Review: Vampirska – Vermillion Apparitions Frozen in Chimera Twilight

Review by Sandre the Giant

Raw black metallers Vampirska (a feminine term for vampiric in many Slavonic languages) have been very busy in the last year or two with multiple splits and a debut full length. ‘Vermillion Apparitions Frozen in Chimera Twilight’ is their second album and it will be out in March next year through Inferna Profundus Records.

The ominous hiss of ‘Dreamback: Drowning in Anhedonia’ opens the record with an immediately sinister vibe, followed by a cold melody line plucked from a lonely guitar. ‘Midnight: An Illusive Vision into the Boundless Sky of Mourning Stars with Prominent Eyes’ is the first track proper, and is powered by an intense buzzsaw riff that barely lets up for the full length. Rasping shrieks echo beyond this wall of tremolo sound, and you can get the ‘Filosofem’ influence straight and true. There’s some nice use of organ to help create a grander sound, but it is all about the black metal and the rawness, necroness of it all. ‘Astral Transfixion: My Heart Devoid of Any Entity’ has some cool, spacey effects in it that strip out the black metal and give you an odd trippy ending which I quite like. ‘Pareidolia: The Bringer of Poison: Toxic Passion’ is orthodox in its approach, but I do feel like you keep getting this insidious melodic nature seeping through the necro blizzard. The triumphant sweep of ‘Vermilion Apparitions: Five Hundred Sleepless Nights… Drained by Distress, All I See is Red…’ is a bit of a mouthful but the music is an incredible odyssey of second wave black metal beauty; fragility masquerading as harsh power.

Each track has these moments where the straightforward rawness is taken from us to expose something more nuanced, different and atmospheric. Sure, ‘Vermillion Apparitions Frozen in Chimera Twilight’ is a traditional black metal album at the core, but it doesn’t stop the band from occasionally messing with the formula and adding some different pieces to this monochromatic puzzle. Vampirska are one to watch.

https://vampirska.bandcamp.com/

https://infernaprofundusrecords.bandcamp.com/

Review: Consecration – Reanimated

Review by Sandre the Giant

The desolate, crawling British death/doom of Consecration have filled the space between 2019’s ‘Fragilium’ and next year’s new full length by rerecording some of their older tracks on ‘Reanimated’. As their sound has only got darker and more brutal over their decade plus existence, it’ll be good to see how these tracks from 2010 and 2011 hold up. It is out now through Cavernous Records.

Opener ‘Cast Down for the Burning MMXXI’ is a guttural, churning swamp of crushing riffs and inhuman growls. It shows a great love for Asphyx, Autopsy and even the haunting murk of Winter as well, while the squalling sludgey ‘Gut the Priest MMXXI’ seems to wring pure suffering from the guitars. This isn’t your vast, shimmering and imperious death/doom; this is ancient, decomposing, a crumbling epitaph of evil. The cold tones that open ‘Domain of Despair’ slowly build, adding a layer of distorted filth and all the while a funereal pace is kept steady. That is one constant with ‘Reanimated’; the slow tortured pace of it allows each little nuance space to breathe and in fact increases the dread factor.

‘Reanimated’ is a fantastic stop gap release while we wait with baited breath for the next full length. It reminds you of Consecrated’s real grasp of what makes death/doom the way it is, a sense of true eldritch weight and darkness. This is as desolate and suffocating as it comes, and you can see exactly where the foundations of ‘Ephemerality’ and ‘Fragilium’ were lain in ancient ground.

https://www.facebook.com/Consecration666/

http://consecrationdoom.com/

https://www.facebook.com/CavernousRecords/

Review: Vaticinal Rites – Vaticinal Rites

Review by Sandre the Giant

UK newcomers Vaticinal Rites were formed during 2020 and if death metal isn’t the perfect genre to encapsulate the isolation, frustration and brutality of a global pandemic and social chaos, what is? (Funeral doom might be a little on the nose…) Their self titled, self released debut EP is out now, and CD & cassette versions are being handled by Redefining Darkness and Caligari Records in North America, cassettes by Dry Cough in Europe.

Intro ‘Dysphoria’ sets the ominous scene with cold industrial undertones and a quiet guitar feedback squall before ‘Telekinetic Blood Ritual’ brutalises us with its technical and yet very atmospheric guitar work. The promotional materials I got for ‘Vaticial Rites’ mention a Greek influence that is totally spot on but I would’ve missed completely. It’s got that eerie, candlelit crypt feel to it, all the while giving us great early 90s death metal brutality. ‘Burning Elysium’ has huge chunks of melody thrust into its Morbid Angel-esque guitar wizardry, while closer ‘Flesh Portal’ is like Deicide played early Amorphis covers; a heady mix of Floridian weight and European atmosphere.

As with all excellent debut EPs or demos, the disappointment comes when it’s less than 15 minutes long and done. Vaticinal Rites have done enough on this short piece however to convince me that their future is very bright as a refreshing new voice in the UK underground, and hopefully when the full length appears all the exciting flourishes shown here will manifest themselves fully. Great.

https://www.facebook.com/vaticinalrites/

https://vaticinalrites.bandcamp.com/releases

Review: Autumn Nostalgie – Ataraxia

Review by Sandre the Giant

‘Ataraxia’ is the second record from Slovakian post/atmospheric black metallers Autumn Nostalgie, a project that grew from the ashes of a dark ambient act called Fekete Erdő. It is out now through Northern Silence Productions.

‘Bevezető’ opens the record with a glacial post rock intro, bringing to mind Sigur Ros before first track proper ‘Alámerülés’ takes over with much more black metal. The music is spacious however; melody breathes within rasping vocals and a soaring tremolo guitar. You aren’t swamped with blastbeats or anything overly necro but the epic scale still has its share of grimness at times. The main scope of this record definitely seems to be playing with grand melodic soundscapes within a black metal framework though, and throughout tracks like the sweeping darkness of ‘Memento Vivere’ and the gloomy dark ambience of ‘The Dark Night of the Souls’ or closer ‘Shadow of Summer Trees’, you get the sense that the black metal parts are at risk of blowing away entirely.

But there are parts of ‘Ataraxia’ that rein those parts back in and give us that more blackened edge like ‘The Abyss of Realisation’, shimmering Cascadian black metal atmospherics punctuated with savage vocals. If anything, it is a reminder that black metal can be a state of mind and a feeling, not just a codified genre structure. The title track could be the purest black metal track here, and ‘Ataraxia’ as an album sometimes feels like it is trying to be two opposite things at once. But it mostly works, flowing seemlessly between post rock and atmospheric black metal with little difficulty. Autumn Nostalgie seem to work as a grower for me, and there’s nothing wrong with that.

https://www.facebook.com/Autumn.Nostalgie.Official

https://autumnnostalgie.bandcamp.com/

https://store.northern-silence.de/en

Review: Boarhammer – I: Cutting Wood for Magickal Purposes

Review by Sandre the Giant

Boarhammer are a two man black metal band from Germany, whose debut record ‘I: Cutting Wood for Magickal Purposes’ is a DIY demo release, and will be released at the start of December on Bandcamp. This is black metal straight from the primal beginnings of the genre.

Opener ‘Riding the Hedge’ builds slowly through a creeping drum and whispering vocal into a cacophonous, murky black metal attack, raw but not in an unlistenable way. There is a variety of pace changes, a lot of Venom influence and even a creeping melody line or two. Lyrically the band focus of woods and mysticism, the ancient world of medicines and magicks of folklore. ‘Channelling Wormwood Spirits’ is a very proto-black metal song, with enough NWOBHM elements to throw you off, while the more overtly evil-sounding ‘Spirits on Black Wings’ has plenty of eerie atmospherics to accompany its mystic darkness.

‘Tatra Wolves’ even has a pure Sabbathian opening riff, before the rabid filth takes over again. Boarhammer’s sound is delightfully grim, an intense cocktail of cavernous vocals and foggy guitarwork that obscures everything like smoke from sacrifical fires. ‘Ritual Tusks’ is a couple of Tom G Warrior ‘UHH’s away from being a lost Celtic Frost track from ‘Morbid Tales’, while closing Mercyful Fate cover ‘Black Funeral’ does its best necropunk Darkthrone impression with absolutely killer conviction.

I feel like there aren’t enough bands like Boarhammer in black metal; people who get the magic of that earliest period, the very first wave, when the genre’s first primal steps from the miasma of Hellhammer/Venom/Bathory were taken and began to twist heavy metal into its blackest form. Much is always made of that influence, but the second wave is always the one most pillaged. ‘I: Cutting Wood for Magickal Purposes’ begins to breathe life into that most ancient fetid corpse, and maybe on their next release the reanimation will be complete. This is great stuff

https://boarhammer.bandcamp.com/releases

Live Review: Live Burial/Devastator/Tyrannus/Night Fighter (20/11/21)

Eighteen long months since the last time I stepped foot into a gig venue (the last being the ill fated Testament/Exodus/Death Angel tour that ended in them all getting Covid in Europe afterwards. Killer show though) and at last the Killchain is back to live music. This gig could have sucked balls and I would’ve enjoyed it to be honest, but I was lucky that it wasn’t the case. It was a very important learning experience for me as well, because I have spent a lot of time over the last year finding music from all over this world, and have spent too much time ignoring the stuff at home. These four excellent British bands have reminded me that there is so much on my doorstep I don’t know much of yet, and that will have to change.

A quick word about our venue, the 13th Note in Glasgow where I had never been to before but it was a great intimate venue where you could touch the ceiling and feel every single note rattle around the 70-80 or so people in there. I hope to attend more gigs there in the future, and possibly even get better pictures. Frankly though I was so ready for a gig that I almost didn’t take any, forgetting my blogging responsibilities.

Night Fighter was up first, and this was totally new to me. A one man old school blackened thrash/speed metaller complete with the classic white high tops, Inkulto tore through some killer tracks with gleeful intensity, dripping with classic Sodom and early Slayer references. I am now trying to get a hold of everything he does, because I was hooked.

https://www.facebook.com/nightfighterspeedmetal/

https://nightfighterglasgow.bandcamp.com/

Tyrannus were next, and despite vocalist Callum Cant complaining that his vocals wouldn’t be up to scratch, they were fucking great as well. I have reviewed both their releases here on the blog, and have been very taken with their cosmic black/death sound. Their sound has evolved from that rampant proto deaththrash of their debut into something more nuanced and varied without losing any of that fire. I was here to see if their sounds translated well to a live setting and I was very happy. Two for two so far!

https://www.facebook.com/TyrannusEtImperium

https://tyrannus.bandcamp.com/releases

Derbyshire’s Devastator were, other than a quick listen through their Bandcamp that day, a new entity for me. Their sound is much more black metal influenced, striking black and red facepaint a stark reminder of the influence in their fearsome, Sodom/Possessed style assault. They provoked the first pit of the night with the visceral ‘Hail Death’ and even treated us to a cover of the Teutonic black thrash classic ‘Blasphemer’, dedicating it to Night Fighter due to his Sodom backpatch and awesome moustache. The camaderie among these four bands was great to see and something that I definitely missed from being at gigs.

https://www.facebook.com/devastatoruk/

https://devastatorblackthrash.bandcamp.com/

At this point, Newcastle’s Live Burial had really been pushed by the three bands before to come out and deliver a performance to top them all. But if there was ever any doubt, it disappeared from the moment that their first song hit. I’ve followed the band since their first demo in 2013 but have never had a chance to see them live until tonight and holy shit are they fucking heavy. Massive Obituary/Autopsy style riffs crush those of us brave enough to remain, and the brutal ‘Swing of the Pendulum’ is a highlight amongst a tight and fearsome set. We’re treated to a new song as well, and it looks like Live Burial’s reign of imperious old school death metal is going to continue.

https://www.facebook.com/LiveBurial

https://liveburialdeath.bandcamp.com/releases

I’ve had four gigs cancelled or rescheduled on me this year, and I thought I was going to go an entire calendar year without a concert for the first time since 2002. Thank fuck for these four bands, not only have you saved me that indignity but you’ve reignited my love for live metal and the UK scene in general. All four of these acts deserve your attendance, your support and your money. Metal is FUCKING ALIVE AGAIN!

Review: Cronos Compulsion – Cursed and Decaying

Review by Sandre the Giant

Cronos Compulsion hail from Denver, Colorado and their debut EP, ‘Cursed and Decaying’ is three tracks of chaotic death metal mixed with a healthy dose of harsh noise to increase the aural terrorism to the max. It is out on the 25th of November through Caligari Records.

The opening title track has a killer riff to start us off, and when the low end comes grinding in it becomes a ground shaking assault. It’s got a big doomy, Asphyx-like kick to it but even denser if that was possible. Lumbering like some kind of necrotic titan, the atonal melody lines and chasmic vocal growls interplay well with the suffocating deathly doom. ‘Nameless, Ageless’ is a more straightforward affair, a psychopathic bludgeoning with blunted riffs, cavernous roars and a sense of urgency. It is relentless in attack, thick and chunky but smothered in harsh noise towards the end that leaves you a little disorientated. Closer ‘Neolithic Meditations’ is a rumbling, crushing behemoth of a piece; abyssal roars announcing the collapse of the universe with planet smashing riffs and an atmosphere that appears to be sucking the life out of me as I listen.

‘Cursed and Decaying’ is apocalyptic, a visceral wall of sound coming at you with endless weight. Cronos Compulsion have got the sound nailed immediately, and now need to build upon this foundation into something bigger and more devastating for their next release because I am ready for it. You should probably get in on the ground level, because whatever comes next may crack the earth beneath us.

https://www.facebook.com/cronoscompulsion

http://www.caligarirecords.com/

https://cronoscompulsiondeath.bandcamp.com/releases

Review: Depleted Uranium – Origins

Review by Sandre the Giant

Canada’s Depleted Uranium’s new (old?) record, ‘Origins’ has been in the vault for ten years. Recorded live in one take in 2010, it brings you back to the band’s powerviolence roots, and is meant to be listened as a history of where the band came from, and in reference to their 2018 self titled debut. It will be out at the end of January, ready to blow those post festive cobwebs away.

The table is set with the opening eponymous track, a frenzied assault on the senses with jagged guitar work and manic screams. The mood is totally switched in ‘The Tear and the Flood’, with slow clean guitar building anticipation for the inevitable eruption of violence, showering us with shrapnel in each stabbing explosion. Lead single ‘Alpha Particles’ is reminscient of Converge’s rawer moments, angular hardcore chugging smashing into your face, while ‘Counter Balance’ has a nice dense low end and I get a hefty chunk of Botch coming in here too. ‘Deficiencies’ has a little crust punk vibe to it, and closer ‘Open Wound Diaries’ feels like within each moment of the rage the song is building to a conclusion of carnage.

‘Origins’ is not only an impressive feat for a one take live performance, but it really has a lot of violent energy and the twenty minutes or so flies in. You sometimes find that powerviolence/grindcore can be a little one note (I know, I know, it’s kinda the point) but Depleted Uranium’s work has a lot more variety to it and isn’t merely noise for music’s sake. If you like your music ugly, visceral and yet a bit thought provoking then Depleted Uranium are going to be for you!

https://www.facebook.com/depleteduraniumband

https://depleteduranium238.bandcamp.com/album/origins

Review: Antucuran – El gobernador manqueante pierde sus raíces

Review by Sandre the Giant

Antucuran have appeared from the fertile underground of the Chilean metal scene, which I have followed quite closely over recent years due to the high level of great artists appearing from there. Their debut EP, ‘El gobernador manqueante pierde sus raíces’ draws material from ancient tales of Chile, in this case a tribal leader who turns to stone after he denys his roots. It is out now via Bandcamp.

As the title track opens with weeping violin and mournful riffs, I am pleasantly surprised. Most of what comes burning from South America is bestial black/death metal, but Antucuran’s sound is lush, full and grand without losing any of that continental ferocity. Sweeping doom meets black metal’s fury, as snarling and clean vocals battle above a melancholic maelstorm. ‘El viaje’ has beautiful keyboards ebbing and flowing above a fiery black metal riff, keeping that darkness flowing but the clean vocals are so effective at setting that atmosphere. Everything feels so much bigger. ‘Transformación’ is a lot more black metal in the classic sense; nasty tremolo riffs skittering across blastbeats while the dualing vocals battle for space. If anything, the different vocals explore the duality of Antucuran’s sound. Closer ‘Mankvan kurra’ brings together every facet of the band’s sound into a majestic coupling of gloomy doom and black metal’s unquenchable fire, with a thoroughly epic addition of female vocals too at the end!

I’m astonished that this is merely a first release, as Antucuran feel like a band hitting the peak of their powers. I cannot recommend ‘El gobernador manqueante pierde sus raíces’ enough, as it totally reset my expectations and then blew them away. Whatever is coming next from these guys will be eagerly awaited by me and hopefully others, because the way Antucuran switch and meld genres is spellbinding.

https://www.facebook.com/Antucuran-108693877602695/

https://antucuranau.bandcamp.com/album/la-maldicion-del-gobernador-manqueante

Review: Abyssus – Death Revival

Review by Sandre the Giant

Greek death metallers Abyssus are a band I have followed since their 2015 full length debut ‘Into the Abyss’, and I’ve found their music to be almost like comfort food in execution and style. It is pure death metal, plain and simple. Their latest effort, ‘Death Revival’ comes almost seven years later, and will be released in January through Transcending Obscurity, whose credentials as the most consistent metal label in the world are currently unbeatable.

Opener ‘Metal of Death’ is a perfect example of what Abyssus do and do as good as anyone else; straight forward bulldozing death metal rampaging through all the requisite Obituary influences into an instant classic. The unstoppable ‘Ten Commandments’ is relentless in its pursuit of the form, the look, the feel of an old school death metal record. Every track is hell bent on forging an authentic experience, but it is so natural, so unconscious that you’d be forgiven for thinking tracks like ‘The Beast Within’ or the snappy ‘The Witch’ hadn’t just been written in 1991. You even get those little keyboard background flourishes every so often that bands have totally left behind as a device for creating atmosphere. The Obituary influence is overpowering, but you get a little Malevolent Creation and even some Atheist in the serpentine ‘Genocide’.

A ‘Death Revival’ this truly is, as Abyssus are as close to what an old school death metal record should sound like, not just what the perception is. There’s a little guitar heroing in there, a little bit of thrash too, but this is weapons grade purity when it comes to death metal. It is impossible to listen to without a smile on your face and pain in your headbanging muscles. Excellent.

https://www.facebook.com/Abyssus666/

https://abyssus666.bandcamp.com/

https://abyssusgreece.bandcamp.com/

https://transcendingobscurity.bandcamp.com/