hymns and Leave the Light Behind, there’s no denying the quality and growth of these musicians. The muscular drums and frenzied, yet disciplined, riffs keep a breathless pace. Yet drummer Zach Sutton and guitarists Peter Carparelli and Pat Armamentos display some nuance to show that Bloodletter is more than simple speed bag-level velocity. Most impressive are the harmonic guitar leads featured in many choruses. You might not find yourself singing along to the words, but you might instead hum along to the catchy melodic riffage on display during “A World Unmade,” “Terminal,” and “Unearthing Darkness.” For these alone, I feel that Leave the Light Behind is a step up from its predecessor. Even outside of the harmonic leads, the riffs are a blast, and thanks to their variety, they never grow stale or repetitive

One major point of criticism aimed at Bloodletter, both from Holdeneye and readers, is Carparelli’s one-note vocals. Personally, they don’t bother me much. His scratchy shouts bring a punky energy that adds some urgency to the thrash. Yet it’s true that his voice hovers in a state of limbo—he lacks the snarls of Trevor Strnad, nor does he truly sing like Anthrax’s Joey Belladonna. Those put off by him on previous albums won’t find the vocal situation any different this time around. I still find Carparelli effective, especially on “The Black Death,” the rare song where the singing on the chorus is more fun than the riffs. He brings forth a burst of raw, despairing anger as he sings “This is more than sickness / It’s a god damn tragedy.” Carparelli nicely complements the rest of the music, and his personality has begun to bleed into the DNA of Bloodletter, making him an inseparable part of it.

If what you want is a tight, enjoyable piece of melodic thrash, then you can’t do much better than Leave the Light Behind. Bloodletter has undeniably honed their craft into a no-frills, efficient exemplar of the style. And it’s another notch in the belt for Chicago, Illinois, along with Blind Equation, Bear Mace, and the new Pope. Maybe if Chicago sports stadiums played music from these local bands, fans would have something to cheer about. Leave the Light Behind also continues the winning streak for Bloodletter. As far as thrash and melodeath go, this is one of the standouts of 2025.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Wise Blood Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 25th, 2025

#2025 #40 #AmericanMetal #Anthrax #AtTheGates #BearMace #BlackDahliaMurder #BlindEquation #Bloodletter #DeathAngel #Exodus #Jul25 #LeaveTheLightBehind #MelodicDeathMetal #Review #Reviews #ThrashMetal #WiseBloodRecords