ALBUM REVIEW: Cruciamentum, “Obsidian Refractions”

By: Richard Maw
 
Album Type: Full Length
Date Released: 24/11/2023
Label: Profound Lore Records

 
“Obsidian Refractions” track listing:
 
1. Charnel Passages
2. Abhorrence Evangelium
3. Necropolis Of Obsidian Mirrors
4. Scorn Manifestation
5. Interminable Rebirth Of Abomination
6. Drowned
 
The Review:
 
British death metal? Well, there are some great examples out there; Bolt Thrower, Carcass… Cruciamentum?! Yes, them too- even if they have US and UK blood. While we are a few years on from “Charnel Passages”, this sophomore full length picks up where that nasty slab of malevolence left off. Indeed, “Obsidian Refractions” opens with a song called “Charnel Passages” which is creepy and packed with riffs, blasts and double bass drum carnage.
 
This type of death metal is nothing like the other two mentioned British dead legends. Cruciamentum are dark and complex with an arcane and sinister atmosphere pervading their compositions. It’s not hooky or necessarily song based- it’s atmospheric and evil but not ‘br00tal’ in the way of USDM like Cannibal or Morbid Angel, or Cryptopsy etc.
 
The six songs on offer here offer up epic soundscapes, during which growled vocals tell tales of suffering and woe. It’s bleak stuff and made bleaker by some black metal type riff progressions here and there. “Abhorrence Evangelium” is more of the same style; lots of tempo changes, some dynamics, a solo of atonal delights and it’s all wrapped up in a very solid production job. “Necropolis of Obsidian Mirrors” is the best title on the album and it’s this kind of fantasy horror that lends itself to death metal so well.
 
In fact, the whole album is the aural equivalent of a nightmarish landscape, filled with horror both seen and unseen. It’s unsettling and violent. With the second half of the album opening with “Scorn Manifestation” at quite a thrashy gallop, the band manages to engage the listener straight away (on every song) and the blasting verses alternated with slower passages. “Interminable Rebirth of Abomination” starts slower and uses reverb drenched riffage to excellent effect.
 
As you might expect from the short tracklist, the songs are lengthy; the band stretches to over ten minutes on closer “Drowned” (not an Entombed cover!) with only “Abhorrence…” clocking under five minutes. Epic and sprawling is the order of the day, then, which is perfect for the band’s expansive sound. Drowned mixes sinister atmospherics- imagine Dragged Into Sunlight crossed with Dissection and something American, maybe that’s close-ish to the vibe here. Overall, it’s six dense compositions of thorn filled death metal, played expertly. If you are a death metal fan, this is simply a must hear.
 
Come and get lost in the labyrinthine nightmare that is “Obsidian Refractions”; you won’t escape these charnel passages unscathed.
 
“Obsidian Refractions” is available HERE 

Band info: bandcamp || facebook

ALBUM REVIEW: Green Lung, "This Heathen Land"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 03/11/2023

Label: Nuclear Blast

 
“This Heathen Land” CD//DD//LP track listing:
 
1. Prologue
2. The Forest Church
3. Mountain Throne
4. Maxine
5. One for Sorrow
6. Song of the Stones
7. The Ancient Ways
8. Hunters in the Sky
9. Oceans of Time
 
The Review:
 
Green Lung are the best ‘new’ band in the UK today. This is their third album and takes in folklore, esoteric and occult albion (Britain) and so on. “Woodland Rites” was rough and ready with the artwork, the vibe and the songs in place. “Black Harvest” was nothing short of a modern classic; beefed up production, better arrangements and songs with vibe and artwork intact.
 
“This Heathen Land” is more developed and varied than the previous albums. It has the muscle of Nuclear Blast behind it- once again, the artwork is stellar (kind of a Wild Hunt pastiche), the production is superb and the songs, well….
 
A spoken word prologue sets the scene for a journey into a hidden, pagan, Britain. The first track proper, “The Forest Church”, should have you invested. If it doesn’t, please give the rest of the record a chance. The track takes in epic soloing, doom like pacing and some dynamic tempo shifts- plus a more prominent role for the keys. Having as they do the line-up of classic Deep Purple or Jethro Tull, it makes sense to make use of the keys to a larger extent.
 
The grooving tempo of “Mountain Throne” makes for an excellent and headbanging track, while advance track “Maxine (Witch Queen)” is just brilliant. Catchy, clever and full of hooks and ideas. Essentially, this is for fans of folk horror, films like The Wicker Man, Straw Dogs, Witchfinder General, A Field In England, The Devil Rides Out etc. It’s got that hard-to-define aspect that makes it somehow otherworldly- much like compatriots Pagan Altar.
 
The doom vibes are back for “One For Sorrow”- it’s slow and creepy, with a dose of melancholia woven into the grim portents. Reference points abound in terms of the band’s sound. This is not doom, per se, but the spectre of Sabbath looms. However, classic 70’s rock like Heep, Jethro Tull and Purple is also present- as is, in particular, Queen. Backing vocals, varied instrumentation, varied styles, well orchestrated guitar parts and hooky vocals. Yep, Brian et. al. would approve.
 
The band has expanded their sound- not just by the use of keyboards, either. “Song of the Stones” mixes folkloric ghost story telling with acoustic instrumentation and is much further from Sabbath and much closer to Tull at their ’77 peak or even Led Zeppelin at their most arcane. It’s fantastic and transportive. Crucially, this is also music played by younger people; these aren’t a load of middle aged old hands trying their luck at occult rock. It feels organic and authentic.
 
The UK, even the world, needs younger rock bands who are not yet into their 40s to keep the genre alive and thriving. Sabbath are done. Priest and Maiden are in various stages of their twilight, other large bands are now just embarrassing corporations or the core of the bands are dead and buried. Elsewhere on the album, Green Lung delve into the distant past and fictional horror with strong success. The band keep the vibe on point with a forty two minute playing time. It’s all here; Ley Lines, barrows, stone circles, paganism, sorrow, despair and hope.
 
Modern day Britain is becoming increasingly out of touch with its past (the good and interesting parts of it in particular) in favour of a culture of individualism, consumerism and distrust. Bands like Green Lung and albums like “This Heathen Land” place the listener firmly in a different time and a better place. While some of the material here may be a little more stately (“Ancient Ways”) and grand, there are also the headbanging thrills of “Hunters In The Sky”, so the album comes off as balanced and considered in its track list.
 
The record closes with a take on the vampire myth- “Oceans of Time”- referencing memorable dialogue from the early 90s film with Gary Oldman in the lead role. Again, it’s clever and effective and hugely enjoyable, with some Type O style production and arrangements. Green Lung haven’t put a foot wrong with this record and it may well be the one that puts them over the top from underground prospects to legitimate headliners. They deserve it, as having witnessed the band live at Desertfest I can confirm that they have that indefinable extra factor; charisma, mystery, x-factor- call it what you will. In short, this band is unique and this album is excellent. Treasure them both.
 
“This Heathen Land” is available HERE

Band info: bandcamp || facebook

TRACK PREMIERE: "Laughing Song" by GULA

The Netherlands based psychedelic doom/metal group GULA are releasing their new album “Birds of the Apocalypse” on December 15, 2023. “Laughing Song” is the first single off of it, offering a glimpse of what's to be expected from the full-length but without giving away too much right away.

The slowly brooding monolith of a song takes its time to grow and evolve, while advancing on fuzzed out feverish sonic fields that invoke various palpable feels during its seven minute duration. The song encapsulates the atmosphere of the entire album perfectly, as the potent and organic production underlines the hazy musical delivery, guaranteed to hit home with anyone even remotely interested in these particular styles. The final nail to the coffin, atop the well-executed instrumental department, would be the aerial vocals that float along the firm pulse to introduce loads of depth and emotion into the mix. While GULA can be seen as a relatively new band perhaps, they for certain know their craft in and out, “Laughing Song” being the perfect example of just that.

ALBUM REVIEW: Sylosis, "A Sign of Things to Come"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 08/09/2023
Label: Nuclear Blast
 

“A Sign Of Things To Come” track listing:
 
1. Deadwood
2. A Sign Of Things To Come
3. Pariahs
4. Poison For The Lost
5. Descent
6. Absent
7. Eye For An Eye
8. Judas
9. Thorns
10. A Godless Throne
 
The Review:

Sylosis follow up 2020’s excellent “Cycle of Suffering” with this; have the British metal icons forged forward effectively? I first listened to the band back in 2015 with “A Dormant Heart”; an album I still hold in very high regard. I felt at the time- and still do- that Sylosis had cracked a very difficult code. They are a modern sounding band with a forward-thinking sound that won’t alienate old-schoolers (such as myself).
 
The band, for those that don’t know, combine thrash, death/melo-death, metalcore, groove metal and more traditional metal into a very effective alloy fit for almost any type of metalhead. It pleases me that they have (and have always had) the weighty backing of Nuclear Blast, but it pains me to consider that if, IF ONLY, the band were American then they might well be on a much higher level than they are. The Reading, Berkshire, UK, crew are instead at a level above underground and cult- but not at the large theatre/arena level they deserve.
 
UK metal- and metal in general- needs bands that look forward as well as back and Sylosis fit that bill. As such, then, you’ll hear synths and layers of sound across the title track, along with hardcore infused vocals, clean singing and huge riffs. The playing and performances are on point right out of the gate; “Deadwood” is a very effective opener, distilling what the band do well into four and half minutes.
 
The album continues at a very high watermark; “Pariahs” is heavy as hell, grooves massively, and hits all the right spots for a pit to go insane to. The record sounds incredible; massive and thick, precise and streamlined. Once again, the band combine handily the best bits of Machine Head, Lamb of God, Pantera, Fear Factory and so on into their own sound.
Stand outs? I’d probably pick “Poison For The Lost” as a real high point; it thrashes extremely convincingly with real malice and spite injected into the vocals and playing. This is metal as it should be; fast, furious and laser-honed.
 
Incredibly, the band are six albums in here. The level of experience and confidence shows throughout. The band don’t put a foot wrong in terms of song writing, production or performance. Band main-man Josh Middleton has been at this for over two decades now and he is a master of his craft. The band even ring the changes with the track “Absent”; a kind of synth-scape ballad that gives way to a more metallic section. It’s cinematic and daring, showing what the band can do when they spread their wings. More typical service is resumed with “Eye For An Eye” as the band puts the pedal and metal to the, er, metal once again- but not forgetting their sense of melody throughout the song.
 
As noted on previous records, things are focused and lean throughout; ten songs only, nothing too bloated and most clocking the 3.5-4.5min playing time. The riffs of “Judas” have a kind of ‘doom but sped up’ feel and the dark vibe that it gives off is great. Naturally, speed also kills on this one. Great track.
 
“As Thorns” and then the epic closer “A Godless Throne” bring this excellent record to an end, I can’t help but ponder the state of the metal genre in 2023. The arena filling likes of Maiden and Metallica may be on the way out, but with bands like Sylosis around, the genre is not going away. The fact is, to many metallers younger than me THIS IS the sound of metal. Not Priest, Maiden, Sabbath et al, but instead bands like Sylosis who have cherry picked the best aspects of various metal sub genres and then come full circle to be defined as, simply, METAL. Yep, Sylosis are a METAL band- and they are the best modern metal band in the UK. Easily.  
 
“A Sign of Things to Come” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Cannibal Corpse, "Chaos Horrific"

By: Richard Maw
 
Album Type: Full Length
Date Released: 22/09/2023
Label: Metal Blade Records

 
“Chaos Horrific” track listing:
 
1 Overlords Of Violence
2 Frenzied Feeding
3 Summoned For Sacrifice
4 Blood Blind
5 Vengeful Invasion
6 Chaos Horrific 
7 Fracture and Refracture
8 Pitchfork Impalement
9 Pestilential Rictus
10 Drain You Empty
 
 
The Review:

The most reliable of all the death metal institutions, Cannibal Corpse, are back- not that they went away- with their sixteenth (!) studio record. Thirty three years in, this represents a very impressive work ethic indeed. It’s all the more remarkable for the fact that, much like thrash veterans Overkill, there are no bad Cannibal Corpse records.
 
While there are no bad records, I wouldn’t deny that some are better or more significant than others. For instance, The four Chris Barnes helmed early records are often held up as classics, but I have always preferred the Corpsegrinder years; “The Bleeding” IS a classic, but so is “Torture”, or “A Skeletal Domain”, or “Red Before Black” and so on; it’s just that “The Bleeding” has that zeitgeist-right-place-right-time vibe/nostalgia. “Violence Unimagined” from a couple of years back was one of the best- possibly THE best CC records of any era. Was it as significant as “Tomb of the Mutilated” or “The Bleeding”? Probably not. Was it better? I think so,
 
Fortunately, the band are very much switched on here. “Chaos Horrific” picks up where “Violence Unimagined” left off. It’s brutal, chaotic, horrific, aggressive and crushingly good. “Overlords of Violence” is a fresh and frenetic opener; busy bass and full tilt aggression in place.  “Frenzied Feeding” manages to keep the vibe and quality going before an album stand out: “Summoned For Sacrifice”- which combines crushing slow tempos, breakneck pace, memorable hooks and incredible vocals. Erik Rutan is firmly assimilated into the band’s sound now; his lead work is exceptional throughout, and he works really well with Rob Barratt. The rhythm section remains pretty much peerless, while George Corpsegrinder Fisher reminds us all why he viewed as the best DM vocalist on the planet by many.
 
I really like the varied tempos on this record “Blood Blind” might be slow by CC standards, but this is as heavy as they come. The band avoid the “Gallery of Suicide” trap (having too many tracks on one record) and instead have offered up ten tracks of three and a half to four and a half minutes each, Perfect, really, as a little of this goes a LONG way.
 
There is complex riffage on “Vengeful Invasion” and just unrelenting brutality abounds. At the half way mark this is a candidate for one of the best CC records. The material is strong, the sound and production is superb, the playing incredibly tight. From there, there is no dip in quality or energy. The title track thrashes very convincingly with lots of changes used effectively.
 
I’m not as keen on “Fracture and Refracture”- for reasons I don’t really even understand, but “Pitchfork Impalement”, “Pestilential Rictus” and “Drain You Empty” all impale and disembowel the listener extremely effectively; they are all memorable, frenzied and ferocious in their approach.
 
Cannibal Corpse have brought their A-game here; no wasted tracks, no wasted riffs, beats or solos. Everything counts; there are nifty changes, some really technical playing, incredible vocals and an overall sense that the band are utilising every year of their experience to create a death metal tour de force. Death metal simply doesn’t get any better than this. Imperious. 

Band info: bandcamp || facebook

ALBUM REVIEW: Godthrymm, "Distortions"

By: Richard Maw
 
Album Type: Full Length
Date Released: 18/08/2023
Label: Profound Lore

“Distortions” track listing:
 
1. As Titans
2. Devils
3. Echoes
4. Obsess and Regress
5. Unseen, Unheard
6. Follow Me
7. Pictures Remain
 
The Review:
 
Yorkshire doom metal is a specific genre very close to my heart and here we have some of the finest practitioners of the genre doing what they do best. If you like the idea of epic doom metal, evocative of grim windswept landscapes and endless rain, then Godthrymm are also for you.
 
This is epic in scale and scope; everything over six minutes in length, with two of the tracks stretching to 11 mins plus. The band comprise ex-members of, deep breath, Vallenfyre, My Dying Bride, Anathema and Solstice. So, doom metal royalty? Pretty much.
 
Led by Hamish Glencross on guitars and vocals, the band sound incredible- massive and with plenty of dynamics via the use of keyboards from Catherine Glencross (who adds ethereal vocals to proceedings in places) and a rock-solid rhythm section courtesy of Bob Crolla and Shaun Taylor-Steels.
 
This is doom in the traditional sense of the word; emotive clean vocals, occasionally pummelling drums, huge riffs and a generally sad and melancholic feel all add up to a very atmospheric listen. The suitably massive “As Titans” opens up proceedings with a big statement of intent while “Devils” equals the opener for dark vibes.
 
There is variety here. “Unseen, Unheard” features a fast section of riffage and each song features a lot of oppressive weight and some lighter textures as well. The production is excellent; clear and huge with echoey vocals set at the top of the mix within their own space. There is no title track, but the epic penultimate track “Follow Me” perhaps serves as a mission statement for the record- it features most facets of the release in one sprawling epic. The band close with “Pictures Remain” which leaves a bitter-sweet melancholy for the listener to ruminate upon.
 
As an aural reference point, all the bands mentioned above and- of course- Paradise Lost fit the bill. It’s hard to convey just how much I enjoyed this on first listen; it’s massive, majestic, ethereal, earthy and every bit as atmospheric and epic as it should be. A must listen/must buy for fans of the genre.
 
“Distortions” is available HERE 

Band info: bandcamp || facebook

ALBUM REVIEW: Creeping Death, "Boundless Domain"

By: Richard Maw

Album Type: Full Length
Date Released: 16/06/2023
Label: MNRK Heavy

 
“Boundless Domain” CD//DD//LP track listing:
 
1) Boundless Domain
2) Intestinal Wrap
3) Vitrified Earth
4) The Parthian Shot
5) Creators Turned Into Prey
6) Cursed
7) Remnants of the Old Gods
8) Looming
9) The Common Breed
 
The Review:
 
Here we go! Death metal from Texas with strong thrash and groove elements. Straight away, I knew this was going to be good. Interestingly, Adam D of Killswitch Engage produces (insufferable stage performances aside, he is a superb musician) and Corpsegrinder even turns up for a cameo on the second track- “Intestinal Wrap”.
 
The album starts with a slow burn title track and from there ratchets up the death, the thrash, the groove and the intensity. The album has enough variation and push and pull to draw the listener in. this isn’t just mindless blast beats and growls, the songs feel thought out and solid with speed used as necessary and good variety in the riffs.
 
The solos also rip impressively, so along with a watertight production this represents the full packages as far as death metal goes. Pinch harmonics infiltrate the riffs here and there- a nice nod to death metal of a 90s vintage- while the rolling tank stylings of “Vitrified Earth” show that the band can do different paces nicely as well.
 
It is to the band’s credit that there is no fat to be trimmed here at all. As I’ve often said, a little death metal goes a long way- so at 36 minutes, this record is spot on in terms of what it offers up. Nine tracks is plenty and the days of bands trying to fill an hour- or a whole CD, Satan help us- have long gone, it seems.
 
Certainly, the quality here is kept up throughout and the band run through their repertoire very confidently as the album progresses. The sound is unified, even if “The Parthian Shot” is very different from, say, “Cursed”.
 
In a genre where uniqueness is rare, hopefully this second full length will set Creeping Death apart from the many, many brutal outfits out there. The fact is that the best and biggest DM bands all have a USP; a uniquely identifiable aspect to their sound/style/presentation- which marks them out and causes other bands to try to emulate them.
 
Pleasingly, Creeping Death don’t sound like Cannibal Corpse, or Obituary, or Deicide, or Morbid Angel, or Cryptopsy, or Autopsy etc. etc. They sound like their own band, with various genres mixed into the death metal drama.
 
Hopefully, “Boundless Domain” will see the band lifted out of the death metal milieu and into their own space. On the strength of this record, they richly deserve a better level of recognition and reward. They’ve made a very good record. Listen and find out for yourself.
 
“Boundless Domain” is available HERE

Band info: bandcamp