Death Knocks

Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.

Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.

Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.

It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026

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Rather than a stoned cruise through the desert, Ritual Arcana play a raucous, bewitching blend of hard slugging doom and occult-tinged rock, fit to appeal to fans of nostalgiacore retro rock, Wino’s various projects, and other smoky doom persuasions such as Sabbath Assembly, Jess and the Ancient Ones, Castle Rat, and Witch Mountain. Imbued with dark, alluring vibes and a riff rumbling bluesy edge, Ritual Arcana features the requisite doom-laden heft and freewheeling grooves to accompany songs that rock and rumble with a sprightly bounce. The jammy, psych-drenched swagger leans as much into heavy rock and stoner realms as it does dour doom. LuckyFree’s beguiling pipes boast an undeniable appeal and hooky charm. And while perhaps not the most unique female vocalist in the biz, she holds her own and supplies plenty of earwormy hooks atop a solid foundation of hefty rhythms and fat, swaggering riffs.

Right off the bat, the opening title track lays a groovy path, riding a thick, simplistic central groove and catchy vocal flow, enlivened by Wino’s easy-on-the-ear lead work. Similarly, bluesy, hard-rocking fare and juicy hooks feature prominently (“Free Like a Pirate,” “Summon the Wheel,” “Road Burnt,” and “Judgment XX”) to fun effect, nestled between doomy, heavier fare. These are solid examples of Ritual Arcana’s formula; however, the most interesting material leans deeper into their doomy roots. “Mistress of Change” possesses an ominous atmosphere and lurching, drunken gait, highlighted by LuckyFree’s slightly unhinged vocal performance. Similarly impactful bursts of rugged doom, molten riffage, and rawer vocal turns feature on the highlight-worthy “Subtle Fruits.” There are no blatant weak points, just certain tunes that hit harder and stick for longer. Ritual Arcana do the bluesy hard rock stuff well, yet it’s the brooding doomier forays that sustain greater interest.

What they perhaps lack in innovation, Ritual Arcana compensate through lean and tightly wound songwriting, solid musicianship, and familiar yet delightfully catchy songs. Wino is an iconic metal legend, and even minus the gruff, well-lived presence of his vocals, he makes a punchy impact through his accomplished guitar work. The well-worn riffs carry a fresh, catchy edge; however, it’s the flashier leads and psych-drenched embellishments that complement the no-frills riffs. And as cool and effective as LuckyFree’s vocals are, it is a tad disappointing that Wino’s grizzled voice doesn’t pop up in cameo or dueting form. Meanwhile, the production may be a little clean for some tastes; however, it’s easy to appreciate the clarity and chunky tones.

Ritual Arcana is a likable, gratifyingly catchy exercise in seasoned doom and psych-riddled occult rock from experienced hands. It plays things a little too safe at times, and as enjoyable and undeniably infectious as the songwriting on this debut platter proves to be, it rarely hits truly outstanding levels. Regardless, this style of doom/occult rock has an infectious charm, and when in the hands of veterans and a legend like Wino, it is difficult to fuck up. Ritual Arcana is a cool example of the saturated style and perhaps a precursor to greater things to come from this unit.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 304 kbps mp3
Label: Heavy Psych Sounds | Bandcamp
Websites: facebook.com/ritualarcana
Releases Worldwide: January 23rd, 2026

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When I first snagged Idag, I was struck by Witchcraft’s label change from Nuclear Blast to Heavy Psych Sounds, but it becomes immediately apparent as to why upon first listen. Idag is notably fuzzier than Witchcraft’s previous work, leaning heavily into the stoner-doom sound. In some cases, this manifests as Pentagram-adjacent chugging doom in the beefy riffs of “Burning Cross” or the slowly building grooves of “Idag.” The Coven-meets-Sergeant Thunderhoof nature of proto-Witchcraft is still present in the faster grooves of “Drömmar Av Is” and “Drömmen Om Död Och Förruttnelse,” though they haven’t escaped a healthy coat of fuzz. Some moody Black Metal acoustics return as well, given a refreshing shot of vigor without sacrificing atmosphere like in “Christmas.” Idag is all around well-produced and well-performed; it’s easy to buy into Idag, whether you’re a newcomer or returning fan.

Then again, it’s never been hard to buy into Witchcraft, because Witchcraft have long since established a pattern of writing rock solid music, and that’s exactly what Idag is: rock solid. The best songs in Idag will often find a strong core groove and then let it carry the bulk of the weight. “Drömmar Av Is” is a punctual tune that lands on a critically funky groove right out of the gates and hammers it home with minimal distraction. This song contrasts well with the more varied tunes like the eight-minute opener, “Idag,” which follows a similar philosophy of sticking to strong core ideas, all of which are given appropriate time to germinate with a delightful tempo increase in the latter half to keep the song from stagnating. Idag’s riffs might not always be the most audacious or inventive riffs ever made, but they’re effective and catchy. Then again, Idag is undeniably elevated by Pelander’s killer pipes. He’s the sort of singer you could recognize in anything, and his rich voice adds a lot of character to the music. Unintentional or not, I enjoy the detail of his voice sounding oh-so-slightly off-key with some of the guitars in “Om Du Vill.” It’s a nice touch of authenticity and reintroduces some of the vulnerability from Black Metal.

That authenticity also strikes at the chord of what makes Idag work for me; to my ears, from a songwriting standpoint, Idag is the sort of thing one might hear blasting from a garage, whereupon you’d find a couple of lads bangin’ on their instruments in ways that Just Sound Neat. That unrefined quality, that coarseness, is something I cherish, and Idag scratches that itch. The lead guitars across Idag howl with warbling feedback, and I love the unrestrained summer fun of the drum and guitar fills in “Irreligious Flamboyant Flame.” It is a bit of a double-edged sword, though. I appreciate the grime, but I also recognize that Idag lacks the consistency and focus to truly hook me like Legend did. It’s not like Witchcraft are suddenly a “jam band” on Idag, but it’s giving the moniker some funny looks. There are just enough frustrating oddball choices to be noticeable. As a comparatively longer song and practical closer, “Spirit” lacks the escalation that made “Idag” work, and the chorus in “Irreligious Flamboyant Flame” is a bit limp. Furthermore, both “Gläntan (Längtan)” and the actual closer “Om Du Vill (Slight Return)” feel out of place and borderline pointless.

I was lukewarm on my first spin of Idag, but it has grown on me. It might not be the most essential Witchcraft record, but it is nevertheless worth the time of any Witchcraft fan or purveyor of fuzzy stoner jams. But no matter how I felt about Idag, it wouldn’t have been a more potent feeling than my relief that Witchcraft is still making music. I will always look forward to their next release.

Rating: 3.0 / 5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook | bandcamp
Releases Worldwide: May 23rd, 2025

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Warlung coughs up a solid first impression on opener “Digital Smoke” which is a raucous, groovy rocker that reminds me equally of Cauldron and Doctor Smoke. It’s catchy as fook and easy to like with meaty riffs churning away as George Baba and Phillip Bennet swap vocal lines. One of them (I’m not sure which) sounds a lot like Doctor Smoke’s Matt Tluchowski and his nasally delivery is upbeat and pleasant. This one got stuck in my brain on the first spin and I can’t seem to dislodge the smoke. “White Light Seeker” delivers a lead riff that sounds like it was “borrowed” from Sabbath Bloody Sabbath and the song delivers hooky, groovy retro rock with a strong 70s doom edge. It’s an instant winner that sticks like Alien Tape™. Album set piece “Spell Speaker” is a nearly 9-minute odyssey that starts life sounding a lot like Iron Butterfly’s immortal classic “In-A-Gadda-Da-Vida” before drifting into lazy hazy 70s hard rock and veering into Sabbath and Ghost territories. It’s a sprawling, unhurried saga that takes as much time as it wants to set the mood, with side quests into trippy guitar noodling. Surprisingly, it all works very well and the minutes fly by before you realize it. A very cool tune.

The back half of The Poison Touch is less adventurous, opting for more direct stoner rock attacks, but they generally hit pay dirt. “Holy Guide” reminds of Freedom Hawk and Uncle Acid, and closer “29th Scroll, 6th Verse” goes hard on the same kind of fuzzy bounce and groove Uncle Acid made their name with. The band’s agile songcraft makes things entertaining and memorable and they bring real chops to the execution, especially in the fretboard department. While no track feels completely unworthy, short interlude “Mourning Devils” doesn’t add much, and “Rat Bastard” is a bit too goofy, though the riffs are there in abundance. At a trim 36 minutes, the album flows past in a flash, and even “Spell Speaker” doesn’t interrupt the rocking momentum.

Baba and Bennett share axe work as well as vocal duties and they do a fine job on both fronts. The guitar tandem loads the material with sharp riffs of various eras and styles and it’s a pleasure to hear them playing off one another as they move from hard-charging riffs to 70s psych rock, doom, and bong-fueled noodle sessions. They borrow from all the right sources and keep things interesting most of the time. The vocals are good too, vibrant and quirky, sometimes sounding a lot like Papa Emeritus. There’s a playfulness to them that works well with the music and throughout the album Baba and Bennett remind me of roughly 10 other stoner and doom vocalists, so variety is not an issue here.

Warlung bring a sense of joy and just enough inventiveness to the stoner/retro rock genre to make a lasting impression and what they do on The Poison Touch is mighty tough to dislike. It’s the kind of album that grows on you with every spin and there are some slick, killer tunes camping out here. I almost gave it a higher score and I’m enjoying it enough to start examining their back catalog, so they’re doing something right. If you need a fun, mindless palate cleanser of an album that pairs well with beers, buds, and other buds, catch yourself a nasty case of Warlung. Cough, cough, cough, cough DA-DA, DA-DA-DA!

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 302 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/warlungband | instagram.com/warlung
Releases Worldwide: February 14th, 2025

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It’s telling that Black Lava’s members come from disparate side projects because the musical DNA of the band’s sound is hard to pin down. There are HM-2 Swedeath moments throughout, and the highly varied drumming style reminds me of fellow countrymen Werewolves, but the band seem to keep their influences close to the chest. What we can discern is the differences between this and the previous album. TSWtW hits harder and meaner than Soul Furnace and has largely left the sludge and punk influences behind (excepting opener “Colour of Death”). There’s a real sense of cinematic horror here, with Rob Watkins employing a cavernous, narrative vocal style not unlike The Vision Bleak (“Dark Legacy,” “Unsheathing Nightmares”). There are meaty riffs to be found here and there (the openings of “Wrapped in Filth” and Ironclad Sarcophagus”) but guitarist Ben Boyle feels slightly underused, acting in a supporting, atmospheric role to the chameleon-like performance of drummer Dan Presland. Black Lava is a group of accomplished professionals, but a well-rounded album must be greater than the sum of its parts.

The tracks in TSWtW can be split into two, broad categories; those that play it safe, and those that push the edges of the band’s creativity. Unsurprisingly, the songs with more trimmed runtimes belong to the former category. The band toys around with signature unison rhythms designed to worm into the listener’s brain (“Dark Legacy,” “Wrapped in Filth”) amid flashes of death-n-roll (“Ironclad Sarcophagus”) and atmospheric synths (“Pagan Dust”) to augment the death metal base. I highlight the opening salvo, comprised of the first three tracks, as unusually tepid when compared to the music to come. Everything in this category is well executed from a musical standpoint, but the constant mid-paced tempo and drum-forward, mostly guitar solo-less construction feels weaker amongst the other, more adventurous tracks.

Starting somewhere in mid-album track “Unsheathing Nightmares” Black Lava settle in and let their imagination fly. The focus on a narrative storyline involving witches and swords(?) Injects much needed thrash energy and kicks the album into a higher gear. Subsequent riffs feel stronger, locking into place (“Summoning Shadows”). Presland finds new ways to use the drum kit (“Sanguis Lupus”) and those previously mentioned synths in “Pagan Dust” are a breath of fresh air that need more time in the sun. But the band save their real ambition for the eponymous closer, which contains some of the most unexpected, intriguing death metal I’ve heard this year. The first half of the track features the band as Frankenstein, with hyperactive drums clashing against chunky chords and ghostly arpeggiations in a way that shouldn’t work, but alchemically, it does.¹ Ne Obliviscaris’ Benjamin Baret really gets his teeth into a guest solo spot on the song’s outro, but it’s marred by a coda that grinds on far too long. It’s a shame because the four minutes of “The Savage Winds to Wisdom” preceding that envision a fertile breeding ground for the future of Black Lava.

It’s plain that The Savage Winds to Wisdom represents a big step in the right direction for Black Lava. They’ve shed their jammier sludge beginnings for a more straightforward death template, and have begun to branch out into some less populated musical areas (“Sanguis Lupus,” “The Savage Winds to Wisdom”). Black Lava has already proven they’re a competent group of musicians; their next act involves them cementing their own personal sound and fury. I’m excited to see where they go next and recommend this record to fans of atmosphere-drenched death metal that’s not afraid to push the envelope.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: July 12th, 2024

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Does Poland evoke the heated and stinging breeze of the open desert to a lost mind? No? Sunnata likes to think otherwise, or at least it’s their life’s mission to expand on the ideas of exotic scales, eerie harmonization, and chanting repetitiveness to match the power of shifting sands in their homeland. Back in 2021, our very own Cherd had a tough time coming to terms with what these Eastern bloc mystics conjured on Burning in Heaven, Melting on Earth. But now a few years wiser, ever iterating,¹ and pursuant of their own self-produced visions, can Sunnata sway both our grumpy grandpa Cherd and his crack rodeo crew with Chasing Shadows? – Dolphin Whisperer

Sunnata // Chasing Shadows [May 10th, 2024]

Cherd: I wasn’t terribly keen on Sunnata’s 2021 record Burning in Heaven, Melting on Earth, so I passed on reviewing their follow-up when it landed in the promo sump. Then Dolph decided to go and write a whole damn Rodeö about Chasing Shadows, so I figured I’d better give my two cents after all. Chasing Shadows is a definite step up, thanks to the heavy dose of 90s grunge these Poles have injected into their psych/stoner doom. I’m sure you’ll be sick of reading the name Alice In Chains by the end of this article, but good god do the vocal harmonies call them to mind. The strongest tracks, like “Torn” and “Saviour’s Raft” rely heavily on these. Meanwhile, when the band leans into their “exotic” side—vaguely Middle Eastern motifs—as they do on “Wishbone” and “The Tide,” the songs drag. There’s fat to trim across the album’s 60+ minutes, especially the throwaway closing quasi-dance track. That said, the eight-minute “Hunger” earns its entire runtime with a hypnotic tempo and the record’s best build up. There’s a lot to like in Chasing Shadows, even if there is some bloat. 3.0/5.0

Maddog: Sunnata’s Chasing Shadows is an hour of shameless psychedelia. Take Dvne riffs, add a pinch of Mayhem in Blue-era Hail Spirit Noir, and pour a bucket of fuzzy stoned melodies on top, and you get the gist. This recipe is a blessing and a curse. Chasing Shadows’ most well-formed pieces hit hard. When Sunnata focuses on developing melodies, they hold me transfixed, like on album highlight “Torn.” When Sunnata focuses on buildups, they whisk me out of the world and onto a dramatic ride (“Chimera”). When Sunnata focuses on rhythmic sections that hypnotize the listener, they conjure a beautiful soundscape, like the primordial chorus of “Hunger.” When Sunnata focuses on rock-solid bass lines, they add power and depth to their atmosphere (“Adrift”). But sometimes, Sunnata focuses on nothing. Even the strongest cuts overstay their welcome with meandering fuzz. As the album progresses, some full tracks get swallowed by tedium, and the moaned vocals become grating; neither undivided attention nor psilocybin can save songs like “The Sleeper” from fading into the background.²—Still, Sunnata has a talent for writing sludgy psychedelic passages that stand out from their peers. If they can trim some low-hanging fat and focus on their strengths, their next record could be a gem. 2.5/5.0

Dolphin Whisperer: Chasing Shadows seems to know exactly what it is—a dry, desert-wandering, bass-heavy affair that leans into psychedelia via shifting repetitions. And Sunnata seem to have figured out exactly how they want to explore this meditation—heavy and dark Alice in Chains vocal melodies, twangy stoner guitar refrains, and song drives that creep ever faster into their snaking swirl. Though, throughout this dusty adventure, guitar passages resemble less of the easy-to-digest percussive draws of a band like Kyuss and more of the modal and trilling explorations of similar sounds that you’d hear in an occult act like Sabbath Assembly. (“Chimera,” “Wishbone”). And on longer cuts, at least before Sunnata achieves maximum throttle, doom inflections, fat bass rumbling, and laser-pointing drone that bubbles and bakes and broils the experimental madhouse of Obake. But most importantly, as a fever dream like this sound, Chasing Shadows maintains a warping yet consistent tonality that slowly and sneakily lures as the rattle of a hissing pit viper to a lost and dazed traveler. It does, however, require a hefty dose of patience and practice to maintain a footing the whole way through its hour-long trial, its various interludes and strange darkwave closing adding little. To curious ears, though, Chasing Shadows will be an easy listen, despite its limited bag of tricks and hefty presence, and those who buy in fully to its tonal landscape may find even more rewards. 3.0/5.0

Itchymenace: Chasing Shadows reminds me of the Albert Camus story, The Adulterous Woman. In fact, the cover art seems plucked directly from the final scene in which the protagonist runs out into the Algerian desert a changed woman after realizing life with her husband will never fulfill her. The music provides the perfect soundtrack for the existential metamorphosis she goes through, or that anyone might go through when they peel back the delicate layers of life and search for deeper meaning. I did not expect to like this as much as I do, but Sunnata has created a masterpiece. This album drags you across a jagged desert landscape and drenches you in rich, dreamlike musical passages that leave you questioning your very existence. The music is complex, varied, heavy and meditative. The arrangements are deceptively simple to make the journey seem easy—until you realize you’re not in Kansas anymore. Especially noteworthy is how the bass guitar drives the compositions. Bassist Michal Dobrzanski’s tone is massive but somehow leaves plenty of room in the soundscape for Szymon Ewertowski and Adrian Gadomski’s intricate guitars and vocals. Drummer Robert Ruszczyk keeps a ritualistic tempo that seamlessly moves the caravan forward through the heart of darkness. If I were to try to describe this to a metalhead, I’d say imagine Alice in Chains trying to play Gorguts by way of Earth. Brilliant! Original! Frightening! And a new experience with every listen. 4.5/5.0³

Mystikus Hugebeard: True to Sunnata’s desert prog premise, Chasing Shadows is a mirage: captivating, frustrating, and an incomplete vision of something spectacular. At sixty-two minutes long, the length will likely prove to be as controversial as it is intentional; repetition is key to Sunnata’s songwriting, as it weaves a surreal soundscape through thick, drawn-out riffs. Sometimes, it’s entrancing. Other times, I’m just bored. The more evolutionary tracks are where Chasing Shadows come to life. The off-key vocal layers and thick, fuzzy guitars in “Chimera” and “Saviour’s Raft” take their time to progress into explosive riffs that feel earned by the buildup. Even a less progressive track like “Torn” works just by nature of how palpable the desert atmosphere is, with the chugging bass, elusive guitar lines, and hallucinatory vocals hypnotizing the listener. “Hunger” and “The Sleeper” also have a satisfying chug to them but feel emptier, with resolutions that are satisfying in the moment but still less memorable than those from earlier tracks. The worst offenders, “Wishbone” and “The Tide,” are almost completely aimless and are fully devoid of the strong atmospheric qualities that makes the rest work. The emulation of an endless trek through an endless desert is uncanny, and the aimlessness can work when paired with hypnotic songwriting like in “Torn,” but overall the lack of a meaningful destination or payoff within the already less engaging tracks only gets worse as the album drags on, and it slowly begins to drown out the parts that work well. I really love the thematic intent behind Chasing Shadows, which only makes the final result all the more frustrating that it falls short of being a truly great desert odyssey. 2.5/5.0

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While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.

So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!

Kenstrosity’s Singular Stipend

Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]

Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.

Tales From the Garden

Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]

Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.

Saunders’ Smoldering Cinders

BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]

Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”

Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]

Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.

Thus Spoke’s Forgotten Findings

Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]

I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.

Dear Hollow’s Deafening Debris

Givre // Le Cloître [March 29th, 2024 – Eisenwald]

It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.

Profane Burial // My Plateau [March 1st, 2024 – Crime Records]

The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.

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Having spread the spectrum of their influences across a few EPs, Ponte del Diavolo reigns in the fettering ambience and shriekier black metal extremes of their formative work for this debut full-length. In this regard, these witchcraft-worshipping Italians come across like a punk-edged, tremolo riff-informed Sabbath Assembly, with mic-echantress Erba del Diavolo capturing the same essence of cult-fearing warble that a fervent Jamie Meyers possesses. Except Meyers doesn’t speak Italian—Ponte del Diavolo leans on their native tongue for a majority of the album, and Miss Diavolo feels even more wild in expression on those tracks as a result. Though, the departure from that on the closing cover of Nick Cave’s “Weeping Song,” an unexpected duet with Shores of Null vocalist Davide Straccione, lands just as effectively. Oh, and did I mention this band has two bassists?

Don’t fret though, mood is the name of the game here. Ponte del Diavolo’s double low-end assault doesn’t render as jazzy madness so much as it creates the kind of effect that a band like Kylesa desires with two drummers—a doubled rhythmic presence that splinters in warped ways. While one bassist keeps a rock steady thump, the other might flit about in higher string fills between tremolo guitar runs (“Covenant,” “La Razza”) or recall a riff after it snakes down a different path (“Nocturnal Veil”), all recalling the bouncing energy of post-punk swings. And when these swelling tunes take a turn down the path of echoing occult rock refrains, guest instruments like a bellowing bass clarinet (“Red as the Sex of She Who Lives in Death,” “Nocturnal Veil”) or a screeching Theremin (“Covenant”) cut through the incensed air to increase the atmospheric hypnosis.

But more than just these eclectic touches, though moments across Fire Blades can ring self-similar, Ponte del Diavolo expresses tone in shifting, subtle ways to maintain freshness throughout. In many songs, this comes down simply to vocal choices that add character to the already snarling and charming tones that del Diavolo conjures. Quick swings into sharp highs (“Covenant”), the sardonic “la la la la la la la la la” of “Red as the Sex…,” whinnying inflections that pepper verses (“Covenant,” “Zero”)—her bags of tricks gives and gives. Conversely, guitarist Nerium stitches together phrases from a more limited repertoire but with tones ranging from chiming and wobbly (“Red as the Sex…”) to twanging and weighty (“Nocturnal Veil”) to cutting and frosty (“Demone”) to give each song a its own little wrinkle.

Ponte del Diavolo focuses foremost on the sultry, slow burn that they can imbue amongst their various identities. In its focus on tension and release through call and ritual, Fire Blades from the Tomb can hit a bit understated when it’s not in full punky black metal mode—but then again it’s not really much of a black metal album. The album’s aggression functions merely as a link between its trembling croons and its ungodly incantations with Ponte del Diavolo aiming for a jam-laden, occult doom akin to their countrymates Messa.¹ And while this full-length debut may lack the intensity of success for true greatness in its six original statements and one borrowed tune, stepping away from its mystic grip never crosses my mind. Can someone please buy me a ticket to Turin already?

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Season of Mist | Bandcamp
Websites: facebook.com/pontedeldiavolo | pontedeldiavolo666.bandcamp.com
Releases Worldwide: February 16th, 2024

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Although Byron play a time-worn style of metal, they don’t confine themselves to a single sonic palette. Early doom tends to be the jumping-off point for occult rock—think Black Sabbath and Pentagram—but that’s not the case with Byron. Chapter II… takes cues from the mysticism of Led Zeppelin (“Sword of the Apostle,” “The Golden Galley”), the swagger of Deep Purple (“Resignation,” “Return to Celephais”), and even the galloping theatrics of early Maiden (“The Lotus Covenant,” “Sometimes Dead is Better”). Melding all these influences is a tall order for any act, and Chapter II occasionally shows its seams as a result. But the more time I spent listening, the more I realized this is an energetic, well-performed, and most importantly fun record.

While bandleader Lahti takes his share of the spotlight with the curtain-raising drum fill of “Overture,” vocalist Johanna Eteläkari shoulders much of the weight of Byron’s sophomore outing. The band wisely jettisoned the weaker harsh vocals of their previous effort to place Eteläkari front and center, and the album’s all the better for it. Her performance guides a smörgåsbord of fist-pumping tracks, from the riff-fests of “The Lotus Covenant” and “The X,” to the ominous Hammond B3-led “Resignation,” and the epic storytelling of “Sword of the Apostle.” The orchestration of Chapter II lends variety and life to the album, featuring a bevy of accompanying instruments including strings, auxiliary percussion, and an omnipresent tambourine. Noteworthy guitar solos anchor Byron’s sound with classic heavy metal idiosyncrasies, but they also provide dynamic shape propelling the song rather than segmenting it (“Sometimes Dead is Better,” “The X”).

Taken track-by-track, a lot of Chapter II makes for a kick-ass occult throwback, but the album as a whole doesn’t digest quite as easily. Excluding obligatory opener “Overture,” the album only features 7 proper tracks delivering 33 minutes of runtime. Normally I’d praise self-editing and the absence of bloat, but with 7-plus minute “Sword of the Apostle” smack in the middle, I’m left with the feeling that Byron actually shortchanged the album. Songs tend to barrel through tight structures and then end rather abruptly (“The Lotus Covenant,” “The X”). The band proves they are no one-trick pony by showcasing multiple instrumental tracks, a spoken word segment, an acoustic-driven ballad, and at least two literary references—Lovecraft and Stephen King—amongst the standard sing-along choruses and shredding leads. But for all this variety it’s tough to parse out any musical through-line due to the brevity of the album. Byron rarely stay in one place long enough for me to absorb their take on the style. As much as I appreciate the skill on display, I’m left missing the definition of the band and the album alike.

That being said, Chapter II: The Lotus Covenant is still a good album that needs to build a greater sum from its parts. The band has a lot going for them in a solid lineup, solid performances, and a vibrant sound that feels resurrected and yet original. But the album as a whole is the art form at stake here, and adherents to the heady days of vinyl should keep that goal foremost in mind. Still, if you’re looking for burly riffs, catchy choruses, classic guitar solos, and a whole lot of tambourine you could do worse than Byron’s latest effort. I look forward to the band’s next album with cautious optimism, and until then I’ll turn on Chapter II when I’m burnt on genre word salad and need to tune in and drop out.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Goatmancer Records
Websites: facebook.com | Bandcamp

Releases Worldwide: January 26th, 2024

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Ah,

Lucifer loves the 70s. From the very first riff to the closing chord, it’s clear that the shift from melodic, thick-riffed doom to more traditional, slightly-psychedelic hard rock that started on Lucifer II has continued, unabated. Ferrous made a similar point in his review, but the difference here is that while the band’s original artistic vision was more in line with the retro-rock sound they’ve now fully embraced, their latest outing finds them leaning just the slightest bit into that original, rumbling heft that first grabbed the attention of so many listeners. Occult rock, meanwhile, still makes up a large part of Lucifer’s infernal DNA, with plenty of Blue Öyster Cult on display, along with a dollop or two of Coven. But more often than not, you’re hearing echoes of Kiss and Heart, the latter thanks primarily to Anderson’s tour de force performance. The result?

A solid, enjoyable album, that’s what; an occult rock excursion that features the kind of well-trod licks, howls, and solos you’d expect to hear on your local classic rock radio station, but with just enough big riffs and witchy atmosphere to get your fist pumping and your bell bottoms a’waftin’. Opener “Fallen Angel” wastes no time in revealing its sordid set of influences, kicking off with a “Tush” era ZZ Top riff that’s both catchy and fun. Follow-up “At the Mortuary” is probably my favorite of the bunch, given its ominous opening, all-too-brief doomy trudge, and catchy, Ghost-esque chorus. The Lynyrd Skynyrd-inflected riffing caught me off guard, but it pairs well with Andersson’s impressive vocal delivery. While her Dinah Lance-level of vocal power is well-known, it’s in her more restrained moments that Andersson has the most impact. Her sultry croons, for instance, are the perfect compliment to the plaintive keys and emotive solo on “Slow Dance in a Crypt,” which evokes the immortal “Babe I’m Gonna Leave You.”

Unfortunately, Lucifer’s infatuation with the 70s is often taken too far, resulting in songs like “Ride the Reaper,” “A Coffin Has No Silver Lining” and “Strange Sister” that are catchy and fun, but don’t quite distinguish themselves beyond Andersson’s enviable vocal prowess. These tunes aren’t bad, they’re just borderline bland. And coming from a group with the proven ability to write songs that both harken back while pressing forward, I was hoping for more than nostalgia bait when I cranked Lucifer V. This is compounded by instances in otherwise good songs like “The Dead Don’t Speak” and “Slow Dance in a Crypt,” which repeatedly threaten to veer into doomy territory without ever fully committing. Just as these tracks are about to take a slightly heavier (perhaps even logical) turn, they’re suddenly yanked back and sternly reminded that guitars didn’t sound like that in the 1970s.

If I sound unnecessarily harsh, it’s because while I enjoyed and recommend Lucifer V, I can envision the stronger album Lucifer could have produced had they been more willing to embrace just a bit more of their original sound; a sound they flirt with time and time again. There’s no doubt the band is plenty satisfied with the musical direction they’ve taken, yearning as they do for a bygone era. But me? I wouldn’t mind a simple return to 2015.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Nuclear Blast Records
Websites: luciferofficial.bandcamp.com | instagram.com/lucifertheband
Releases Worldwide: January 26th, 2024

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