Artist: Dominate (Col)
Release Title: Cálicem Serpente
Year: 2016
Label: Black Serpent Records
Genre: Black/Thrash Metal
Tracklisting:
1.Brave Warrior
2.Deserter
3.Cálicem Serpente
4.Evil
5.Imperial Army
6.Death Awaits
7.Unmerciful Holocaust
8.Cold Bloody Murder (Rare Version)
Formed back in 2008, the Colombian black/thrashers under the name Dominate took their time honing their cold, icy sound combining the concepts of paganism, occultism, world wars, philosophy, the return of man to his union with the universe and nature. Finally able to offer their first professional recording, the groups’ full-length debut was released in 2016 by Black Serpent Records.
From the onset, the group clearly favors the typically extreme end of the South American scene by offering everything that can be expected in such efforts. There’s plenty of traditional blackened thrash riff-work throughout here, taking up the raw end of the spectrum by going through the simplistic, straightforward paces with a reckless intensity that’s quite ferocious. Due to the rather simplistic manner the vast majority of the songs are an endless variation of fast, frantic and sloppy riff-work that blazes along at pretty consistent tempos as the only real variations found here is when it shifts into a solid mid-tempo chug following the rousing thrash-style efforts. This ends up exposing the rather sloppy and utterly simplistic matter of how the album is pretty much a showcase of one-gear songs that aren’t really technical standouts. The songs hit hard and viciously, but after awhile there’s not a whole lot to offer from this one with the sloppy and reckless play throughout here. As well, this is also hampered by being so obviously low-budget that the album does suffer from a weak production, filled with muddy guitars, weak drums and an utter lack of crisp sound ends up making this one much weaker than it should be by standing out quite obviously here. These here are what hold this one back.
While not a truly awful debut release, there’s quite a lot to like here with the infectious energy and rabid attack that’s much more prominent here that it does overcome enough of the flaws here to appeal to the fans of the South American extreme scene only while those looking for more quality in their efforts should heed caution.
Artist: Vesen
Release Title: Rorschach
Year: 2016
Label: Soulseller Records
Genre: Black/Thrash Metal
Tracklisting:
1.Damnation Path
2.Pray for Fire
3.Target: Horizon
4.Blood, Bones and Pride
5.Screaming Sane
6.Crown of Scars
7.Vulgar, Old and Sick Blasphemy
8.All in Vain
9.Away the Tormentor
10.Final Insult
Finally returning to active duty, Norwegian black/thrashers Vesen have brought forth a concept album about the deteriorating mental state of an individual and how they deal with that told with the traditional sense of style found in their previous work. As the four-year break has brought along their same progressive edge to the forefront, the groups’ fourth full-length was released December 16, 2016 on Soulseller Records.
As what was so prominently a part of the bands’ past catalog, there’s a loud, raucous attack featured throughout here that makes for a generally explosive effort. Fueled by furious, swirling thrash rhythms and a generally full-throttle approach, the vast majority of the release carries this high-energy surge through the material aided nicely by the dark, filthy production style that adds more life to the proceedings. Unleashing the thrashing riff-work to delve into a raucous charge with the high-energy, fire-spitting rhythms that are nicely topped off by the darker patterns featuring plenty of the swirling black metal patterns that are introduced here to give this one quite a prominent darker facet to the music. Balancing it out quite nicely are efforts which drop the high-energy thrashing in favor of the slow, sprawling elements that extend this one out far longer into epics that counteract the tight, vicious thrashing elsewhere here, which is a nice feature though it does seem somewhat out-of-place here with the slow, ponderous rhythms being quite jarring against the more vicious, intense stuff throughout here. It does get a little slack here being that this is a concept album requiring those be placed here to carry the storyline out, but it’s still somewhat of an issue.
As there’s a lot to like here with the bands’ vicious and intense side rather than the more epic, sprawling material which holds it back, those few minor problems are just enough to knock this one back and makes this one really for the most devout and undiscerning fan of blackened thrash metal.
Artist: Warfist
Release Title: Metal to the Bone
Year: 2016
Label: Godz ov War Productions
Genre: Black/Thrash Metal
Tracklisting:
1.Pestilent Plague
2.Written with Blood
3.Convent of Sin
4.Tribe of Lebus
5.Breed of War
6.Metal to the Bone
7.NecroVenom
8.Playing God
9.Reclaim the Crown
For over a decade now, Polish blackened thrash metal power-trio Warfist have steadily gained their experience and their style of explosive underground-flavored thrash and black metal which was fully realized with their previous release. Now, two years after that initial charge, the band offers even more of their fiery charge with a fully-immersive sophomore full-length released October 30, 2016 on Godz ov War Productions.
As was prominent on their previous release, the majority of the album here comes from a series of rocking and explosive high-energy mixtures of black and thrash metal. The vast majority of the album charges along with high-energy riffing and straightforward, charging thrash metal rhythms that keep the material tight, crunchy and utterly rabid in their speed and energy that keeps this centered around the tight charging energies from these patterns. With the ability to wrap these high energy efforts with more tight, plodding tempos featuring some heavy-handed chugging which counter-balance the ravenous, thrashing here the end result is quite nice and makes for some well-rounded times. Given that this material is all meshed together with a dirty, blackened atmosphere with the inclusion of several series of tremolo-based riff-work into the thrashing, this energetic and rousing material is given quite a healthy and impressive boost and further solidifies the bands’ connection to both genre style-points. They also manage to strike up the biggest negative which is the rather overt and seemingly one-note attack which doesn’t alternate any between these ravenous rhythms which are played out throughout the album. By staying so straightforward and unyielding in it’s approach there’s not a whole lot of chances to really get the variety going throughout here and it leaves the album so straightforward that there’s a pretty simplistic attack. This here is really the only thing that really holds this one back.
With some rather straightforward and unyielding attack that doesn’t offer up much of any chance for variety or deviation here, the sheer speed and utterly blistering attack is for the most part far more effective and dynamic that it really overcomes a lot of these issues and makes for quite an appealing effort for black/thrash fans or extreme thrash aficionados.
Artist: Hellschwadron
Release Title: Storming Obliteration
Year: 2016
Label: Mercenary Musik
Genre: Black/Thrash Metal
Tracklisting:
1.Doomed to Encirclement
2.This Is War
3.Killed, Wounded and Missing
4.Horizon of Destruction
5.Fury of the Enemy
6.Incendiary Bombs of Ruin
7.Will Die Before We Surrender
8.We Hold This Bridgehead
9.Within These Trenches
10.Storming Obliteration
11.Attack upon Command
12.Into Hellfire
13.Infiltration
14.Final Devastation
Quickly storming onto the scene, German/American black/thrashers Hellschwadron have combined together from various projects to create a rather vicious and utterly pummeling assault of old-school black and thrash metal. Unleashing a concept album about World War I and II, the two-piece project is ready to release their full-length debut July 15, 2016 on Mercenary Musik.
From the outset the band here is quite proficient and effective at generating the kind of explosive, frenzied old-school styled attack that’s quite prominently displayed here. The rattling rhythms displayed here are quite effective at thrashing along with a furious intensity and energy that gives this one the ravenous ferocity here which is quite impressive while offering plenty of blaring rhythms with the buzzing riff-work humming along nicely with these intense blasting tracks carrying on throughout here. Even more to this point if the album’s utterly raging sound which lets that blaring beast of a rhythm section generate a truly captivating energy here as it blares along incredibly well with the frantic blasts unleashing throughout here while featuring the kind of simplistic and unwavering thrash riffing which gives this the kind of furious tone and aggression that matches the rather dark tone here with the incorporation of the black metal aesthetics to the music. For the most part this here is quite the savage offering, even if there’s quite a dynamic and same-sounding effort here that comes into play with this one having no real variation at all between the majority of the tracks as it’s basically one extra-long blur of sonic violence dished out. That works in small doses, though it’s somewhat more complicated here by the exhaustive running time that’s far too bloated on an album that probably could’ve used a minor trim here and there to eliminate this. However, it has nothing to do with the content of the music itself which is quite fun and enjoyable.
Though it’s only featured in a minor flaw with an issue that should get cleared up as the band carries along in their career, that’s not nearly enough to really hold this one back from being an utterly enjoyable burst of ravenous thrashing that makes for a worthwhile listen from fans of old-school thrash or any black/thrash aficionados.
Artist: Infant Death
Release Title: Violent Rites
Year: 2016
Label: Apocalyptic Empire Records
Genre: Black/Thrash Metal
Tracklisting:
1.Troops of Dead
2.Vomit Funeral
3.Burning Wild
4.Subhuman Elimination
5.Mutilation Hammer
6.Blasphemy Prevails
7.Purified Remains
8.Malicious Lust
9.Exploder
10.False Prophesies
Simply gaining in experience with each release, Norwegian black/thrashers Infant Death have gained a formidable reputation following their previous releases and continues to showcase their frenzied and schizophrenic sound to the fullest old-school appeal. Following a split release earlier in the year and with a two-year gap between releases, the power-trio prepares it’s third full-length effort September 23, 2016 on Apocalyptic Empire Records.
As has been the bands’ style, this here is a series of ravenous, tightly-wound speed metal throughout the album which pretty much carries this one along without much deviation at all and really makes for quite the impressive attack. The charging, blistering speed and utterly relentless tempos here generated by the frantic, raving riffing makes for the tightly-wound rhythms that are characterized by their speed metal leanings while also managing to incorporate the styles template for raging, chaotic patterns that generally make for an out-of-control feeling. That inherent speed and tight, dense thrashing style is quite reckless in doling out it’s rhythms here which is an utterly enjoyable and dynamic charge that makes this one so enjoyable as there’s generally no let-up from the attack, and with the utterly furious patterns full of those frenzied arrangements on display that makes for an even tighter, more explosive offering as every track here is just utterly frantic and furious about doling out this style attack. Frankly, that does lead into the album’s one main minor flaw here in that it’s simply way too one-note with it’s approach as every track is generally a non-stop series of relentless insanity in the riffing generating a furious tempo throughout here which doesn’t change or deviate and it can lead to the album getting quite lost in itself rather easily. Because the tracks are generally indistinguishable from each other and they’re all pretty much the same length as well this one can become quite hard to tell where it’s at here and it can be a minor issue for some. However, this is barely a problem overall and isn’t too big of an issue with all the savage intensity on display.
Though this one is a pretty similar-sounding effort without much general difference between many of the tracks here, the album’s overall directness and savage approach makes this a far-more appealing and interesting effort as it goes along and generates plenty of interesting parts here for blackened thrash fans or speed metal aficionados.
Artist; Sabbat (Jap)
Release Title: Envenom
Year: 1991 (2016 re-issue)
Label: Evil Records (Fallen-Angels Productions re-issue)
Genre: Black/Thrash Metal
Tracklisting:
1.Bewitch
2.The Sixth Candle
3.Satan Bless You
4.Evil Nations
5.Devil Worship
6.Reek of Cremation
7.Deathtemptation (Kanashibari Part 2)
8.King of Hell
9.Eviler
10.Carcassvoice
11.Dead March
12.Reminiscent Bells
Reissue tracklisting:
1.Bewitch
2.The Sixth Candle
3.Satan Bless You
4.Evil Nations
5.Devil Worship
6.Reek of Cremation
7.Deathtemptation (Kanashibari Part 2)
8.King of Hell
9.Eviler
10.Carcassvoice
11.Dead March
12.Reminiscent Bells
13.Satan Bless you (Rough Mix)
14.Evil Nations (Rough Mix)
15.King Of Hell (Rough Mix)
After starting as Evil since 1981, Japanese black/thrashers Sabbat quickly changed to this more-famous moniker and have made a name for themselves toiling in the underground with their ravenous first-wave style mixture of black metal and thrash. Taking their style to the very beginning of this wave as the album was originally released in March 1991 on the bands’-own Evil Records imprint, there has been various re-issues throughout the years including the latest one by Fallen-Angel Productions released June 3, 2016.
Being that this one goes for the first wave style of the genre, from the opening marks this one manages to really utilize the rather simplistic and charging nature of the band’s punk-laced roots by focusing on the simplistic riffing with a prominent punk attitude. The lack of the traditional black metal riffing style is given a much higher work here with the swirling thrash-style rhythm patterns that are much more prominent here alongside plenty of choppy drumming and stuttering patterns that really bring about a much more evident thrash influence here rumbling along while containing the same rabid riffing and darker atmospheres as the earliest practitioners of this style. Likewise, that also manages to infuse the album with a variance of styles and tempos throughout here, as there’s a healthy amount of ripping thrashers while also making enough room for a couple plodding doom-laced epics that slow the tempo down to more of a crawl, the bands’ trademark mid-tempo style charge complete with discordant riffing and even manages to thrown in a few enjoyably decent instrumentals that wind through a nice array of tempos as well which really completes the picture nicely. While all of these elements work rather well, the album does seem to stumble somewhat here with the amount of instrumentals present here as this one manages to fire off four different ones here that bookend the album in both cases, and it’s somewhat striking that it would chose to do so as it disrupts the momentum somewhat. Likewise, the album’s rawer sensibilities might be another challenge for those getting into this one as there’s not a whole lot of traditional elements here and it comes off with more of an earlier feel that might take some getting used to. Otherwise, this one was highly enjoyable and had quite a lot to really like.
Though it’s got some minor flaws that are barely worth mentioning in the grand scheme of things here since this one has quite a lot of worthwhile material, this one manages to start them off on a strong note here and manages to go for a wide amount of appeal for those into the rawer, first-wave black metal scene or fans of the bands’ career overall.
Artist: Bewitcher
Release Title: Bewitcher
Year: 2016
Label: Diabolic Might Records
Genre: Black/Thrash (Speed) Metal
Tracklisting:
1.Bewitcher
2.Speed 'til You Bleed
3.Sin Is in Her Blood
4.Wild Blasphemy
5.Midnight Hunters
6.Harlots of Hell
7.Hot Nights, Red Lights
8.Black Speed Delirium
9.In the Night (The Cult Will Rise)
Initially forming in 2013, Oregon black/speed metallers Bewitcher have quickly set about to hone their darkened, old-school approach to black and speed metal over the years. Now that they’ve become a lethal, vicious force, the trio prepares it’s debut effort originally issued as a vinyl release August 18, 2016 on Diabolic Might Records with a CD version on Divebomb Records to come September 9, 2016.
Immediately from the start, this one impresses upon us the old-school feel to be discharged throughout here which fully encompases the rowdy, up-tempo riffing. Utilizing the fiery, frantic riff-work of speed metal in conjunction with the tremolo-based patterns of black metal it creates a truly ripping and explosive mixture here where it manages to incorporate the raucous and energetic style of speed metal thrashing along throughout the tracks with plenty of high-speed precision and tight patterns that generate the reckless out-of-control nature of the style. The wild, raw energy that brings here is married nicely with the ferocious black metal aesthetic where the tremolo patterns and steady, swirling tempos creates a highly enjoyable and rousing style of evil old-school sounding speed metal. Though it’s quite competent and proficiently played, the tight riff-work here doesn’t really generate much variety in the rhythm section here as the deep, raging rhythms displayed aren’t all that different from the type of material featured elsewhere on here where it just tends to run through the same thing over and over again which doesn’t really give this much of an identity here within the music with it really just tending to come off as the type of rousing-but-formulaic approach that really lets the second half sink into a mire of familiar-sounding rhythms and tempos that don’t really differentiate themselves all that much. Likewise, the gravelly hard-rock inspired vocals aren’t exactly that appealing and tend to come off in a whiny pitch compared to the rest of the music and takes some getting used to even if it does eventually come off fine. Beyond these issues, there’s not a whole lot really to dislike about this one.
Though there’s plenty of enjoyable elements to be found here, the fact that this one really does manage to feature some minor, and in some cases barely detrimental issues does make this a solid and really recommended variation for those that enjoy this rocking brand of black/speed metal or those that enjoy the faster, thrashier end of black metal.
Artist: Nominon/Sabbat (Jap)/Blaspherian
Release Title: Trident of the Macabre split album
Year: 2016
Label: Fallen-Angel Productions
Genre: Swedish Death Metal; Black/Thrash Metal; Death Metal
Tracklisting:
1.Nominon - Release in Death
2.Nominon - Mountain of Hate
3.Nominon - Son of Doom
4.Nominon - Rigor Mortis
5.Sabbat - The Egg of Dapple
6.Sabbat - Mion's Hill (20th Epic Gezol Version)
7.Sabbat - Splatter
8.Sabbat - Harmageddon
9.Blaspherian - Praising Impurity
10.Blaspherian - In the Shadow
11.Blaspherian - Lies of the Cross
12.Blaspherian - The Blessings of Sanctity Rescinded (Live)
The new split release bringing together Swedish deathsters Nominon, Japanese black/thrash maniacs Sabbat and Texas death metal revivalists Blaspherion on one platter is a wholly enjoyable sampling for each of the bands presented. Released March 5, 2016 on Fallen-Angel Productions, this is one of the more impressive and enjoyable splits in existence.
For Nominon, the name of game is straightforward Swedish death metal and they’re not fooling anyone with the opening notes signaling their intention of paying homage to those greats from the start. Deep, churning chainsaw-flavored grooves and that rattling old-school production are in full-effect and not for a second are dropped throughout here as the up-tempo rhythms are at the forefront of their attack and it’s just simple, straightforward efforts. This straightforward attitude might wear on some, but the competence of their attack more than makes up for it.
The Japanese entity Sabbat, known for their productivity and ardent work-ethic, offers a simplistic and slightly rawer take on the old-school black/thrash style as the central riffing is built around simplistic plodding thrash arrangements with plenty of weirdly-accented vocals that adds a wholly appealing dynamic to their sound. They’re ultra-simplistic and even somewhat sloppy in their arrangements, but those weird vocals over the raw rhythms make it a slightly more appealing take with these creating such a different stylistic take compared to the more death metal-oriented groups surrounding them on the split. The rawness and simplicity might be too much for some to take, but they’ve been around this long for a reason.
Lastly, Blaspherian is a rather curious case with their old-school Incantation-worshipping style that comes straight from their playbook. From the tight, swirling riffing and rather brutal attack, there’s a simplistic approach to their attack that’s given all the more life here based on their production style that effectively matches that dirty, droning style so prominent in that approach. It’s all quite obvious and apparent of this influence as the choppy swirling rhythms and propensity for including sprawling sections of extended laid-back tempos, yet this works for their favor by allowing for plenty of easy-access to their sound by being this familiar to their chosen approach.
The fact that all of the bands have some impressive and stylish work representing them is an impressive enough feat here that on the whole this effort serves as an easy introduction to every one of the bands featured and makes for a highly enjoyable and recommended split anyways.
Artist: Ragehammer
Release Title: The Hammer Doctrine
Year: 2016
Label: Pagan Records
Genre: Black/Thrash Metal
Tracklisting:
1.First Wave Black Metal
2.Unleash the Dogs
3.Wróg
4.Warlord's Fall
5.Knives
6.I Am the Tyrant
7.Pure Hatred
8.From Homo Sapiens to Homo Raptor
9.Spotkanie z Diabłem (Krzysztof Klenczon i Trzy Korony cover)
The debut full-length from Polish black/thrashers Ragehammer offers a hugely enjoyable take on the style with all the full-on promise from their early days realized in the flesh. The basic riffing style is full-throttle and viciously savage thrash metal at it’s heart, utilizing the intensity and aggression at full chaotic bents and dive-bombing along throughout the album here which generates a relentless energy rattling through frenzied arrangements that takes their thrash roots at the fullest. It’s energy is given a fuller sheen with the dirty black metal rhythms that take on a far greater appeal here due to the seamless meshing with the thrash riffing which leaves this one overall feeling absolutely devastating with the savage thrashing riff-work taking plenty of dirty rhythms that has so much connection together which fully makes this one seem incredibly old-school in approach. Alongside the rather ravenous rhythms brought up here, the band also manages to dip rather nicely into the past with their rather fine ability to carve out a solid mid-tempo style that charges along quite nicely here since this one does tend to ease up on the throttle here. As it does go for more of a charging attitude during those sections, these charging attitudes tend to speak to more of the old-school approach on display with the ravenous, frenzied riffing being offset by the tight chugging for a stylish counterpoint and making for an even more dramatic break against the thrashing, giving this a strong and impressive overall sound. The album only really stumbles in a few small areas, mostly the cover track at the end which feels too simple and different from the rest of their original material but it’s still a walloping, dynamic debut.
The first half here gets this started incredibly well. Opener ‘First Wave Black Metal’ takes a thumping mid-tempo series of riff-work before racing along to furious filthy thrashing riffing and speed-drenched rhythms as the up-tempo series of frantic drumming and ravenous riff-work brings the speed along through the solo section swarming through the final half for a spectacular opening impression. ‘Unleash the Dogs’ features a slow dirge of pounding drumming and a churning series of riffing that fires through blistering thrash riffing with frantic drumming careening throughout the unrelenting riff-work as the ravenous patterns build in speed and intensity throughout the finale for a truly ripping highlight. ‘Wróg’ fires through furious, frantic drumming and stellar thrashing riffing with full-throttle tempos charging along through a series of dive-bomb pattern rhythms offering frenetic razor-wire patterns carrying plenty of speed and intensity reaching a feverish pitch in the final half for another explosive and chaotic highlight. ‘Warlord's Fall’ uses ravenous drumming, tight razor-wire riffing and blistering rhythms to careen through a frantic series of mid-tempo patterns that nicely drop off into a series of stellar swarming sections plodding through the middle before firing through the finale for a highly enjoyable offering. ‘Knives’ takes swirling riffing and steady charging drumming along a thrashing mid-tempo series of spindly rhythms featuring plenty of thumping patterns holding the steady paces along through the sprawling sections in the mid-section as the pounding drumming turns into a series of ravenous rhythms along through the final half for a strong overall effort.
The second half here is just as explosive and intense as the first. ‘I Am the Tyrant’ features swirling mid-tempo rhythms and utterly relentless drumming marching along to a feverish tempo with plenty of dirty thrashing riff-work careening along to the rumbling bass-lines as the savage, driving patterns keeping the energetic tempos along into the finale for another strong highlight. ‘Pure Hatred’ utilizes ravenous swirling riff-work and pounding thrash drumming winding along through a series of intense patterns while the rhythms soon drop off into mid-tempo charging paces with plenty of pounding swirling drumming bringing along the frenzied chaotic thrashing into the final half for a dynamic and impressive effort. ‘From Homo Sapiens to Homo Raptor’ uses utterly ravenous thrashing and plenty of explosive drumming raging along through the up-tempo paces with the swirling patterns rattling along to the razor-wire riff-work careening along through the blistering full-throttle tempos racing through the finale for a truly enjoyable and raging thrasher. Finally, the Krzysztof Klenczon i Trzy Korony cover ’Spotkanie z Diabłem’ uses the punk-lined rhythms and blistering energy quite well with the frantic off-the-rails intensity and speed carried over quite nicely and feels at home with their other work if only the simplistic material didn’t stand at odds with their other thrashier work, but is still a solid and engaging lasting impression.
There’s a lot to like here with the album’s viciousness and intensity running quite heavily here as the heavy thrash influence takes centerstage in creating a fantastic energy that makes this a wholly appealing effort that will undoubtedly appeal to old-school thrash or dirty black metal.
Artist: Reencarnación (Col)
Release Title: Reencarnación (reissue named 888 Metal)
Year: 1987 (reissued in 2015)
Label: Originally self-released/independent (reissue on Nuclear War Now! Productions)
Genre: Black/Thrash Metal
Tracklisting:
Original release
1.Reencarnación (888 Metal)
2.Nexus Universalis
3.Armageddon
4.El Canto de los Sepulcros
5.Puta Religión
6.A la Diestra del Mesías
7.Funeral del Norte
8.Reencarnación (II Parte)
Reissue release:
1.Reencarnación (888 Metal)
2.Nexus Universalis
3.Armageddon
4.El Canto de los Sepulcros
5.Puta Religión
6.A la Diestra del Mesías
7.Funeral del Norte
8.Reencarnación (II Parte)
9.Reencarnación (III Parte)
10.Un Minuto de Vida y un Siglo de Muerte
11.Acompáñame a la Tumba
12.Reencarnación (888 Metal)
13.El Canto de los Sepulcros
14.Armageddon
15.Puta Religión
16.A la Diestra del Mesías
17.Funeral del Norte
18.Acompáñame a la Tumba
The debut full-length from Colombian black/thrashers Reencarnación is certainly an album more renown for it’s historical significance and importance rather than the actual content of the music within. Sloppy, discordant and simply amateurish riffing is the hallmark here all given a raw edge with the low production values in place that really gives the whole affair a ivibe of a garage-level demo recorded without professional equipment in place. There’s no real consistent arrangements on display regardless of how badly-produced it sounds, tending to alter the kind of patterns and paces here into discordant affairs with a choppy structure that radically starts and stops at various points throughout the tracks which makes it seem like they’re conceived right on the spot improvisationally. Other forms of discordant patterns emerge through the use of obscure arrangements and segments placed here that slow the material down into a series of sprawling tempos that are just lethargic and plodding or featuring unusual instrumentation with classical violin pieces from that are just out-of-place and wholly disjointed against the thrashing elsewhere. On the whole the music here is not that good being too sloppy or amateurish to really make an impression.
The first half here demonstrates what’s on display here nicely, even if the songs generally aren’t. Intro ‘Reencarnación (888 Metal)’ takes a stuttering series of start/stop riffing and pounding drum-work into a fine series of sloppy raging rhythms full of discordant riffing over clattering drumming and frequent tempo changes full of schizophrenic patterns raging along into the final half for a decent enough opener. ‘Nexus Universalis’ features a staggering, discordant series of riffing into a loose series of blackened thrashing with plenty of loose, sprawling riffing alongside the raging drumming taking along a steady mid-tempo attack featuring lethargic rhythms and discordant notes through the finale for an overall disappointing and bland effort. ‘Armageddon’ uses a stuttering series of discordant riffing with a series of bland plodding drumming over sampled effects dragging the pacing down with sprawling, droning riff-work leading into the series of frantic riff-work and urgent blasting drumming coming through the final half for a wasted first part yet enjoyable second part. ‘El Canto de los Sepulcros’ features a series of swirling riffing and clattering rhythms slowly galloping along into a series of discordant rhythms featuring wild schizophrenic patterns charging along with the swirling riffs churning throughout the extended thrashing of the final half makes this the album’s highlight without much difficulty.
The second half is again a rather weak and overall disappointing part of the album. The minute-long instrumental ‘Puta Religión’ features simple drumming and celestial keyboards creating a localized, haunting landscape over the tolling bell-strikes and monster growls for a totally useless mid-album breather. ‘A la Diestra del Mesías’ features stuttering and discordant riffing along with plenty of pounding drumming into a series of blasting drum-work and plenty of sloppy riffing thrashing through stuttering tempos littered with savage, choppy drumming leading into the final half for a decent-enough if rather problematic effort. ‘Funeral del Norte’ uses a sharp series of swirling thrashing riff-work and clattering drumming working through a series of stuttering tempos and discordant pattern riffing with the raw rhythms taking the chaotic energy along with more choppy, stuttering rhythms along through the finale for another somewhat enjoyable effort. Lastly, the epic album-closer ‘Reencarnación (II Parte)’ uses classical violins alongside rattling drumming and stuttering riffing with plenty of staggered rhythms and plodding paces that bring the utterly sloppy rhythms along through the violin pieces and the extended, sprawling tempos full of clattering rhythms for another disappointing effort that ends this on a rather disappointing note.
Even though it’s one of the most important and respected album in the South American extreme metal scene, there’s just not a whole lot on display here that’s really appealing and ends up leaving this one only for the most devout and impassioned fans of that style with this particular version of the release being the one to get should that be desired.
Artist: Invocation Spells
Release Title: Descendant the Black Throne
Year: 2015
Label: Metal Command Records
Genre: Black/Thrash Metal
Tracklisting:
1.The Betrayal of Bastard
2.Lust to Death
3.The Black Rite
4.Occult
5.Under Shadows of Pentagram
6.Revenge of the Serpents
7.Descendent the Black Throne
8.The End of Time
The second full-length from Chilean black/thrashers Invocation Spells manages to get some enjoyable elements featured within here with the old-school tone mixed alongside blazing thrash rhythms. For the most part here, this one is simply based on blazing old-school black metal with a raw edge here that makes the band sound that much more darker and primitive than expected. Firing off volleys of impressive tremolo-picked patterns that pack that brimstone-scented touch so heavily present in the Norwegian scene, this here is mixed with a generous dollop of South American primeval-sounding production that helps add to the general air of dirty old-school flair here which ends up making this one so much fun throughout here. With this old-school style played nicely alongside thrashing patterns with that kind of up-tempo pace from the thrash rhythms, there’s a whole lot to really enjoy here. While there’s some good here in keeping the tracks short with that punk-ish attitude with their compactness, it does lower the second half somewhat as the simplicity sticks out somewhat from the first half and making the album come off a little unevenly here, but that’s of minor consequence.
The first half gives this a strong hit of what’s to come. First up ‘The Betrayal of Bastard’ features swirling riff-work and steady rhythms along through the mid-tempo rhythms featured with the rattling old-school thrashing carrying along through the vigorous up-tempo riffing running along throughout the steady final half for an engaging opener. ‘Lust to Death’ uses immediate thrashing riffs with plenty of fiery mid-tempo tremolo patterns charging alongside pounding drumming carrying the bouncy up-tempo paces carrying the dirty thrashing riffs into the finale for a decent enough shorter thrasher. ‘The Black Rite’ uses sparkling tremolo riffing and explosive drumming through a savage up-tempo thrashing paces with the swirling, razor-wire tremolo riff-work keeping the fiery tempos going along through the pounding drumming charging through the final half for a much more enjoyable shorter effort. ‘Occult’ blasts through buzzing tremolo patterns and rocking up-tempo thrashing rhythms featured into a steady mid-tempo pace with hard-hitting riffing throughout as the furious rhythms alongside the charging finale which makes for another enjoyable effort.
The second half here is a slightly lower but still enjoyable part of the album. ‘Under Shadows of Pentagram’ features a stylish tremolo riff thrashing through the charging up-tempo paces as the blasting drumming and rocking energetic rhythms carrying the simplistic arrangements through the up-tempo final half for a rather enjoyable offering. ‘Revenge of the Serpents’ utilizes a simple, rocking thrash riff with fiery tremolo patterns pounding away with scores of dynamic drumming keeping the charging energy throughout leading into the raucous, dirty riff-work in the finale for an impressive and enjoyable punk-laced thrasher. The title track rages through a soaring series of tremolo-picked rhythms and dynamic pounding drumming taking the simplistic energies throughout the utterly frantic rhythms featured throughout the charging, raucous rhythms in the final half for another strong effort. Finally, ‘The End of Time’ brings along the horror-film sampled intro that slowly turns into a series of buzzing tremolo riffing and pounding, simplistic drumming that continually races through the series of frenetic rhythms through the blazing tremolo riffing that thrashes along into the finale for an impressive lasting impression here.
Though there’s some rather enjoyable fun to be had from their old-school black metal styled thrash that comes off nicely, the weaker sections here do stick out enough to make this seem a little more likely for those only interested in this kind of ravenous South American style of extreme metal or those looking for some new form of black/thrash metal.
The debut full-length release from Norwegian black/thrashers Wendigo brings about an utterly fun take on the style that offers plenty of enjoyable moments about it. Based more on the kind of simplistic, stripped-down punk-style rhythms over the blasting drumming that rumbles along at a frantic tempo, the biggest factor here with this one is the more prominent bass-lines that are at the forefront of the band's sound which certainly makes for a louder, heavier style series of rhythms to be found here which is far more of a dirty, punk-rock style sound that meshes so well with those ravenous thrashing riffs. While these elements make for an utterly explosive mixture when played at their upper tempos, which thankfully is far more prominent, the more simplistic mid-tempo efforts come off far lower in terms of working through the slower end of their sound as there’s some more enjoyment found in their upper-tempos. Along with these strong elements, there’s some nice fun to be had from the experimentations found in the second half where they manage to incorporate a bit of keyboard prominence into the rhythms which tends to give this a kind of horror-film ambience that nicely mixes with their dirty riffing and subject matter which is a rather odd mix that doesn’t really seem to mesh well with their more rocking style. It’s a nice attempt at variation and there’s some decent moments at work, but there’s far more to like elsewhere here.
The first half here certainly starts this off on a fine note. Opener ‘Gore Infested Basement’ uses furious thrashing riff-work and pounding drumming rocking along at a frantic tempo with a driving intensity throughout the full-throttle pace with the utterly dexterous bass-lines rumbling along with plenty of frantic tremolo leads alongside the blaring bass-lines pulsating into the raging final half for an utterly infectious opener here. The droning epic ‘Cannibal Ritual’ features a rocking mid-tempo charge with blaring bass-lines thumping along to the simple approach with the rocking, single-minded riffing carrying along with plenty of tight riffing offering stellar mid-tempo paces along through the droning chanting and sprawling patterns found in the keyboard-led final half for an altogether-enjoyable if a slight letdown from from the previous effort. ‘The Anthropophagist’ blasts through a frantic mid-tempo charge with plenty of blaring bass-tones alongside the tight, thumping drumming carrying the frantic riff-work through the series of swirling riff-work and tight, blaring rhythms along the mid-tempo finale which makes for a fine overall effort. ‘Serpent Master’ opens with tight, raging riff-work and frantic rhythms with plenty of blaring drumming and plenty of furious thumping bass-lines taking the charging riff-work into rather furious tempos with the frantic patterns dropping off into a tight mid-tempo burst through the final half for another stellar offering on display. ‘Wendigo Psychosis’ takes a rocking up-tempo drum-beat and dynamic blaring bass-lines with the thumping riff-work carrying the simplistic rhythms along through the rocking series of up-tempo paces full of wholly dynamic and pounding drumming blaring through the extended finale for a rather frantic and enjoyable track.
Though slightly experimental in nature, the second half still feels quite cohesive with the upper half. ‘Fear (Is Big Business)’ uses a cinematic-style haunting keyboard riff over a simple, charging series of riffs with plenty of swirling riffing and plodding drumming slowly lurch through pounding rhythms and a furious blast of feral energy through the scorching riff-work augmented by ethereal cinematic keyboards throughout the final half for another absolutely stand-out highlight. ‘Human Flesh’ utilizes frenetic riffing alongside plenty of simple, rocking drumming that features a rather energetic mid-tempo pace as the swirling rhythms carry the simple melodies along with the haunting keyboards into the rocking finale for a rather needless throwaway track. ‘Live Lobotomy’ offers up more atmospheric keyboard melodies slowly through the simple, chugging rhythms with plenty of simple thumping drumming alongside the rumbling bass-lines with the atmospheric keyboards effectively drawing the atmosphere along into the final half for a fine if unspectacular effort. Album-closing instrumental ‘Ending’ takes a strong, classical piano melody with plenty of cinematic soundscapes through a simple tone offering a fine ending note for this to go out on.
While there’s a lot to really like here, it ultimately works a little too many obscure ideas into this one that does hold it back with all the seemingly contradictory elements at play, and even though this is a debut which deserves a few breaks due to them not having found their sound yet it really serves itself well enough to be worthwhile of fans to that genre of dirty rocking black/thrash.
