ALBUM REVIEW: High On Fire, "Cometh The Storm"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 19/04/2024
Label: MNRK Heavy

 
“Cometh The Storm” CD//DD//LP track listing:
 
1. Lambsbread
2. Burning Down
3. Trismegistus
4. Cometh the Storm
5. Karanlık Yol (instrumental)
6. Sol’s Golden Curse
7. The Beating
8. Tough Guy
9. Lighting Beard
10. Hunting Shadows
11. Darker Fleece
 
The Review:
 
Heavy music has a fine tradition of power trios. It’s a great format for a band to cut the fat and simply go for the throat- or to expand into free form jam territory. Thinking about power trios, there are bands of both types in most of heavy music’s sub genres; from The Jimi Hendrix Experience to Cream, to Motorhead, to the doomy likes of The Gates of Slumber, the extreme likes of Dying Fetus, to the epic likes of Manilla Road (80s vintage) and on and on.
 
With High On Fire firmly in the go-for-the-throat camp, their closest classic cousin is Motorhead. That’s not to say there is no room for extended guitar freakouts, winding instrumentals or laid-back vibes… but it’s at that Motorhead on steroids sweet spot that Mike Pike and friends really excel.
 
After losing powerhouse original drummer Des Kensel, the band recruited Coady Willis, toured to get him bedded in and then embarked on the follow up to “Electric Messiah”. Can the band cut it and deliver another pummelling feast of noisy pyrotechnics?
 
Well, with Kurt Ballou producing, this was always going to be a sonic war of an album. Since he hooked up with the band for “De Vermiis Mysteriis”, the band’s sound has got bigger and bigger. Jack Endino did a great job with “Death Is This Communion”, but it is Ballou that has made his sound synonymous with the band.
 
“Cometh The Storm” sounds massive. Huge. Crushing. Very noisy. Very heavy. Crystal clear, as well! Of the eleven tracks, the band run the gamut of their repertoire. The opener, “Lambsbread” is ferocious, heavy and absolutely primes you for what is to come. From there, you get heavy and epic (“Burning Down”), noisy (“Trismegistus”), dynamic and rhythmic AND crushing (the title track) and so on… In short, the band is firing on all cylinders here.
 
“Cometh The Storm” has, perhaps, more light and shade than “Electric Messiah”, less aggression than “Luminiferous” or “DVM”, but has similar features to all three of those records. This is, quite simply, very heavy stuff and right in my personal sweet spot for heavy music in general. There is a welcome return for the middle eastern sounds heard on “Death Is This Communion” (“Karanlik Yol”), which adds a nice diversion into the mix and varies the texture of the record nicely.

At eleven tracks long, this is no short sharp shock- the band spread their wings impressively on closer “Darker Fleece”, alongside the aforementioned title track and “Burning Down”. The band even revert to their more sludgy roots on “Sol’s Golden Curse”, while simply beating the listener senseless on “Tough Guy” and the aptly named “The Beating”.
 
“Lightning Beard” here is a great exercise in rhythmic beatdown, while “Hunting Shadows” allows some melody and hooks into proceedings. By the time of the ten-minute “Darker Fleece”, my ears are tired- this is a beastly sounding record. There are a few tracks which allow for respite, but- to draw a comparison- much like Judas Priest’s “Painkiller album”, this is as heavy as things get. It is just unbelievably weighty.
 
Where this sits in the High On Fire Discography will be revealed in time, but the band have never put a foot wrong and have pretty much gone from strength to strength with each record. Now at the quarter century mark, they show no signs of mellowing, slowing down or changing direction. Much like Motorhead, in fact. So, great songs, great sound, good variety, relentlessly heavy… business as usual and probably the album of the year.
 
“Cometh The Storm” is available HERE

Band info: Bandcamp || Facebook

ALBUM REVIEW: Lord Dying, "Mysterium Tremendum”

By: Richard Maw

Album Type: Full Length

Date Released: 26/04/2019

Label: eOne Heavy

Not many bands would attempt something so daring and varied. Of course, not many bands are anywhere near as good as Lord Dying, so try this one out and expand your taste. Excellent.

“Mysterium Tremendum” CD//DD//LP track listing:

1. Envy The End
2. Tearing At The Fabric Of Consciousness
3. Nearing The End Of The Curling Worm
4. The End Of Experience
5. Exploring Inward
6. Severed Forever
7. Even The Darkness Went Away
8. Freed From The Pressures Of Time
9. Lacerated Psyche
10. Split From A World Within/Devoid Of Dreams/Death The Final Loneliness
11. Saying Goodbye To Physical Form

The Review:

Lord Dying are back and Portland's finest have not run out of riffs and hunger just yet! The first thing that hit me when I pressed play was the sound- thick, muscular, meaty and absolutely spot on for this sludge/metal mash up. Sitting somewhere between Mastodon, High On Fire, Death Angel and Jethro Tull (!?) this record has a surprising amount of variation, not to mention light and shade. “Envy The End” will get your head banging at any volume, mind, and after that opening the album has more twists and turns than a sidewinder.

The Doors-esque “Tearing at the Fabric of Consciousness” is just one of the curve-balls here; it's dark and quiet and pretty different to what you might find on the average sludge release. As the record progresses, the band runs the gamut from quieter almost folky moments to thrash riffage and the heaviest of sludge metal. The vocals are just as changeable- clean singing, more metal type singing and screams/growls.

The eleven tracks on offer clip by, being as the song lengths are pretty varied- no formulaic writing here, so instead there is a real mixture of light and heavy. The quiet loud dynamic has worked for the greatest metal bands you can name, so Lord Dying are onto something here. The life/death concept is a good one for the band to explore and gives them latitude with the arrangements; lots of instrumental sections and some pretty psychedelic sections throughout the album are welcome additions to the Lord Dying's approach here.

As a concept album, a track by track is a little pointless and would perhaps spoil the experience for the listener as this is an album to be experienced as a whole or at the very least in track list order. Suffice it to say that most heavy music fans will find something they like here; it covers a lot of ground and approaches (often even in one song) and ranges from the very pretty (“Freed From The Pressures of Time”) to the whimsical to the more extreme metal you might have expected.

“Mysterium Tremendum” is a vast work and is not what I really expected at all- and is all the better for it. Not many bands would attempt something so daring and varied. Of course, not many bands are anywhere near as good as Lord Dying, so try this one out and expand your taste. Excellent.

“Mysterium Tremendum” is available HERE

Band info: facebook || bandcamp

ALBUM REVIEW: Hollow Leg, "Civilizations"

By: Richard Maw

Album Type: Full Length

Date Released: 25/01/2019

Label: Argonauta Records

This Florida outfit come on like a freight train- an unstoppable band channelling the spirit of early High on Fire

“Civilizations” CD//DD//LP track listing:

1. Litmus
2. Dirt Womb
3. Mountains of Stone
4. Black Moon
5. Hunter and the Hunted
6. Intro
7. Chimera
8. Akasha
9. Exodus

The Review

This Florida outfit come on like a freight train- an unstoppable band channelling the spirit of early High on Fire but moving a little slower. From the opening pounding of “Litmus”, you expect sludge and that's what you get.

That said, there is much more to this record- acoustic guitars and clean vocals on “Black Moon” are just the start. There is a fair amount of stoner-ish atmosphere (“Hunter and the Hunted”, “Intro”) and some really cracking riffs. The production and mix are great; weighty and pleasing to listen to and the tempos are not just one slow pace. There are some real head-nodders in here too; “Chimera” is one of them and it utilises a mid-paced but oddly groovy approach. 

If you prefer a bit of gloom, then “Akasha” covers it well with some very doomy sounds that will appeal to even the most ardent Sabbath purist. The closing close-to-eight-minutes of “Exodus” is an expansive finish to a blinding record.

Hollow Leg inhabit the same kind of space as High on Fire (first album) but also cover the territory of Sleep, The Sword (early) and other bands who are on the doom/stoner/sludge spectrum whilst not quite fitting into one bracket. Recommended and really good.

“Civilizations” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Babarian Hermit, "Solitude and Savagery"

By: Richard Maw


Album Type: Full Length

Date Released: 31/10/2018

Label: APF Records

“Solitude and Savagery” deserves serious attention and is undoubtedly one of the breakout releases of this year

 

“Solitude and Savagery” CD//DD track listing:

1. Enter the Hermitage
2. Black Mass
3. No Sleep
4. Beyond the Wall
5. Lifebreather
6. Reawaken
7. Laniakea

The Review:

Barbarian Hermit hail from Manchester and play crushing stoner/sludge/doom. This is a band that is not afraid to play aggressively- like High on Fire- but also slow; like any doom band worth their salt you can name. The opener, “Enter The Hermitage,” sets it out for you. Straight in, no messing about, just some huge and fuzzy riffs with some maniac (Ed Campbell- who showcases serious versatility elsewhere!) shouting over the top.

There is plenty of variety here, too. There are passages of more thoughtful and melancholy music, both in the first and second track and beyond. There is quite some range on display. Suffice it to say, that by track two (“Black Mass”) I was absolutely sold on this album. This is what is needed in the underground and beyond at the moment- a band sounding not like anyone else, but featuring the best elements of quite a few bands. There is something here for fans of many different bands and sub genres. You like Orange Goblin? Try these guys out. You like High on Fire, ditto. In fact, from Sabbath to The Sword and from Conan to Candlemass: Barbarian Hermit may just appeal to fans of all those bands.

There are shades of the likes of Raging Speedhorn and The Rotted in “No Sleep” (and Motorhead, of course) while the epic might of “Beyond The Wall” is crushingly powerful with a fantastic solo. Nothing outstays its welcome here; there are no short songs and most tracks stretch out over six minutes plus (the closing “Laniaka” is eleven epic minutes!) but it all feels like it flies by at a clip. The band's approach makes this happen; each track is different and brings a slightly different approach, while remaining consistent in vibe and feel. It's no small trick to pull off but the band achieve it with ease. This is a proper album and I think one that might become very influential going forward.

This is not simple two chord/two piece sludge and nor is it just Sleep worship or a cheap copy of any other band. The production, courtesy of the effervescent Chris Fielding at Skyhammer studio is immense and as usual Chris has achieved a crushing drum, guitar and bass sound. The clarity of the mix and the sheer weight adds a good deal of muscle to the album and, having worked with Chris myself, I can hear his audio-stamp of authenticity throughout the record.

The album is just as weighty down the stretch- “Reawaken” features a riff that Iommi would be proud of and some guitar work that Mastodon might find a home for on any of their better work. “Life Breather” before it is versatile and deft in its mood swings. The aforementioned “Laniaka” is eleven minutes of schizophrenic and groovesome riffage. It's a tour de force ending to one of the best albums I have heard in 2018.

Barbarian Hermit have it; that intangible factor that makes this album like lightning in a bottle. “Solitude and Savagery” deserves serious attention and is undoubtedly one of the breakout releases of this year. These guys could really fly the flag for the UK underground and reach the heights of Conan; as a singular band operating in a field of one. They'll spawn imitators, sure, but I know the real deal when I hear it. Superb.

“Solitude and Savagery” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: High On Fire, "Electric Messiah"

By: Richard Maw

Album Type: Full Length

Date Released: 05/10/2018

Label: eOne Heavy

Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power.  

“Electric Messiah” CD//DD//2LP track listing:

1. Spewn From the Earth
2. Steps of the Ziggurat/House of Enlil
3. Electric Messiah
4. Sanctioned Annihilation
5. The Pallid Mask
6. God of the Godless
7. Freebooter
8. The Witch and the Christ
9. Drowning Dog

The Review:

At this point, High on Fire are nothing less than underground metal royalty. The ferocious power that the trio exude leads to inevitable Motorhead comparisons- not only that, but the comparisons are actually apt. With HOF you know what to expect and their records deliver what the fans want... even if the band has been developing and progressing from album to album.

Kurt Ballou returns as producer for the third time and the sound and performances are as mighty as we have come to expect. The opening speedball of “Spewn from the Earth” is what the band do best: balls to the wall, take your head off, axe wielding fury. Pike, Matz and Kense  play fast, tight (but loose) and with so much fire. It's breathtaking stuff. The band can do epic just as well; “Steps of the Ziggurat/House of Enlil” is over nine minutes of very weighty sounds. It's tribal in its sound and focus, huge in sound and zealous in its pursuance of bludgeoning power- no matter which section of the track the band moves through. From there on, the scene is set and the band deliver an absolute tour de force of dirty, greasy rock n roll. The title track is feral, the second epic- “Sanctioned Annihilation”- is a brutal exercise in dynamics, endurance and volume.

Really, that is the key to High On Fire's appeal: they provide an almost alchemical sound in that they take the straightforward  approach and push it to the max. Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power. 

The second half of the album is no less powerful or masterful. There is some melody, on “The Pallad Mask”, for instance- but again the key here is the straightforward approach embodied in the likes of “God of the Godless”. You can feel the force of this stuff through the speakers; it's just elemental and percussive on every level. The band have honed their style and gone more metallic, perhaps, over the years and away from the stoner grooves of earlier works but this has only made them more effective. Just have a listen to “Freebooter” and name one band doing this type of thing at the same level.

The final two tracks both push over the six and a half minute mark and while “The Witch and the Christ” showcases the more rhythmic facets of the band's sound, it is still desperately heavy. “Drowning Dog” introduces an almost maudlin sound to the riffing before swinging like a baseball bat and provides an expert finish to this superbly vicious record.

“Electric Messiah” is certainly up there with the band's best work and further elevates Matt Pike's deity status within the scene. For my money, this knocks Pike's other band's release of this year into a neatly cocked hat. It's just so... adrenaline inducing. It reminds me of why I got into metal in the first place: unadulterated exhilaration. A tour de force, in every sense of the term.

“Electric Messiah” is available here

Band info: bandcamp || facebook

BAND SPOTLIGHT: High On Fire favourites, as chosen by the UK's finest doom bands

Through six full-lengths and a number of live releases and EPs, HIGH ONFIRE are an unmistakable force in the realm of heavy metal, influencing many and attracting hordes of avid followers, some of which include many of the UK’s fast rising doom scene.  Today we have invited a number of them to choose their favourite tracks from a band that has inspired others and attracted adulation from many more.  Check out their choices below.  HIGH ON FIRE are touring the UK in support of their new album 'Electric Messiah', 

Dates are as follows:

08/10 Academy 2 Manchester UK

09/10 Tivoli Dublin EIRE

10/10 Limelight 2 Belfast UK

12/10 The Mill Birmingham UK

14/10 SWX Bristol UK

15/10 The Dome London UK

Jon Davis, Conan - https://conan-conan.bandcamp.com/

Track name – “Nemesis”

Album – “Surrounded by Thieves”

The art work for this album struck me immediately. Rotoscoped image of a warrior, pure animated Bakshi Lord of The Rings. Matt’s guitar tone, pure Matamp soupiness. Des’s drums like aeons of a mountain forming, compressed into hammer fall precision. This song is High on Fire a top a mountain, slaying hordes of undead, impossible levels of gore and blood streaming down their armour. TOTAL CARNAGE.

Marc Prentice, Ohhms - https://ohhms.bandcamp.com 

Track name – “DII”

Album – “Death Is This Communion”

I was late to the party when discovering High on Fire (from now on to be written HOF) as my first taste of them was when I bought a copy of 2007’s “Death Is This Communion.”  My sole reason for buying was based purely upon finding out that it was Matt Pike from Sleep’s other band. I was lucky enough to get a copy that had a ‘making of’ DVD. Watching the DVD and then listening to the record was enough to sell me. Riffs aside, I find myself attracted to the critical religious, conspiracy and fantastical theme of the song titles and lyrics. Being a fantasy and Sci-Fi fan, I loved the fantastical themed artwork and I’ve always imagined HOF as the Motorhead for Tolkien fans.

My ‘Favourite’ track is, unsurprisingly, from “Death Is This Communion”. It’s the instrumental track “DII”. There’s a part in the making of DVD where you see HOF in the studio creating this song and I think this is a part of the reason as to why I enjoy it. It also it’s great because it has a great heavy riff, melodic solo and a great synth part that plays over the end of a track creating a great otherworldly sound. The tone, mood and vibe on this whole record is great and I think this song captures the feel of this record perfectly. Great instrumental track and an amazing record.

Tam Ali, Awooga - https://www.facebook.com/Awoogaband/ 

Track name – “Bastard Samurai” 

Album – “Snakes for the Divine”

Love this tune due to its pure brutality and atmosphere it creates.  Plus, epic PHAT bass.  HOF’s use of fast power chord movement has certainly rubbed off on us somewhere. When I saw this band live about 12 years ago I was so high yet they totally destroyed my buzz by being so fucking brutal.   I then got a boner instead, maybe it was because of Matt being topless…  Don’t think I’ve ever had a weed boner before.

Jim Swainston,  Black Moth - https://www.facebook.com/themothpit

Track name – “Snakes for the Divine”

Album – “Snakes for the Divine”

“Snakes for the Divine” is a song that for me is the essence of Matt Pike boiled down into eight and a half minutes of glorious riffery. It has quite possibly one of the best intros to a metal song of all time. When I hear those first chords ring out with that epic lick over the top I can’t help of that brilliant Pike quote from Such Hawks Such Hounds about heavy being about “pissed off and being a warlord.” You know you're about to be punched in the face with the riff to follow. This is warlording at its finest and you can just picture Pike taking his axe into battle. It’s one of those songs that makes you just wanna get loose in the same way that The Stooges’ Search and Destroy does. Raw fuckin power!! 

Wes Leon, Mammoth Weed Wizard Bastard - https://mammothweedwizardbastard.bandcamp.com 

Track name – “Bastard Samurai” 

Album – “Snakes for the Divine”

I bought this album whilst stranded in Europe in 2010 when all flights were cancelled because of the ash cloud from the erupting volcano in Iceland and I ended up playing it on repeat due to it being the only cd I had with me for the hotel's cd player. I like the softness of the verses. Something High on Fire don't do much of is go soft but when they do they nail it, & this makes the heavy riff seem even heavier when it comes in. This track stands out for me because of the slower tempo compared to most of the other tracks on the album. I’d say its a good album to be stranded somewhere with. 

Adam Robertshaw, Barbarian Hermit - https://barbarianhermit.bandcamp.com 

Track Name – “Snakes for the Divine”

Album – “Snakes for the Divine”

The title track of High on Fire's fifth album was the first that really caught my attention and for that reason it will always be a stand out track for me. I was a fan of Sleep and had heard the name HOF but when the album received such critical acclaim in the press I decided to check the album out, and from the off you're greeted by this monster. 

As soon as the epic, Maiden-on-steroids intro kicks in you're hooked in and dragged along for the ride as Pike and co blast through gritty thrash and thunderous groove territories. The guitar riffs and bass lines weave in and out of one another like the eponymous snakes in the title. 

You'll definitely hear the influence of this and other Hire on Fire tracks like it on our new album “Solitude and Savagery”, especially on songs like “Reawaken”. 

ALBUM REVIEW: Allfather, ‘And All Will Be Desolation’

By: Daniel Jackson


Album Type: Full Length

Date Released: 7/9/2018

Label: Rotting Throne Records

With ‘And All Will Be Desolation’, Allfather appear to be poised to be the spiritual successor to Crowbar this generation needs and deserves. This is heavy music stripped of all pretenses, given to us to remind us that while innovation is important for forward progress, conviction and a deadly riff are all you really need.

 

‘And All Will Be Desolation’ CD//DD track listing:

1. Black Triangle

2. Citadels

3. Lord Betrayer

4. By Sword, By Famine, By Plague

5. Jackal's Night

6. Inherit The Dust

7. Lampedusa

The Review:

I’ve spent entirely too much time trying to figure out how exactly to categorize Allfather. There are elements of sludge, hardcore, doom, and even more besides in play here. But at a certain point, I came to realize that none of that really matters. What matters is that Allfather, and their new album ‘And All Will Be Desolation’ are rotten with riffs, and catchy ones at that.

With the possible exception of the album’s opening clean guitar passage, every moment of this album is spent wringing every last ounce of gut-wrenching vitriol out each new riff. ‘And All Will Be Desolation’ strength is in its simplicity. Nothing gets in the way of immediacy and impact. Each of these songs is clearly communicated; its language is universal. These are the kinds of stomping, thrashing, hammering songs that cemented my love of heavy metal in the 90s. The music here is incredibly earnest, shouting from the rooftops an unabashed love of anything and everything heavy.

The emphasis on groove here can’t be overstated. Everybody in Allfather is working overtime to make sure you feel the weight of each and every crunch, every downbeat; the conviction behind these songs is so devastatingly present that it practically radiates from the speakers. Even the guitars feel like they’re a part of the rhythm section at times, with so many of the album’s highlights built around heavy palm muting and deep pockets of groove. Whether it’s something thrashier, like “Citadels” where the grove takes on a similar feel to that of some of High On Fire’s faster songs, or the brilliantly melodic swing of “Inherit The Dust”, rhythm is the crux of Allfather’s sound.

As strong as the album is collectively, “By Sword, By Famine, By Plague” is the band’s best song to date. The opening riff wields both a massive hook and a menacing atmosphere, eventually giving way to a devastatingly simple but powerful palm muted section that’s bound to snap a neck or two live. The second half of the song is loaded with sludgy swing, building to a massive climax where a scintillating guitar solo takes center stage. The song is a fucking journey, with its closing moments dedicated to a swampy southern crawl, and the perfect end to one of the year’s better songs.

With ‘And All Will Be Desolation’, Allfather appear to be poised to be the spiritual successor to Crowbar this generation needs and deserves. This is heavy music stripped of all pretense, given to us to remind us that while innovation is important for forward progress, conviction and a deadly riff are all you really need.

“And All Will Be Desolation’ is available here

Band info: Facebook

ALBUM REVIEW: Conan, "Existential Void Guardian"

By; Richard Maw

Album Type: Full Length

Date Released: 14/09/2018

Label: Napalm Records

 

“Existential Void Guardian” CD//DD//2LP track listing:

1.Prosper On The Path

2.Eye To Eye To Eye

3.Paincantation

4.Amidst The Infinite

5.Volt Thrower

6.Vexxagon

7.Eternal Silent Legend

The Review:

The foremost disciples of tone are back with this superbly titled fourth full length studio record. Ever since “Horseback Battle Hammer”, Conan have carved out their own niche and become hugely influential in doing so. Amp and pedal worship was never the same after these guys, but really it is the music that matters here. Conan have done the almost impossible and become a kind of Iron Maiden-esque entity within the doom scene. They don't sound like anyone else, have their own unique artwork, tour endlessly and write about things their audience is interested in. They are unique and whilst being labelled “doom” they operate in a field of one.

Opener “Prosper On The Path” is massive in sound, the contrasted vocals of Jon Davis and Chris Fielding work superbly and the drum sound is absolutely immense- the playing of Johnny King also deserves mention as it has slotted right in with the band and added an extra dimension to their sound. Conan work their magic by weaving soundscapes and moods rather than catchy tunes. It's riff worship, it's “the sound” but despite all their success (and what is effectively brand identity), they won't be troubling the radio airwaves anytime soon. Provided this is no problem for you, then the likes of “Eye to Eye to Eye” will bludgeon you effectively and introduce no small amount of time changes into the bargain. The throwaway grind of “Paincantation” is a huge departure, but only a brief one. The rest of the album takes things back to low and slow territory- with fast bits, of course- that have been part of the sub-genre since Sabbath.

Interestingly, there is nothing that extends beyond seven minutes here and of the seven tracks, perhaps “Amidst The Infinite” feels epic- but is not necessarily so. Certainly, the tempos are low and the riffs are creeping horrors in places. Chris Fielding has excelled himself with the production; it really is fantastic. It is Conan's best sounding record, which is saying something as they have all been sonic terrors. It is as huge as “Blood Eagle” and “Revengeance” but with more clarity and power.

Advance single “Volt Thrower” is the most immediate track on here, with its off kilter rhythms and head nodding groove, finding the band sounding almost like High on Fire and is a great track. It's vicious as well as huge. “Vexxagon” is similarly insistent and swinging and again shows Conan to be more catchy than you might have expected. Truly, this is headbanging stuff.

Just like that, the beastly bass groove of “Eternal Silent Legend” ushers in the last track on the record. Only seven tracks, but is there any need for more? For me, a little of Conan can go a long way; six tracks proper is about right. The live bonuses are well performed and sound fantastic- but they are superfluous to requirements and are just cool to hear/nice to have as add ons... come to think of it, they are quite literally bonuses!

All fans will have their favourite Conan album. For me, it is “Blood Eagle” and “Existential Void Guardian” has not changed that so far. It is a close second, I'll say that. I prefer this to both “Monnos” and “Revengeance” as it shows the band doing what they do best. If anyone wanted to hear Conan for the first time, I could not argue with directing them to this masterful work. I am enjoying the record hugely; I'm reviewing this after buying the CD. I heard the stream, liked it and wanted to own it. I'm glad I did, as Conan need all our support if heavy music is to press on effectively. We need leaders as well as followers. They have become standard bearers of sorts and even if you don't like them... you know them when you hear them. Such is their power and the source of appeal. They have “something” and have managed to capture that “something” in the studio again. No mean feat.

“Existential Void Guardian” is available here



Band info: Facebook || Bandcamp