This week’s Heavy Music HQ reviews include releases from Aeon Of Awareness, The Cimmerian, Deadly Magic, Ex Deo, The Halo Effect, Haunted Horses, Haxkapell, Hazzerd, Hexenbrett, Magnum, Onirophagus, Pandemic, Patriarkh, Sarcator, Slaughtersun, Thy Kingdom Will Burn and Tremonti.
The ratings are on a 5-star scale.
Aeon Of Awareness – The Embracing Light Of Rarohenga (Self)
The Embracing Light Of Rarohenga is a very harsh melodic death metal platter by the German band Aeon Of Awareness. The vocalizations on the group’s full-length debut are very abrasive and nicely fit over the top of the music. In terms of guitar riffs, they have a raucous style that gives the songs a gruff sound.
The progression of the album is interesting as it is interrupted by a quiet track. This all comes together nicely and creates a very compelling album overall. It has a bit of a Viking style for a melodic death metal album, but manages to bring a tuneful sound forth. If there is a flaw to be found it is in how it sounds a bit less melodic and more gruff and harsh than typical bands from the genre. It still rollicks along at a nice pace and makes a big enough impact with crunch moments that will become ingrained in your mind. The Embracing Light Of Rarohenga is a rousing affair that ends too quickly.
Rating: 3.5
(Adam McAuley)
The Cimmerian – An Age Undreamed Of… (Hyborian Rage)
Stoner/sludge metal has a showdown with thrash metal on The Cimmerian’s debut album An Age Undreamed Of… The winner isn’t clear even as the album gets closer to the hour mark, though it is apparent that the faster the record gets, the messier they end up. It’s as if they are working out the kinks in real time when the pace quickens on “Darkwolf” and “Black Coast Tigris.”
It’s unfortunate because the group excels when they purposedly hold back, letting the riffs in “Sliver And Gold” and “Monarch” flatten out instead of slash ahead. As songs average seven minutes long, having the ability to jump between genres of different temperaments is something The Cimmerian take advantage of. It’s just that one style is much more refined than the other, making for a scattershot album.
Rating: 3
(Dan Marsicano)
Deadly Magic – …As Nightmares Gorged The Earth (Dying Victims)
German heavy metal machine Deadly Magic have dropped their debut EP …As Nightmares Gorged The Earth, evoking sounds of the late ‘80s prog laced heavy metal a la Sanctuary, among others. Opener “Another I Beckons” is a solid start to this near 25 minute, 4-track EP with plenty of complex instrumental arrangements that accompany vocalist Alexis Roy-Petit’s Warrel Dane-like delivery. The eponymous track fires on all cylinders before giving way to a brooding atmosphere and ample soloing, with neoclassical flair. One thing is for sure, these guys can play!
Fans of traditional heavy metal will feel right at home with this five piece as they display ample respect for their forebearers, showcase the right amount of panache and any future release from the band surely will pique my interest. …As Nightmares Gorged The Earth is a solid start from a new band.
Rating: 4
(Tom Campagna)
Ex Deo – Year Of The Four Emperors (Reigning Phoenix)
After their last full length The Immortal Wars was issued in 2021, the Roman history themed symphonic death metal group Ex Deo decided their latest release would be an EP. Year Of The Four Emperors covers the chaotic year of AD 69, with each of the four emperors (Galba, Otho, Vitellius and Vespasian) the subject of a song.
Each of the songs is painstakingly constructed, with the symphonic elements augmenting the death metal riffs and Maurizio Iacono’s harsh vocals. Opener “Galba” is prototypical Ex Deo, while “Otho” has some experimental moments. The deliberately paced “Vitellius” has some of the EP’s most memorable riffs, while closer “Vespasian” is the catchiest track on the record. Year Of The Four Emperors is a quality stopgap while fans anxiously await Ex Deo’s next full-length.
Rating: 3.5
(Chad Bowar)
The Halo Effect – March Of The Unheard (Nuclear Blast)
On their debut full-length Days Of The Lost, melo-death all-stars The Halo Effect lived up to the considerable hype. Now the follow-up March Of The Unheard arrives, and this collective of former In Flames personnel has crafted another batch of brutal yet melodic gems that will be difficult to shift from your cerebral cortex. This is Gothenburg metal writ large; there are few if any better qualified to craft a record of this ilk, bustling with melancholic melodies and catchy riffs.
There are moments when the group references past glories; “Detonate” possesses more than a whiff of In Flames’ “Pinball Map,” while the memorable title track’s riffage could’ve been lifted from the Whoracle album. But it’s a spirited affair, a celebration of this strain of metal without solely being a nostalgia act, as the proggier moments attest. Acoustic flourishes and strings help create a grander feel. Mikael Stanne, among heavy music’s busiest vocalists, isn’t phoning it in here, instead giving his all on hook-laden cuts like harmony-drenched “Cruel Perception” and “Conspire to Deceive.” Meanwhile, his sparingly used clean singing shines on “Forever Astray” and symphonic-infused “Between Directions.” It’s only January, but for melodic death metal junkies, this LP might be the ultimate fix this year.
Rating: 4
(Brendan Crabb)
Haunted Horses – Dweller (Three One G)
Seattle natives Haunted Horses have kicked off the new year with their sixth studio release Dweller. Building on their momentum from their 2022 release The Worst Has Finally Happened, Haunted Horses continue their extreme use of dark and unsettling thematic elements.
“Temple of Bone” and “SEED” help establish a more punk-rock infused Marilyn Manson feel throughout the album and they use that to their advantage to craft a haunting yet heavy melody. Dweller is another great notch on the belt for Haunted Horses, continuing a momentum like this is not easy but they have managed to pull it off well.
Rating: 3.5
(Dalton Husher)
Häxkapell – Om Jordens Blod Och Urgravens Grepp (Nordvis)
The stronger pull into folk and classical music is the right move for Häxkapell’s contentious black metal on their sophomore album, Om Jordens Blod Och Urgravens Grepp. Lead songwriter Oraklet takes in his experience outside of metal, including singing for classical choir Erik Westberg Vocal Ensemble, to instill gravitas to these songs. His deep bass tones bring an earthly flavor to “Hem,” with acoustic guitars, flute and hand drum being the only accompaniment.
Violinist IPU (returning after contributing to Häxkapell’s debut record, Eldhymner) acts at times as a lead source of melody that the guitars follow from. “Vindar från förr” does this during its enlightening middle section, as does the pairing of acoustics and violin harmonizing on “Urgravens grepp är hårt och kallt.” Häxkapell are rising high with their excellent second album.
Rating: 4
(Dan Marsicano)
Hazzerd – The 3rd Dimension (M-Theory)
It took Canadian thrashers Hazzerd a while to create their third album, with The 3rd Dimension coming five years after the release of Delirium. The lyrics on the album are about human influences through media like music, video games, movies and TV.
The tempos are generally brisk and the guitar work is impressive, especially on tracks like “Scars.” As on previous albums, Hazzerd blend focused and streamlined songs like “Interdimension” and “Parasitic” with longer and more complex tracks. Lengthy musical interludes and various forays make “Unto Ashes” one of the record’s most compelling tracks, while the 9-minute instrumental “A Fell Omen” shifts from acoustic guitar to all out metal and back again. It could probably be trimmed by a few minutes, but is still engaging. With The 3rd Dimension, Hazzerd pay homage to thrash’s greats while putting their own spin on the classic style.
Rating: 3.5
(Chad Bowar)
Hexenbrett – Dritte Beschwörung: Dem Teufel eine Tochter (Dying Victims)
The mysterious Hexenbrett’s second full-length album is Dritte Beschwörung: Dem Teufel eine Tochter. They continue in the fashion of similarly styled eastern European bands including Malokarpatan with an affinity for early Mercyful Fate, combining their heavy metal sounds with a primordial and effective use of black metal as is the case on opener “Um Mitternacht.” The Egyptian themes on “Imhotep” show off some instrumental diversity and the overall horror-esque vibe lends itself to the album’s cover art, making old school Hollywood come alive.
The specter of impending doom leads off the second half of the album with one of the band’s most fully realized tracks with “La Plese de la Nuit” with guitar riffs that blast down the doors making this instrumental stand tall around the rest of the tracks. Hexenbrett continue to toe the line between what’s heavy metal and extreme metal and have balanced their attack to earn the blackened hearts of the masses.
Rating: 4
(Tom Campagna)
Magnum – Live At K.K.’s Steel Mill (Steamhammer/SPV)
Live At K.K.’s Steel Mill is being released on the first anniversary of the death of Tony Clarkin, guitarist, founder (50 years ago) and chief songwriter of Magnum. It contains a recording of one of the last gigs of the band, at a venue in Wolverhampton (England) owned by the ex-guitarist of Judas Priest.
Despite the fact that the band was approaching its end, Live At K.K.’s Steel Mill showcases Magnum in tip-top shape delivering a fabulous set-list. Besides more recent numbers such as “”The Monster Roars’” Magnum revisit several classic songs such as “All England’s Eyes,” “Kingdom Of Madness” and the timeless “On a Storyteller’s Night.” You can sense the mutual affection between band and audience especially in the last song, “Sacred Hour.” Before the band leaves the stage, singer Bob Catley is in a jovial mood and acknowledges everyone who has shown their love and support for Magnum – from fellow bandmates to fans to crew – and these expressions of gratitude are all the more poignant in context of the band’s demise. Live At K.K.’s Steel Mill might or might not be the last live album from Magnum, but for sure it’s a perfect send-off.
Rating: 4.5
(Chris Galea)
Onirophagus – Revelations From The Void (Personal)
Onirophagus‘ music is a formidable powerhouse. An imposing fortress that, while seemingly easy to enter, is impossible to conquer. This zealous Spanish band has released their third album Revelations From The Void, which showcases their remastered musical foundations, marking a significant step forward in broadening their musical horizons.
Revelations… opens with “The Hollow Valley,” a track that effectively introduces the album’s central theme, and it concludes with “Stargazing in the Void,” leaving listeners enveloped in despair and drama. The album embodies the essence of reverberant death/doom Metal, featuring mournful and haunting melodies that appear to emerge from the deepest darkness. The guitar harmonies and strings that permeate the album evoke the early sounds of My Dying Bride, and the exceptional production and recording enhance the songwriting’s impact, resulting in an overwhelming auditory experience. Revelations From The Void is a milestone for Onirophagus, as the band embrace the challenge of delivering brilliance and, hopefully, masterfully maintaining their elevated status.
Rating: 4
(Arash Khosronejad)
Pandemic – Phantoms (Dying Victims)
Poland’s Pandemic have unleashed their sophomore album, the furious old school thrash of Phantoms. The first few tracks are very euro thrash, more so in the ‘80s roots making for an authentic sound similar to last year’s Iron Curtain record. “Bane of Brook Hall” shreds and features a stout guitar attack chock full of melody and “Santa Muerte” is a fun blast in its own rite, giving a little bit of a Spanish flair with the opening and closing guitar parts.
If you want a fun romp through thrash metal of yore, give this one a spin. Pandemic pull out all the stops with this blast of a record that while it doesn’t tread new ground, does it job admirably. Phantoms gives you all you would want in a neat 8 track, 40-minute package.
Rating: 3.5
(Tom Campagna)
Patriarkh – Пророк Илия (Napalm)
After a five year break from recorded material, Patriarkh (formerly Batushka) have returned with Пророк Илия. It brings with it more of the slow paced and bombastic black metal that moves along at a snail’s pace with plenty of dark and mysterious atmosphere. The band this time around has adopted a concept album about a prophet local to their Polish upbringing while also leaving no stone unturned with folk instrumentation that touches on Byzantine, Orthodox, liturgical chant and their own style of folk music.
While there is a lot going on here with Пророк Илия, the album can get lost in itself and confuse the listener. That makes for a complex and difficult album that rewards intense levels of attention and cannot be enjoyed in pieces, only solely as an 8-track event. Patriarkh are undoubtedly a talented group with a multi-faceted approach, but this style of black metal isn’t for everyone.
Rating: 3.5
(Tom Campagna)
Sarcator – Swarming Angels & Flies (Century Media)
With their origins dating back about a decade, Swedish blackened death/thrashers Sarcator have some experience under their belts, but their oldest member is only 25 years old. With their third full-length Swarming Angels & Flies they have signed with Century Media and look to make the leap to the proverbial “next level.”
It’s an album of contrasts: brutality versus melody and chaos versus dynamics. They manage to harness those conflicting approaches and make a cohesive album. Most of the songs are in the 5-minute range, giving the band plenty of opportunity to showcase their musicianship and allow for shifts and tempo and texture without overstaying their welcome. In addition to the 8 originals, some editions also include cover songs originally done by Anti Cimex, Sarcofago and Sadus. Swarming Angels & Flies shows that Sarcator are a force to be reckoned with in extreme metal.
Rating: 4
(Chad Bowar)
Slaughtersun – Black Marrow (Self)
A violin as a lead instrument in progressive death metal is Slaughtersun’s innovative approach on their Black Marrow EP. It’s something violinist Ben Karas has been working on for almost a decade, with demos dating back to 2016-2017. It wasn’t until 2023 that his peculiar idea became reality. Though most of these songs have already been released as singles, they are remastered and remixed for this EP.
With all the distortion and effects on the violin, it’s as fierce as any guitar. Half of Slaughtersun, Karas and bassist Cody McCorry, are also members of prog rock group Thank You Scientist, but there is little commonality between the two. Black Marrow is death metal through a classical lens, if that lens was scratched and chipped apart.
Rating: 3.5
(Dan Marsicano)
Thy Kingdom Will Burn – The Loss And Redemption (Scarlet)
It’s taken three albums for Finnish melodic death metal band Thy Kingdom Will Burn to hit their stride, but they do so with confidence on The Loss And Redemption. Small steps have been taken with each record to straddle that precarious line of brutality and harmony. It’s not easy to do so, and this album is their first where it seems as if the group has done it.
Vocalist/guitarist Sami Kujala uses his singing more, which gives emotional heft to “Escape From Solitude” and “Obscure Existence.” Keyboards, once nothing more than brief diversions, are now on almost every song. Closer “Sydänyö” emphasizes their bombastic spirit in its second half with prominent symphonic sounds. The Loss And Redemption marks the point in Thy Kingdom Will Burn’s career where they step into their own within modern melodic death metal.
Rating: 3.5
(Dan Marsicano)
Tremonti – The End Will Show Us How (Napalm)
Over the past couple of years, Mark Tremonti has explored some different musical directions, releasing a Frank Sinatra covers record and a Christmas album. He’s back to hard rock and heavy metal with Tremonti‘s sixth album The End Will Show Us How.
There are plenty of radio friendly hard rock numbers like “Just Too Much” and “It’s Not Over” alongside heavier but still melodic tracks like “One More Time” and “I’ll Take My Chances.” Shifts in tempo and intensity add variety to the record, and as expected the guitar work from Tremonti and Eric Friedman is top notch. As on all their previous album, they worked with producer Elvis Baskette. The band doesn’t stray far from their established style, but the execution on The End Will Show Us How is flawless.
Rating: 3.5
(Chad Bowar)
