This week’s Heavy Music HQ reviews include releases from Alestorm, Black Majesty, Cryptopsy, Deathblow, Death Pill, Helheim, Helms Deep, Imha Tarikat, Patristic, Reflection, Rotgot, Walking Bombs and Witherer.
The ratings are on a 5-star scale.
Alestorm – The Thunderfist Chronicles (Napalm)
Alestorm are probably the ultimate gimmick band. The pioneers of pirate metal have found a successful formula in a subgenre that usually lacks inspiration. The Thunderfist Chronicles sticks to what has worked for the band before: outlandish folk instrumentation, a decent amount of shredding, and elaborate pirate narratives that really require you to be into this lore to fully enjoy.
I must admit that unless you’re a fan of this happy sound, it’s going to feel rather strange. Bombastic riffs and sweet melodic lines carry the album forward, maintaining the same energy from beginning to end. It’s fun and wild, but it won’t leave a lasting impression. It disappears as quickly as it arrives. Maybe that’s exactly what you want from your power and folk metal — but I’m left wanting more.
Rating: 2.5
(Carlos Tirado)
Black Majesty – Oceans Of Black (Scarlet)
Initially a prolific act within the studio environment, fans of Melbourne outfit Black Majesty have waited seven years for another slab of their brand of power metal. It may as well have been seven weeks between LPs instead though, as eighth album Oceans Of Black is instantly recognizable as their work, slotting neatly within the catalogue. The nearly hour-long release takes its cues from the likes of Iron Maiden, Dio and Stratovarius.
Opener “Dragon Lord” and “Set Stone on Fire” are both strong cuts, while laying the template for the majority of the record; galloping rhythms, John Cavaliere’s soaring, impassioned vocals, and plenty of fleet-fingered guitar solos. It’s often fast, frenetic and well-honed, even if certain songs struggle to carve their own identity and feel formulaic. There are gems to be found, such as the grandiose, mid-tempo title track and dramatic ballad “Got A Hold On You,” which provide welcome variety. Oceans Of Black won’t be winning many new converts to the power metal cause. Like countless records of the style, it’s an acquired taste. But for the already initiated, the sheer effort, conviction and melodicism will stand Black Majesty in good stead.
Rating: 3.5
(Brendan Crabb)
Cryptopsy – An Insatiable Violence (Season of Mist)
Cryptopsy, Canadian titans of death metal in its most brutal and technical form, show no signs of slowing down. Just two years after the acclaimed As Gomorrah Burns, they return with An Insatiable Violence — a masterclass in overwhelming aggression and compositional precision.
The band’s ninth studio album is another triumph in the luminous canon of the Canadian death metal scene. Groove and brutality coexist within an intricate web of complex riffing, where technical twists and contorted melodies collide with surgical intensity. At the heart of it all, Flo Mounier — still the sole remaining member of the classic lineup — delivers some of the most jaw-dropping drumming of his career: a performance both punishing and awe-inspiring. An Insatiable Violence stands as one of the year’s defining extreme metal releases. Once again, Cryptopsy prove they never fail to astonish and never, ever disappoint.
Rating: 4
(Arash Khosronejad)
Deathblow – Open Season (Sewer Mouth)
Ever since their last album Insect Politics, Deathblow have condensed their thrashing ways into EPs. Open Season is their second one since their 2020 full-length. The last few years have seen the group trying out crossover thrash, with the bass guitar capturing the lead instrument spot on several occasions. Though not drawn together with an overarching concept, each of the four songs seamlessly cross into each other.
For a band named after a gag from the Seinfeld TV series, they don’t fool around with songs designed for the circle pits. Open Season is an easy listen thanks to an urge for brevity. This EP isn’t meant for a listener to ponder some greater meaning of life, but to spend 12 minutes in a state of manic frenzy.
Rating: 3
(Dan Marsicano)
Death Pill – Sologamy (New Heavy Sounds)
The Ukrainian trio Death Pill, with members Mariana, Anastasiia and Nataliia are unleashing their second album Sologamy. It’s the follow-up to their 2023 self-titled debut.
The band mixes metal and punk, writing songs that are laced with heaviness and attitude. Thrash riffs and front and center on songs like “Listen To Me, Sister” and “Craterface” while hardcore is the primary driver of tracks such as “Haters Gonna Hate” and “Don’t Say It So.” They also explore other styles from grunge to emo to riot grrl. Death Pill get right to the point, with a few of the songs under two minutes, and most in the 2 to 3-minute range. Sologamy is a dynamic record, shifting from accessible rock to chaotic punk at the drop of a hat.
Rating: 3.5
(Chad Bowar)
Helheim – HrabnaR/Ad vesa (Dark Essence)
For their twelfth album HrabnaR/Ad vesa, the Norwegian Viking/black metal band Helheim created what they call a split album with themselves. Instead of collaborating as they usually do, the group’s primary songwriters V’gandr and H’grimnir each wrote four tracks.
H’grimnir’s songs range from the relatively accessible “Sorg Er Dødens Spade” with harsh and melodic vocals to the varied and epic “Mennesket Er Dyret I Tale” that shifts from intense black metal to groovier Viking sections. V’gander’s half digs into the concept of the four components of the human soul according to pre-Christian beliefs. “Fylgla” is a well-rounded and lengthy number that has tempo and intensity changes from heavy to mellow and back again. “Hugr” is also dynamic, shifting from acoustic to aggressive black metal. While the whole record is good, the second half is slightly stronger and they fit together well, making for a cohesive Helheim album.
Rating: 3.5
(Chad Bowar)
Helms Deep – Chasing The Dragon (Nameless Grave)
Helms Deep have gone bigger and grander with their second album, Chasing The Dragon. Vocalist/guitarist Alex Sciortino loves his falsettos, while him and new guitarist Ray DeTone are a potent duo of shredders. Bassist John Gallagher (Raven) is back and working in more solos on this go-around, while Ice Age drummer Hal Aponte (relacing Mike Heller) puts a proggy spin on the rhythms.
The band takes cues from the NWOBHM with their flashy gusto, as every member gets a chance to show off their musical chops. Choruses that just repeat the song title is what got bands like Angel Witch over, and they even get an AC/DC-esque stomp in with “Cursed.” At almost an hour, Chasing The Dragon overextends its welcome by a track or two, though it won’t deter those into an exaggerated form of heavy/power metal.
Rating: 3.5
(Dan Marsicano)
Imha Tarikat – Confessing Darkness (Prophecy)
The German black metal band Imha Tarikat formed a decade ago, emerging with their debut album Kara Ihlas in 2019. Their fourth full-length is Confessing Darkness. The songwriting is more focused this time around, with only a couple of epic-length tracks.
Even in that shorter time space, Imha Tarikat are able to effectively deliver the range of emotions they bring to every album. Darkness and light, chaos and control, all can be found on the album. While consistent throughout, a few standouts include “Another Failed Ritual,” “Chamber Of Sin” and the intense closer “The Day I Died – Reborn Into Flames.” Confessing Darkness is Imha Tarikat’s most well-rounded and engaging album so far.
Rating: 3.5
(Chad Bowar)
Patristic – Catechesis (Willowtip)
Patristic are the side project of Hideous Divinity guitarist Enrico Schettino, angling away from technical death metal to free-form blackened death metal on Catechesis. The album has two main compositions, one split into two parts and the other into four parts, though they flow into each other without pause. This makes for a 40-minute collective effort on the band’s part, daring the listener to take this nightmarish ride with them.
Their name derives from the writings of Christian scholars from the early days of the formation of the religion, but this being black/death metal, Patristic take a cynical view of the excesses and lust for power that came with this era. There’s great care in making Catechesis immersive as a singular experience that is required to be heard in that way.
Rating: 3.5
(Dan Marsicano)
Reflection – The Battles I Have Won (Pitch Black)
Formed over 30 years ago in Athens, Greece, Reflection never seem to be in a rush to release an album. The Battles I Have Won is just the band’s fifth album but it encapsulates all the hallmarks of metal. Lyrically the album celebrates epic battles, some from history and some from ancient mythology and all tales are tied together with an introspective slant. The music aptly reflects these lyrics in that it is breathtakingly epic.
“Once Again (Crime in the Valley of Death)” has a triumphant vibe and a memorable instrumental passage towards the end. “March of the Argonauts” feels like a forgotten track from Iron Maiden’s Piece Of Mind sessions. “City Walls of Malta – The Great Siege” is about the 1565 invasion of Malta by the Ottoman empire….a compelling story vividly brought to life by the music. Epic vocals, tasteful orchestrations, powerful hooks, mighty riffs… The Battles I Have Won has it all. Even the artwork is impressive. This is an album that should gain Reflection quite a few new fans.
Rating: 4.5
(Chris Galea)
Rotgut – 24 Oz Cantrip (Self)
The stench after a night of heavy drinking wafts through Rotgut’s debut EP, 24 oz Cantrip. Ignited by the strongest booze a few bucks can buy, this blackened thrash metal has serious rock ‘n’ roll swagger. It drips off of opener “Bonemelter,” as a raucous intro laced with a snaky guitar solo goes into full party mode. To name the first song from a first release something like “Bonemelter” sets high expectations off the bat, but Rotgut matches up to them.
Though the band tends to like it fast and loose, “Under The Scarlet Cross” lands a great main riff that sticks to the skull. Its placement as the second-to-last song on 24 oz Cantrip is how the final track is able to land as a high-voltage joyride. There’s a rager to be had from this EP, one that ends with a sore neck.
Rating: 3.5
(Dan Marsicano)
Valdrin – Apex Violator (Avantgarde)
Apex Violator, a five-track EP from the Cincinnati band Valdrin is a furious display of black metal and one that will appeal to fans of the genre. This is similar to bands like Deathspell Omega in its very aggressive nature and heavy style. The album is bleak and moody and has an evil flair.
In terms of musicianship, the work has evil sounding guitars and a strong drum sound. Vocals are mostly grim and hard to come to terms with. Overall, the musicianship is good. This is certainly something that fans of black metal will find nefarious and interesting, though there’s not a lot of originality.
Rating: 3
(Adam McAuley)
Walking Bombs – Blessings Bestrewn Part 1 (Self)
New York native and multi-instrumentalist Morgan Y. Evans unveils Walking Bombs and their debut Blessings Bestrewn Part 1. It’s an album that feels like there was an idea but it was lost.
With a total run time just shy of thirty minutes, it feels a bit all over the place, from acoustic pieces like “Salient – Arbalest Ov Thanx And Sleep” to a bizarre attempt at a black metal song like with “Enby Soul Endogenous.” Most albums in this genre feel as if there is a central theme throughout the album, but Blessings Bestrewn Part 1 doesn’t feel like it has a notable one. From a production standpoint it feels like some of the instrumentation is out of key at times and the vocals sometimes just do not fit with the instrumentation.
Rating: 2.5
(Dalton Husher)
Witherer – Shadow Without A Horizon (Hypaethral)
Witherer succumb to the temptations from the darkest crevices of the natural world on their debut album, Shadow Without A Horizon. The vocals echo, trapped behind the music as if recorded from outside a coffin being buried underground. Their death/black metal is stifled by the lurch of funeral doom metal, elongating songs until a few of them reach past the 15-minute mark.
Tucked away in the middle of the album is the instrumental “The Wailing Hours (Plummeting Under The Tunnels),” a subversive ambient fever dream. Witherer does employ cleaner melodies and female vocals throughout Shadow Without A Horizon, though they only increase the uncomfortableness. That’s the state of the record as a whole; an undeniable uneasiness that is its own form of gratifying.
Rating: 4
(Dan Marsicano)
