This week’s Heavy Music HQ reviews include releases from Burial Oath, Crobot, Dragsholm, Flotsam and Jetsam, Hammerfilosofi, Herakleion, Insurrection, The Jesus Lizard, A Killer’s Confession, Nightwraith, Oceans Of Slumber, Satan, Stryper, Sully and Wolfbrigade.
The ratings are on a 5 star scale.
Burial Oath – Beyond The Vale Of Shadowlands (Morbid And Miserable)
Beginning life as a one-man project, Burial Oath soon became a fully-fledged entity. In 2017, the U.S. black metallers issued debut full-length Beyond The Vale Of The Shadowlands. Several years on, rather than simply re-release the album, it has reportedly been “reborn, remastered and ready to ruin you again.” The LP’s bleak, atmospheric and melodic fare spans eight tracks, including a folk-infused intro, clocking in at a mere half-hour.
The band pours enthusiasm into the task though; Deathymn packs plenty of fury and dynamics within its two minutes. There’s another instrumental in the form of the title track; acoustic flourishes sitting neatly alongside tremolo riffs and furious drumming. The end result is one of the record’s strongest tracks. There are also moments with a rock-esque edge ala “Coffin Nails”, or hook-laden riffs of “Sol Av Svart,” which may serve as a more accessible entry point for non-black metal aficionados. The band isn’t reinventing the genre, and there’s few real surprises, but it’s more than serviceable. Perhaps some diehards won’t approve of tinkering with the original, but there should be enough dirt under the proverbial fingernails for other enthusiasts.
Rating: 3.5
(Brendan Crabb)
Crobot – Obsidian (Megaforce)
Kudos to Pennsylvania’s Crobot for paying attention to the rise of occult metal. By fusing their heavy groove metal riffs and psychedelic flourishes with a doomy vibe, their latest slab Obsidian lunges and lurches like a mad fusion of the U.K.’s Green Lung and Alice In Chains. When a band’s bio includes a version written entirely in runes, you know they’re all in…
The modern, speed metal workouts of the title track and “Metal” gradually give way to a more occult vibe. “Head of the Beast” features a riff reminiscent of Sabbath’s stoner classic “Hole in the Sky,” while “White Rabbit” bathes in those Alice in Chains-style dissonant vocal harmonies, lending a distinctively American spin on the genre. By the time we get to the creepy, spoken word intro to “The Flood” that demarcates this transition to the arcane, we’re in full-on “little people of Stonehenge” territory – and it’s glorious.
Rating: 4
(Gino Sigismondi)
Dragsholm – Sorrow Hexen (Horror Pain Gore Death)
Though Dragsholm have been together since 2017, their focus remains on releasing music in an EP format, with Sorrow Hexen being their third one. Over the years, they’ve been transforming into a gothic version of black metal, with songs about vampires and rendezvous under the cover of moonlight. This sounds like it could’ve come from the deepest forests of Norway instead of their industrialized home state of New Jersey.
Skip past the meandering opening instrumental “Death Knell” to “Irina’s Heart,” a pulse-shaking experience that finds room for a catchy bass guitar break. “Verglas” is of the same ilk, though in a shorter way at a little over two minutes. The title track offers more diverse sounds with synths and measured tempos. Sorrow Hexen has Dragsholm edging towards their ultimate brooding form.
Rating: 3
(Dan Marsicano)
Flotsam and Jetsam – I Am The Weapon (AFM)
Arizona thrashers Flotsam and Jetsam are marking 40 years as a band this year. They still have two original members, vocalist Eric A.K. and guitarist Michael Gilbert. I Am The Weapon is their fifteenth studio album, and second with this current lineup.
The band’s distinctive sound is fully intact, and they sound as energized as ever. They know how to write songs that are heavy yet catchy, like opener “A New Kind Of Hero.” They throw in a few curveballs to add variety, like the heavy intro on the title track, and an epic feel on closer “Black Wings.” Four decades in, Flotsam and Jetsam are still going strong, with I Am The Weapon continuing a streak of several excellent albums in a row.
Rating: 3.5
(Chad Bowar)
Hammerfilosofi – Solus (Igne Natura Renovator Integra) (ATMF)
The hollow notes of Chopin’s Piano Sonata No. 2 echo through a distorted piano, fading in and out like a dying breath. Hammerfilosofi open their latest EP Solus (Igne Natura Renovator Integra) with a march towards the end. It doesn’t come that easily though, as one will have to wade through hate in order to see the light.
Their 2023 debut The Desolate One hinted at their ultimate metamorphosis, one that gets closer to realization on this EP. The sample-heavy “Holy Fire” is propelled under the strength of an oppressive main riff. “Epigone Of Tragedy” hammers the final nail in with a tentative pace stifled by a primal disintegration into wild black metal. The EP is one that Hammerfilosofi work well in for their blasphemous temperament.
Rating: 4
(Dan Marsicano)
Herakleion – Necroverse (Self)
For their second EP Necroverse, Herakleion went back to an analog state to produce it. Over the course of a week or so, they recorded live to tape to capture the five songs. Doing this was the style at the time decades ago, and isn’t a prevalent method in current metal, so Herakleion get props for doing so. It’s a great production too, especially with the loud bass guitar leads on “What Is, Was, And Will Forever Be” and “Into Necroverse.”
While their 2022 debut EP Curse Of Eternity was a unapologetic thrasher, Necroverse has some technical nuances to the performances. They can still cause a rampage when desired, but they contain themselves to doing it in the right moments instead of through an entire song. This makes Necroverse more than just another collection of generic riffs.
Rating: 3.5
(Dan Marsicano)
Insurrection – Obsolescence (Bam Co. & Heavy)
Insurrection reflect today’s death metal scene rather well. On Obsolescence, we can appreciate clean production, crushing riffs, and a level of technical proficiency that, though elaborate, doesn’t devolve into something too complicated. It’s still easy to find the groove in each of the tracks. Hence, it’s somewhere in the middle between a melodic death metal band like The Black Dahlia Murder and more technical acts like Beyond Creation.
Perhaps my only issues with Obsolescence are that the album tends to feel long and that it’s not trying to introduce anything new. It’s consistent death metal that we can all get behind, but given how competitive the genre is right now, it’s hard for the album to stand out. Either way, it’s a fun listen!
Rating: 3
(Carlos Tirado)
The Jesus Lizard – Rack (Ipecac)
26 years is a long time for anything, but a gap between albums? That’s something reserved for a unique band and The Jesus Lizard certainly qualify there. Known for their wildly infectious noisy rock albums in the ‘90s, in particular Goat and Liar, are back for the first time since 1998’s Blue with their seventh offering Rack. The lineup includes vocalist David Yow, guitarist Duane Denison and bassist David Wm. Sims, with drummer Mac McNeilly returning after missing the last record, but playing with band live long after that.
Opener “Hide & Seek” is what longtime fans would want from a Lizard record: fat bass, guitar hooks aplenty and Yow’s distinct chaotic ramble on full display. “Lord Godiva,” the only song with origins in the ‘90s and “Alexis Feels Sick” will feel right at home for fans of recent phenomenon Chat Pile who themselves are admittedly big fans of the Lizard as Yow continues to painfully trace over the music with spoken word and shrieking antics. The Jesus Lizard are back and sound like they never left. Rack is one of the most important records in rock this year.
Rating: 4.5
(Tom Campagna)
A Killer’s Confession – Victim 1 (MNRK Heavy)
Victim 1 is the fourth album from A Killer’s Confession, which is fronted by former Mushroomhead vocalist Waylon Reavis. It’s a concept album that explores the mind of a killer, reflecting the band’s name.
It’s a mix of styles, from hard rock to alt metal to industrial. Tracks like “Sun” and “Greed” are melodic and radio-ready, while songs such as “Kill Or Be Killed” are more intense and amplify the band’s industrial side. The band has stepped up their songwriting this time around, keeping guitars front and center on Victim 1 while adding the industrial/electronic elements and plenty of hooks.
Rating: 3.5
(Chad Bowar)
Nightwraith – Divergence (Self)
Hailing from the Mile High City, Colorado natives Nightwraith have returned with their third death metal masterpiece Divergence. Even with the addition of more melodic elements and themes than their 2022 album Offering, Nightwraith have still kept to their simplistic yet brutal nature.
When it comes to the genre, we know what to expect: heavy guitars, fast drums and a melting bass line. Nightwraith have managed to break these expectations very subtly such as having a
saxophone solo in “One Flower,” or having a John Carpenter-style synth intro in “Whispers of Dragonflies.” The musical range in Divergence is vast enough to keep things fresh and
interesting all while still keeping the classic elements of the genre.
Rating: 4
(Dalton Husher)
Oceans Of Slumber – Where Gods Fear To Speak (Season Of Mist)
Since appearing on the scene just over a decade ago with Aetherial, Houston’s Oceans Of Slumber have been making their mark. Their brand of prog has been embraced by both fans and critics as their popularity has increased with each album. 2022’s Starlight And Ash was especially well-received, making many year end lists, including landing on our top 10. Their latest album Where Gods Fear To Speak finds them on a new record label, Season Of Mist.
They start strong, with the dynamic title track with mellow and melodic parts contrasted by heavy, doom sections and growls from Cammie Beverly. Starlight And Ash was relatively streamlined, but this time around Oceans Of Slumber return to longer compositions, with four tracks stretching past six minutes. There are also some high-profile guests, with Moonspell’s Fernando Ribeiro and Dark Tranquillity’s Mikael Stanne adding their talents to “Prayer” and “Run From The Light.” The album wraps up with a cover of Chris Isaak’s sultry “Wicked Game,” giving it a more somber spin. The combination of creative and varied songs with Beverly’s world class vocals makes Where Gods Fear To Speak instantly engaging, but also reveals its depth with each listen.
Rating: 4
(Chad Bowar)
Satan – Songs In Crimson (Metal Blade)
Satan continue their reign of terror on Songs In Crimson, their seventh album; a loose concept about capitalism and our place within that societal construct as only an original NWOBHM band could. Ever since returning on 2013’s Life Sentence, Satan have regularly produced high quality and essential records in the heavy metal sphere.
Right from the opening notes of “Frantic Zero” you are greeted with quickly and expertly played riffs and Brian Ross’ vocals that have remained consistent throughout his tenure which stretches back to their 1983 debut Court In The Act. This time around the songs are a little more stripped down and less sprawling with a sense of urgency that doesn’t touch five minutes per track even once. The riffs again reign supreme making for complete songs that showcase an expert understanding of what each individual member brings to the fray, just see the variety on “Whore of Babylon,” “Sacramental Rites” and “Matyrdom” as a powerful and differentiated trio. Satan do what they do best on Songs In Crimson. If you want that with plenty of succinct songs that get right to the point, then this record is for you.
Rating: 4
(Tom Campagna)
Stryper – When We Were Kings (Frontiers)
Christian metal/rock OGs Stryper remain prolific into their fourth decade as a band. After a 15-year gap between Against The Law and Reborn, over the past decade plus they’ve issued a studio album every two to three years along with some live albums. Their latest opus is When We Were Kings.
They continue the path they blazed back in the ’80s: melodic songs with a metal crunch and mostly uplifting lyrics. Frontman Michael Sweet, who also produced the album, still has power and range in his distinctive voice. That’s especially the case on ballads such as “Betrayed By Love.” Guitarist Oz Fox also gets plenty of exposure, especially on tracks like “Unforgivable” and “Loves Symphony.” While When We Were Kings doesn’t break any new ground, it is a well-executed and rock solid album.
Rating: 3
(Chad Bowar)
Sully – Sully (Horror Pain Gore Death)
Ex-Psyopus singer Adam Frappolli and ex-Brutal Truth/current Sulaco guitarist Erik Burke unite for a common cause of extreme grind/hardcore on Sully‘s self-titled debut. With bassist Ed Jusko and drummer Alex Perez coming along for the bumpy ride, there’s much jammed into 12 songs spread across 25 minutes. There are those under 30 seconds (“Three Hits,” “Cowardly The Cat”) and those with aspirations to be more than punching bags (“Dredge The Lake,” “King Of Terrors”).
The latter tunes are where Sully find their footing, as their hardcore influences peek through. They can do the usual hurried grinding with no issues, but that can become tiring without switching up the tempos. The album isn’t able to avoid this feeling as it nears its predictably unstoppable ending, though followers of the genre will find their boundless assault delightful.
Rating: 3
(Dan Marsicano)
Wolfbrigade – Life Knife Death (Metal Blade)
Swedish d-beat hardcore crew Wolfbrigade‘s eighth album Life Knife Death is chock full of the raw anger and speed that the original Swedish hardcore scene had, delivered with some melodicism underneath a sea of ferocious riffs.
“Ways to Die” is an appropriate start to the album, properly beating you to a pulp with even more to follow. Aggressive, howled and grunted vocals plus high-flying riffs set the stage for absolute anarchy to reign on the album’s title track, one that is restricted to under three minutes for maximum effectiveness. Short bursts are where Wolfbrigade excel, allowing for each successive track to bludgeon the listener in an abrupt, hit and run manner. Their latest entry continues their fun and frenetic play, getting it all done in under 30 minutes and for a d-beat band that has to be the aim. For long time devotees, Life Knife Death is 100 percent Wolfbrigade.
Rating: 3.5
(Tom Campagna)
