Abominablood – Abomination Continues (2018) – Argentina’s Abominablood mix ritualism, cavernous death metal, ominous tufts of atmosphere and Slayer-esque thrash together to make something that I’d consider a bit unexpected, and worth checking out. “Pentagram Of The Seventh Dimension” comes off barreling, yet observes slight moments of atmospheric doom where it is able to encapsulate fierce vocal outings. At times, Warpig Vominous Abominator sounds like he’s channeling demonic entities from far beyond the void and I’d prefer nothing better to that vastly inhuman feel. Though the real treat comes in when the non-metallic ritual “The Influence Of Kali Ma’s Sacrament” comes into play in a rather creepy manner that actually feels like it belongs with the rest of the material here. Usually these kinds of instrumental outings take away from the performance, but the mist and various instrumentation utilized within this piece really seem to fit for me. That’s rare, Abominablood should be proud. When we get to “Beast From Another World” Warpig actually rolls from a growl to a direct chant, which in turn changes the whole atmosphere of the music. I’m not sure if the world is quite ready for something like this yet, and no doubt it is a hidden gem out there in a sea of bands that all sound the same. It can be argued that perhaps Warpig focuses a bit too much on pounding the kit, and L really seems to go out of his way to create those speedy thrash solos (some of which are quite hard to hear) which can sound a bit repetitive after awhile. However, the outro “Knell and Bathed In The Blood Of Earthly Karmas” continues the non-metallic soundscape unleashed earlier in the disc and convinces me that Abominablood wants to be so much more than another death metal band. The cavernous sound and blatant ritualism achieved on this release might just see them along that way. Give it a listen over at the link.
(8 Tracks, 29:00)
7/10
In Obscurity Revealed – Spell Of The Seeker (2018) – I have another cavernous death metal act today, this one from Mexico. The album is quite short and could be considered something of an EP. The sound is very raw and warm, though the drums pummel and the vocals are quite audible. The vocals aren’t quite what you’d expect either, with a bit more throat utilized by F.M. very much in the vein of classic Autopsy rather than the much deeper approaches of many modern acts. There is quite a bit of comparison to Autopsy here also, which certainly works for me. The riffs are present but often feel like a mere backbone in comparison to the drums and vocal outings. There is little about D.C.’s guitar work that excites me, even though it’s a wonder I am actually able to hear it on the disc. The disc almost sounds live and might be a good indication of what these guys will do on stage. Spell Of The Seeker isn’t really anything that I haven’t heard before though, so there is unfortunately very little that I can recommend from the band at this stage in the game. They’re still more or less getting their formula down, and I’m hearing more worship of the bands they’ve grown up with, than I am something truly original. Even so, you can give it a listen at the link.
(5 Tracks, 14:00)
6/10
Ols – Mszarna (2018) – The Polish dark maiden Anna Maria Oskierko has returned with another equally dark Neo-folk album that contains slight hints of atmospheric black metal, though not quite as you’ll hear here. For Mszarna is actually a bit more jolly, sounding like a deep pagan ritual stew of emotions, which the lyrics certainly seem to convey. The record is lyrically based in nature, whether that be in metaphorical or literal terms, which definitely gives it the kind of feel of an act like Borknagar, for example. The record is entirely in her native language, but I wouldn’t expect anything more than that, as Polish seems to encapsulate the emotion steeped within this melancholy quite well. A few parts of “Zimowa” even roll into a slight pop territory, which I wasn’t expecting, though am certainly not complaining about. Oskierko isn’t just a beautiful siren who looks great in her variation of corpse paint, she also has an incredible vocal range and manages to show that off a few times throughout the disc. Please keep in mind though, that is definitely a folk album and not anything I would completely compare to heavy metal music, respectfully. I don’t want listeners to think that perhaps the black metal cover and references would equate this to black metal.
It is instead, a highly emotional Neo-folk disc that spans close to an hour in length. There are only six tracks here, but they are passionate pieces that should sail to a rather high place on the folk music charts. The production quality on the album is also quite high, making this album sound of a truly professional level. If you are a fan of Neo-folk music, especially as heartfelt as the approach here; then you will want to click the link at the bottom and check out this release. Oskierko has proven that she doesn’t need black metal ties to sell her talent, and this album is proof positive of that.
(6 Tracks, 49:00)
8/10
Arkheth – 12 Winter Moons Comes The Witches Brew (2018) – Although the album released in February and The Grim Lord is behind as always, Australia’s Arkheth are one of the best damn black metal acts I’ve heard in decades. Noted as an experimental/avantgarde or whatever you’d like to classify them type of act, this is one of those bizarre occasions when putting in too many bells and whistles manages to pay off. To the point that I don’t see how this would work live and carry as much impact, but go figure. In any case, we’re talking about a a mixture of symphonic black metal and saxophone, along with various soundclips and full-on atmospheric moments. It is a record where the keyboards hold quite a bit of power and perhaps an industrial soundscape act like Coil holds just as much of an influence as Arcturus, Secrets Of The Moon and possibly even Portal. In a way, I’m even getting touches of Sign and The Meads Of Asphodel here and there, which only adds to the soup of various sounds unleashed in this magical concoction. The vocals sound best when they’re coming from the slime monster that these guys managed to ensnare in their home country, after battling back the mile high huntsman spiders. Though it would actually make sense to me that the vocalist himself might be a mutant hybrid of man and huntsman spider. For all I know, the entire band could be made up of huntsman spiders. It certainly sounds like something that huntsman spiders might write, especially if those spiders were listening to a lot of classic Satyricon and Candlemass; even though Sabbath is heard thundering on “Where Nameless Ghouls Weep” which I believe also features literal thunderclaps. Now that, I have to get up out of my chair and give a round of applause for, as it is the most deliciously pretentious thing I’ve ever heard in this genre. We’ve always used the term “thundering doom metal” but I daresay that Arkheth might be the first band I’ve ever heard to mix thundering doom riffs with actual samples of thunderclouds. The strikes of lightning during the saxophone bits only manages to make me smile wider. There also might be some Primus and Mr. Bungle floating around here in the way that this kind of music is played alone. Some would say that these riffs and melodies are played terribly off-key, unapologetically off-key if you will – but that all seems to add to the mystique of this act. The only weird thing about this recording though, is that I keep being reminded of Ancient. Throughout most of the listen, these early-era Ancient influences keep popping up for some reason (please go watch their videos, some are hilarious) and I can’t exactly find a reason why. Though what I can tell you, is that although the production value is a bit raw in some areas; this might still end up being one of the best albums of the year for me. I can now add Arkheth into my selection of “Cool Ultra Pretentious Grim Lord Bands” along with Sigh, The Meads Of Asphodel, Thy Catafalque and Bal Sagoth.
Though before I forget, these Australian huntsman spiders also sing and rather well, I might add. The record isn’t completely inundated by black metal, lizard shrieks and literal claps of thunder. I actually would have liked to hear more clean vocals on the disc, now that I know these arachnids sing as well as they do, almost with an approach similar to Agalloch – yet another ingredient in the Arkheth pudding. I’d better end this review now, before I end up turning this observation into a cookbook for the band’s formula by throwing in possible Solefald and Ihsahn influences – Oh, no! I just did. At any rate, you can check out this unbelievably awesome piece of music right here at the link, and it’s available in many formats. Though there should be an “embossed in solid gold” option, so that the record can be put onto a fine plaque with the words “Probably The Best Experimental Black Metal Release In Ten Years” etched into it.
(5 Tracks, 41:00)
10/10
Oxygen Destroyer – Bestial Manifestations of Deliverance and Death (2018) – After I had just written and recorded “The Grand Banquet” (which you’ll be able to hear in it’s final release quite soon) which is a literal song about becoming a Zoanoid and then a Kaiju monster (yes, old anime and Tokusatsu are a pastime of mine, currently watching Zyuranger) I was hit with this unexpected release from a Seattle black/death/thrash act with kaiju themed albums. It’ll never be fully realized until the guys start adorning monster suits onstage (but not like GWAR and Lordi – something more Kaiju themed, even though GWAR definitely has a Kaiju theme in some of their designs) but the music itself definitely works for me nonetheless. I should mention that this is their debut full-length and it comes with a sort of gritty, raw production value that just makes me melt a little. I think the album wouldn’t come off as destructive as it does if the production was a bit higher and crisper. No, we want this to be dirty, filthy and smelly – just like some of those Kaiju monsters probably smelled, as well as the tokusatsu suits after the actors finished wearing them. The album reminds me a little of The Crown, Necrodeath, Impious (what ever happened to them?) and of course, you’ll also hear some Sodom, early Bathory, Sarcofago, Nunslaughter, very early Melechesh and numerous others. Frontman Jordan Farrow also manages to keep the mood with a frightening rasp that sounds not too far from the some of the various sounds that I’ve heard erupting from these horrific beasts over the years. Drummer Chris Craven (Weaponlord, but I don’t think that their debut Hail The Victorious features any songs based on the game, which I find unfortunate) is also an integral part to band’s sound, as he manages to provide most of the firepower and I’ve no doubt will sound like a Kaiju on stage. Really, this whole thing reminds me of a Guyver episode where Zoanoids had integrated in with the human population, and that meant forming a band. Now it was meant to be a “boy band” although there were definitely guitars used in the project.
Unfortunately, the episode did little of adapting them and that’s more or less what I think of Oxygen Destroyer here, a band made up of Kaiju (well, not obviously Kaiju or they would be fifty feet tall) or some other sort of monsters that offer a “great and terrible” performance that I think fans of speedy, balls-out thrash and black/death metal are going to love. There isn’t a lot of variation here, but I’m not looking to hear the xylophone this time around (and they can always use it on the next album, so no big deal). The package comes off quite promising and I wish these gentlemen the best of luck in their rampage of stomping down large buildings and spitting fire. If you also like to stomp buildings (which are always nondescript structures placed far out of the way in Tokusatsu) and spit fire, and are somehow not inside of a cage under twenty-four hour government surveillance, then you’re going to dig this album too. Experience the no-holds-barred carnage at the link below.
(10 Tracks, 29:00)
8/10
Witch Casket – Hatred Index (2018) – A groove heavy type of melodic and technical blackened deathcore being marketed as progressive black/death, we have California’s Witch Casket. The problem with these guys, is that Hatred Index feels more like a product than an album. Which is awfully ironic, considering that Metal Archives reviewers said the same thing about the “on-hold” black metal project Sothis which housed many of Witch Casket’s members and only released one album. The performance here is quite raw, with as I mentioned; an overly excessive sense of groove. The band does have one good thing going for them though, which happens to be guitarists Nylock and Scathe who were both in Sothis and manage to shine through with their odes to Dethklok inspired melodic death metal. There was also a progressive section on closer, “The True Knot” which I also enjoyed along with the Carl Sagan-esque keyboard synths that complete the album.
Frontman Drogoth sounds just as ham-fisted as ever, but his approach is quite bearable, all things considered. There are some gut punch vocal efforts utilized on this album, which I don’t care for very much and would consider a major turn-off. It also often feels like too many things are happening at once, which sounds as convoluted as you might expect. Hatred Index feels like a packaging of all of the popular styles utilized in metal today, though mixed into a pot of soup with no meat to be found – it’s just broth, folks. Just a kind of sort of heavy, soupy broth. Some people might really get into this one and that’s fine, but I’ve honestly heard much better.
(5 Tracks, 24:00)
5/10