Category Archives: Thrash Metal

Black Metal, Genre, Heavy Metal, Misc. Reviews, Thrash Metal

Mercyful Fate – Mercyful Fate (EP Review)

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Released in 1982, Mercyful Fate’s self-titled debut is often referred to as the “Nuns Have No Fun” EP but I reckon even Mother Theresa would be hard-pressed to not get a kick out of this. The Danish band battered out a high-energy update on the pace-shifting, riff-laden approach of bands like Diamond Head and Priest but earned recognition as one of the “first wave” black metal bands by virtue of being extremely, extremely evil. While their style is fairly traditional, Hank Shermann’s riffs and solos are pure malevolence and the unique range of corpse-painted vocalist King Diamond is alternately threatening and ghostly, hitting high notes only Rob Halford can hear on Devil Eyes. A Corpse Without Soul and Doomed By The Living Dead are thrashing, twisting workouts with wonderful vocal hooks. Try not singing along with “I’m a corpse, I’m a corpse, I’m a corpse without soul”. The band’s seminal albums would be more cerebral and progressive occult offerings, but the four songs here have a more boisterous and naïve sense of blasphemy. The graveyard scares, pentagram pants, “fucking angels” and a C-word laden ode to religious sisters make Mercyful Fate a uniquely diabolical, gleeful and headbanging entry in their impressive career. None more fun.

*Buying Note: This EP is also available in its entirety as part of the compilation The Beginning, which is a must-buy too.

Album Reviews, Death Metal, Genre, Thrash Metal

Pestilence – Malleus Maleficarum (Album Review)

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Pestilence are now known as death metal masters but on their 1988 debut album the Dutchmen were still in the process of pushing the Kreator-style thrash of their demos to increasingly aggressive extremes. The crunchy riffs, violent tempos, moshing breakdowns and vocal phrasing are pure thrash but the sickening bludgeon of the delivery and the Schuldiner-esque bark of Martin Van Drunen put the band on a collision course with the emergent death metal of the era. The lyrics aren’t much of a read but obsessions with science, atrocity and surgery also push things deathward (“bifurcation of the tumour”) and provide great vocal hooks for Van Drunen’s authoritative vocals in tracks like Parricide and Chemotherapy. Although they had yet to mature stylistically, Pestilence’s formidable songwriting and precision brutality makes this a must for fans of death and thrash. It’s named after the infamous “Hammer Of The Witches” treatise, yet Malleus Maleficarum is so magical from front to back that you could well suspect this band of sorcery.

Album Reviews, Black Metal, Genre, Heavy Metal, Thrash Metal

Darkthrone – Dark Thrones And Black Flags (Album Review)

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Superb artwork from Dennis Dread!

The Norwegian legends keep pumping out one amazing album after another but this 2008 release is my pick of their modern output. Black metal of the proto variety (my favourite kind): evil primitivism from the nurseries of real metal sound. Both Nocturno Culto and Fenriz are on top form throughout. Culto’s sideways, frosty riffing is at genius level on tracks like Death Of All Oaths (Oath Minus) and Fenriz blasts out crusty, howling Mercyful Fate-style traditional metal. His tracks Hanging Out In Haiger and The Winds They Called The Dungeon Shaker stand out as favourites but this whole album is top drawer fist-clenching fun with a dark intimidating atmosphere.

[Darkthrone – The Winds They Called The Dungeon Shaker]

Album Reviews, Genre, Heavy Metal, Thrash Metal

Skyclad – The Wayward Sons Of Mother Earth (Album Review)

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Skyclad – The Wayward Sons Of Mother Earth (1991)

The departure of Martin Walkyier from superb UK thrashers Sabbat was a major disappointment but the talented frontman wasted no time, forming a new band Skyclad with members of Satan and Pariah. Their 1991 debut album The Wayward Sons Of Mother Earth had plenty of the Ye Olde thrash Martin was known for but innovated with its incorporation of folk elements. And lo, a new genre – folk metal – started right here.

Martin delivers his caustic rants on social justice and ecological doom with raging charisma, backed by Steve Ramsey’s powerful and deft guitar work. There are huge thrash hooks in songs like The Cradle Will Fall (I am human!) and gothic closer Terminus but the band’s dark, dense Euro thrash does get fatiguing at times and the album is at its creative best during its folkier moments. The Widdershins Jig is a jaunty highlight (with a riff surely inspired by children’s TV show The Riddlers), Moongleam and Meadowsweet is beautifully lush (with gorgeous guest guitar from Sting’s Dominic Miller) and dramatic bursts of violin liven up thrashers like Sky Beneath My Feet and Our Dying Island.

The Wayward Sons Of Mother Earth’s combination of labyrinthine thrash and pagan textures has proved remarkably durable over the years. More notable and eclectic offerings were to come, as Skyclad followed their prolific, fiddle-mad muse to become one of the most unique and influential British metal bands of the 90s. But the debut has a uniquely apocalyptic appeal that still makes it a go-to in the band’s impressive discography. Not a perfect debut but an attention-grabbing and adventurous one.

Album Reviews, Black Metal, Death Metal, Genre, Heavy Metal, Thrash Metal

Cradle Of Filth – Cryptoriana: The Seductiveness Of Decay (Album Review)

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Cradle Of Filth are a British institution, one of the most recognisable and successful extreme acts to come from these shores. But, while they are loved and loathed by many, they’ve never made a huge impression on me either way. I’ve bought and enjoyed a fair few albums of theirs over the years but I’ve never had that phase where I’ve obsessed over them, where they were my band. Until now.

Although I was late getting to it, I was thoroughly impressed with 2015’s Hammer Of The Witches, and the band’s latest album continues in that vein. Themed around the Victorian obsession with death, Cryptoriana: The Seductiveness Of Decay is a darkly fabulous romp of hard-hitting gothic metal, delivered with expertise and passion. The overall approach is still the band’s patented blackened Hammer Horror style but there’s a whole wealth of approaches employed. Heartbreak And Seance’s romantic melodrama, thrash fury on Wester Vespertine, You Will Know The Lion By Its Claw’s pitch-black savagery and there are wonderful trad metal gallops and harmonies throughout (most thrillingly in The Seductiveness Of Decay). Best of all, vocalist Dani Filth puts each song over and then some: a spirited and veteran performance of considerable taste, breadth and character.

Hammer Of The Witches reached some peaks of excitement that aren’t quite reached here but its a nano-gripe about a near-flawless album. And, on the flip-side, the latest album has none of the excess that detracted from its predecessor. For all its expansive grandeur, Cryptoriana… is tight and direct. The pedal is to the metal at all times and the band’s cinematic flourishes are weaved and layered skilfully throughout the songs with no boring intros or interludes to be found. The style is familiar but the album is fresh and stakes its own unique place in their canon. An utterly wonderful release from a veteran band at the top of their game. My band.

Album Reviews, Black Metal, Death Metal, Genre, Heavy Metal, Progressive Rock, Thrash Metal

Akercocke – Renaissance In Extremis (Album Review)

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It’s been ten long years since Akercocke’s reign of progressive death metal terror reached a thrilling and diabolical climax with Antichrist. Although the band has lain dormant for much of the intervening decade, a vibrant scene has grown in their wake: superb “ex-Akercocke” bands like Voices, The Antichrist Imperium and Shrines forming a growing family tree that has been the source of much of my favourite music of recent years. But despite my huge love of the related bands, I’ve had a growing longing for an Ak comeback and here they are with their new album Renaissance In Extremis, the most highly-anticipated and exciting release of 2017.

Given that they reached peak Satan-worship on Antichrist, it is unsurprising that the ever-evolving British band has taken up new themes. This is a more personal and emotional Akercocke that combines topics of depression, grief and suicide with rampaging positivity and self-improvement. Complex structures and varied moods evoke the subject matter. The shimmering and colourful guitar textures would make Queensrÿche and Rush proud and it’s all given an energetic kick up the arse with an array of wonderful tech thrash riffing in tracks like Disappear and Insentience. And tracks like Unbound By Sin and First To Leave The Funeral find the band’s black/death malevolence of old is still intact.

Band photos by Tina Korhonen © 2017, all rights reserved.

The whole band performs with distinction, sounding sophisticated and polished but also raw and live. The riffs and guitar solos are sublime throughout: the guitar duo of Jason Mendonça and Paul Scanlan combine old and new metal styles with wonderful flair. It’s also especially good to hear Mendonça’s uniquely charismatic and varied vocals again. A couple of wobbly-pitched moments only add to the crazed, natural feel and Jason leads from the front like few extreme metal frontmen can.

There’s very little to quibble about here and this is a superb comeback album overflowing with originality and creativity. Progressive in the proper sense of the word, Akercocke have created another unique album to add to their discography. And one that has enough variety and maturity that many fans of classic metal fare may find it a gateway into a more extreme musical world. For those of us that already reside in that world, Akercocke’s Renaissance In Extremis is a joyous and welcome return, wholly deserving of the most diabolical and infernal praise.

Album Reviews, Black Metal, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM, Thrash Metal

Venom Inc. – Avé (Album Review)

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While the actual Venom continue under the leadership of infamous bassist/vocalist Conrad ‘Cronos’ Lant, the return of the band’s classic guitarist Jeff ‘Mantas’ Dunn and drummer Tony ‘Abaddon’ Bray as Venom Inc. has caused quite a stir. Surely two thirds of the band’s massively influential and legendary formation is better than one? And to cap it all off, the band has been rounded out appropriately and authentically with Prime Evil-era bassist/vocalist Tony ‘Demolition Man’ Dolan. It’s an exciting unit and the band has been going down a storm touring a classic Venom set. But playing live oldies is a no-brainer. Now the real test comes as the band offer up their first new material with their debut album Avé.

Venom Inc. perform like heroic metal veterans throughout. Mantas in particularly impressive form, peeling out genuinely thrilling guitar solos like it’s a piece of piss. They’re too seasoned to play with the filthy, bulldozer energy of old but as gutsy, trad metal goes much of this is hard to beat. It’s also hard to stick with. Songs like Avé Satanas and Preacher Man are average songs stretched way beyond their breaking point and, while it works better as an album track than as a single, Dein Fleisch causes a hefty lull at a crucial point.

With those three totally removed Avé could have been easily and massively improved, while coming in at the golden running time of 40min too. Ace biker metal tracks like Forged In Hell and The Evil Dead would get old heads banging again and raging thrashers like Metal We Bleed and Time To Die would give young Venom-worshipping upstarts like Midnight a run for their money too. But, as a complete listening experience, Avé is overlong, uneven and frustrating: the two thirds of Venom Inc. proving that it is possible to ‘ave too much of a good thing.

Album Reviews, Black Metal, Genre, Heavy Metal, Thrash Metal

Formicarius – Black Mass Ritual (Album Review)

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The last time I encountered the UK’s Formicarius was back in December when they contributed a track Lake of the Dead to the excellent compilation Speed Kills VII. Back then I called them “very promising” and I’m glad to report that, with Black Mass Ritual, they have delivered on that promise and then some.

Formicarius go medievil on your ass with their debut album, dishing out Cradle of Filth-style symphonic metal with power metal exuberance. The whirling atmosphere, rib-cracking riffs and exotic solos sound like Mustaine and Friedman jamming with Emperor, the potent speed metal velocity, galloping bass and catchy choruses bring to mind early Helloween and there’s a folky bent to the riffs and instrumentation that reminds me of the classic Skyclad albums.

All the performances are outstanding, from Lord Saunders’ articulate Abbath-esque croak to Morath’s grand and eloquent keyboard embellishments and solos (check out the excellent outro piano on Overlord, a standout moment). The songwriting is also uniformly excellent. An overly jaunty riff in Abhorrent Feast of Minds is the only thing close to a mis-step and it’s soon forgiven as Master of Past and Present closes the album on a dark, dramatic high.

It’s a fantastic debut: rampaging, grand black metal with a healthy dose of epic tradition and fearless creativity. In a year where I’ve been mainly knocked out by death metal albums, Formicarius have struck a decisive blow for black metal. And they’ve done it with an album that is all kinds of metal fun for all kinds of metal fans. The Black Mass Ritual begins on July 21st, don’t miss out.

Black Metal, Death Metal, Genre, Heavy Metal, Misc. Reviews, Thrash Metal

Thus Defiled – A Return To The Shadows (EP Review)

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I don’t normally get all that excited about covers EPs (Danzig excepted) but Thus Defiled’s A Return To The Shadows is a total riot. The release marks the UK black metallers’ 25th year in action and sadly, also their last. The quality-over-quantity band hasn’t exactly been prolific during that quarter century so the chance to hear some new recordings is hugely welcome.

The main attraction is the new track Armagedda In Rapture and it’s a scorcher. The impressive production is simultaneously clinical and savage. It’s pure riff destruction with fantastic demonic vocals and it’s easily the best black metal track I’ve heard this year so far. The kind of song that’s so awesome it just makes you laugh the first time you hear it.

The rest of A Return To The Shadows is taken up by cover versions and, interestingly, the band opted to only cover non-black metal material. It turns out to be a great call as the band are able to put their own spin on a batch of songs that less daring souls would consider unfuckwithable.

They scythe and scream their way through Death’s Evil Dead and Metallica’s Creeping Death. Impossible to top such classic tracks but they inject so much energy and spark into them that the effect is like hearing the songs for the first time. You can’t ask for more than that.

Next up is a bewitching version of Morbid Angel’s Demon Seed and as an extra bonus they’ve got Morbid Angel/Nocturnus legend Mike Browning adding superb ominous and cultish vocals to another belter of a track. The cover of W.A.S.P’s Hellion that closes is the weakest here, a shade lost under the windy howls of vocalist Paul C, but with repeat listens it starts to make more and more sense. The riffs are undeniable and a black metal band that covers W.A.S.P. deserves instant HMO bonus points.

It’s a brilliant EP. Tons of fun and if it wasn’t digital I’d have probably worn it out by now. Fans of extreme metal should not miss out on this download-only release (available here). All the band ask is that you donate anything you can spare to the Chuck Schuldiner-approved musician’s charity Sweet Relief. It’s a great gesture and, with the band deciding to call it day and slink off into the shadows, a great way for them to close out an impressive career of evil.

Album Reviews, Black Metal, Death Metal, Genre, Thrash Metal

Craven Idol – The Shackles Of Mammon (Album Review)

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With its stunning artwork and a concept covering themes of power, avarice and corruption, Craven Idol’s The Shackles Of Mammon promises to be a scathing, angry and cohesive statement. And for the first four tracks Craven Idol certainly sound spitting mad. Pyromancer and A Ripping Strike are absolutely raging black thrash of the old Kreator/Destruction variety, Black Flame Divination is awesome Venom-style hooliganism and The Trudge is epic Bathory-worship. But cohesion proves to be a problem as the rumbling Dashed To Death and Mammon Est prove largely forgettable and, although they are decent enough tracks, Hunger and the doomy album-closer Tottering Cities Of Men struggle to regain the listeners attention. Fans of crusty venomous metal will find lots to like here but the album frustratingly fails to capitalise on the in-your-face intensity of its first half. Overall, The Shackles Of Mammon scrapes above average but there’s a shitload of promise here if the band can deliver with more consistency.