Category: Thrash Metal

Kreator – Hate Über Alles

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

The best albums of 2022 so far – April to June

We’re halfway through 2022 already. How on Earth did that happen? It’s true what they say, that the older you get, the faster time seems to fly by.

However, the good news is that it gives me an excuse to bring you a round-up post of my favourite albums that have been released in the second quarter of the year, between April and June.

In the same way as my post for the first three months of the year (click here to read that), I have listed the releases chronologically. The task of ordering them will come at the end of the year with my mammoth ‘Album Of The Year’ countdown.

On that note, here goes…

Meshuggah

Immutable

Atomic Fire Records

Genre:

“…you hopefully get the idea just how varied and dynamic this record truly is, and why I like it more than any other Meshuggah record in their now nine-deep discography. It may be a little too long but that’s literally the only gripe I have. In every other way, it’s Meshuggah. But more than that, it’s Meshuggah at their glorious best. And that means that with ‘Immutable’, we’re in the presence of heavy metal greatness.”

— MoMM —

Treat

Endgame

Frontiers Music

Genre: Melodic Hard Rock

“It’ll be interesting to see what others come up with over the next few months but, as it currently stands, ‘The Endgame’ is far and away the best melodic hard rock album of 2022 so far. And it’ll take an awful lot for it to be beaten, that’s for sure.”

— MoMM —

Soledad

XIII

Independent Release

Genre: Progressive Rock/Metal

“I’m so glad I was introduced to Soledad, because the French quartet have impressed me immensely with their ambitious, bold, eclectic, and slightly eccentric musical vision…listen to ‘XIII’ and, I hope, prepare to be entertained and captivated like I have been. This is easily one of the best progressive records of 2022 so far.”

— MoMM —

I Am The Night

While The Gods Are Sleeping

Svart Records

Genre: Melodic Black Metal

“…the album takes me back in time and fills me with an infectious nostalgia, and for all the right reasons. This album reminds me in glorious technicolour exactly why I fell for this kind of music in the first place. And it does this because it is lovingly crafted and is of an incredibly high standard throughout.”

— MoMM —

Evergrey

A Heartless Portrait (The Orphean Testament)

Napalm Records

Genre: Progressive Metal

“‘A Heartless Portrait (The Orphean Testament)’ is anything but Evergrey’s unlucky thirteenth record. Instead, it only helps to further underline their utter dominance and superiority in my mind, and hopefully in the minds of other fans too. A companion of mine for the last few months, the music on this album has given me strength, support, and the knowledge that I am not alone on this tumultuous journey called ‘life’.”

–MoMM–

Zero Hour

Agenda 21

Frontiers Music

Genre: Progressive Metal

“…the six songs are chock full of exemplary musicianship from guitar, bass, drums, and vocals alike, just as we would all hope and expect from a band with the reputation that they historically have. To be honest, I’m just delighted that Zero Hour are back. The fact that they bring with them such an enjoyable feast for the ears is just the icing on the cake. Welcome back gents…”

— MoMM —

Decapitated

Cancer Culture

Nuclear Blast

Genre: Death Metal

“As extreme metal albums go, ‘Cancer Culture’ has to be up there with the very best that 2022 has had to offer so far. Everything from the slightly disturbing cover artwork to the performances, and from the production to the songs themselves, Decapitated have returned with one hell of a bang. But crucially, the bang is not only thunderous, but it is intelligent, varied, and completely engaging from start to finish.”

— MoMM —

Lord Belial

Rapture

Hammerheart Records

Genre: Black Metal

“It may have taken 14 years to see the light of day but as far as I’m concerned, it has been more than worth the wait. I absolutely love this album and, if quality black metal is a favourite of yours, then you will too. Without doubt, with ‘Rapture’, Lord Belial have released my favourite out-and-out black metal record of the year so far.”

— MoMM —

Kreator

Hate Über Alles

Nuclear Blast

Genre: Thrash Metal

“It really is hard to fault ‘Hate Über Alles’ when all is said and done, because Kreator have well and truly delivered the goods once again. Power, aggression, venom, and spite collide superbly with expert songwriting, memorable melody, and irresistible catchiness to produce easily one of my favourite thrash records of the past couple of years.”

— MoMM —

Seventh Wonder

The Testament

Frontiers Music

Genre: Progressive Metal

“Ultimately, I’m just delighted that Seventh Wonder continue to write new music. The fact that they have created another excellent body of music is the icing on the cake…it is so refreshing to hear Tommy Karevik once again unshackled and able to put his own unique talent to full use. When he is in full flow, there are few better vocalists out there…But alongside him are four more supremely talented individuals…As a result, ‘The Testament’ is, quite simply, a joy to listen to from start to finish.”

— MoMM —

Kardashev

Liminal Rite

Metal Blade Records

Genre: Deathgaze

“With ‘Liminal Rite’, American quartet Kardashev have pulled the rug out from under me and sent me reeling. I said earlier that I feel like this record is a game changer for me, and I truly mean it. I love heavy music and I also adore strong melody; Kardashev have managed to combine the two in a way that I’ve never really heard before and I am left stunned and in awe of this album.”

— MoMM —

Charlie Griffiths

Tiktaalika

InsideOut Music

Genre: Progressive Metal

“I had a feeling that ‘Tiktaalika’ would be good, but I wasn’t banking on it being quite this good if I’m being brutally honest. There is much to enjoy about Charlie Griffith’s debut solo effort, and I keep discovering new things with each passing listen too. No doubt it’ll appeal first and foremost to lovers of the guitar and the almighty riff, but given the diversity of the material and the quality of the songs themselves, I’m certain that the appeal of ‘Tiktaalika’ will be much wider, and rightly so.”

— MoMM —

Exocrine

The Hybrid Suns

Unique Leader Records

Genre: Technical Progressive Death Metal

“Add to the package some seriously cool cover artwork, and a production that is crystal clear without detracting from the sheer power and technicality of the music, and you’re staring at one hell of an album. I love the way that bands like Exocrine have managed to open my mind fully to the magnificence of technical and progressive extreme metal, because it is a genuine thrill ride when you get to listen to music that’s this intense, this intricate, and this memorable.”

— MoMM —

Darkane

Inhuman Spirits

Massacre Records

Genre: Death/Thrash Metal

“…I am delighted to be able to say that ‘Inhuman Spirits’ shows that this quintet have lost none of their ability, hunger, or bite. All that remains is my now heightened ambition to see the Swedes on a stage as I’ve never had the pleasure to date. In the meantime, won’t you all please stop what you are doing and wrap your ears around ‘Inhuman Spirits’, as Darkane are well and truly back.”

Paganizer – Behind The Macabre

I hope you enjoyed my choices…cheers!

Municipal Waste – Electrified Brain – Album Review

Artist: Municipal Waste

Album Title: Electrified Brain

Label: Nuclear Blast

Date of Release: 1 July 2022

Seeing as I have finally embraced a greater love and appreciation for the thrash metal genre over the past year or two, I felt like it would be a good opportunity to listen to the new album from Municipal Waste, one of several bands within the genre with which I have never previously clicked. Entitled ‘Electrified Brain’, it’s the seventh album from the quintet hailing from Richmond, Virginia. And, at the end of the day, it is the seventh album from the quintet of Tony Foresta (vocals), Ryan Waste (guitar), Nick Poulos (guitar), Philip ‘Landphil’ Hall (bass), and Dave Witte (drums) that has failed to fully ignite my enthusiasm. Allow me to explain why, if I can…

Firstly, there’s that ‘crossover’ aspect of the music. Municipal Waste play a form of thrash metal that seeks to blend in a heavy dose of hardcore into their compositions. As such, you’ll find plenty of ‘gang’ vocals, where a number of voices basically shout in unison. I’ve never been the biggest fan of this, which is why I don’t tend to listen to very much hardcore music at all. The attitude is there, front and centre, but it’s not the kind of attitude that I am drawn to if I’m honest – it’s all a bit shouty and overly angst-ridden.

Yes, there is plenty of tongue-in-cheek attitude as well, but that doesn’t always help because it adds a vaguely comedic element to the output, meaning that it’s hard to take everything seriously. In effect, it only serves to dilute the usual messages of political corruption and discord, which could have been more impactful otherwise. With that said, I am not a fan of overly political music either, because I get enough of that in my daily life, so I’m looking for more of an escape route. Yup, the world is awful in many ways right now, I get it.

The fourteen songs that feature on ‘Electrified Brain’ rip from the speakers with plenty of energy and enthusiasm but without wanting to sound too harsh, the album feels a little one-dimensional. There is a change in pace here and there, but for the most part, the music skips along at a similar brisk pace with a precious lack of variety. I’ve listened to this record a number of times through, including during an eight-hour train journey to Scotland where I had no distractions aside from the sight of green fields rushing past my window. And even then, after listening, I couldn’t pick more than a couple of the songs out of a line-up if my life depended upon it. It’s not quite a case of ‘heard one, heard them all’, but it isn’t far off to be perfectly honest.

This is all a bit of a shame because actually, the album begins in promising fashion thanks to the first three tracks, the title-track opener, followed by ‘Demoralizer’ and ‘Last Crawl’. ‘Electrified Brain’ sets off like a stabbed rat after a short intro, full of pacey aggression, led by some sharp, thrusting riffs and Foresta’s unmistakeable, higher-pitched semi-shouted vocals. Just as the song is about to end though, in marches in a really nice bass-led groovy ending sequence that’s totally infectious.

Speaking of infectious, ‘Demoralizer’ continues the trend with a combination of riffs and melodies that seemingly blend the naked aggression of thrash with the immediacy of Maiden-esque NWOBHM. It makes for a thoroughly decent and enjoyable song, with much more depth to it, one of the few to stick in my brain for a little longer than others. And even though ‘Last Crawl’ is a faster, more uncompromising cut, it features a couple of thunderous riffs that catch my ear, alongside a cool lead solo that sparks and fizzes nicely. But there it more or less ends.

Undoubtedly, the musicians within Municipal Waste are talented at what they do, with each musician apparently fully committed to making as much focused noise as possible. The riffs in particular, are sharp, incisive, and the guitars are blessed with a great tone that feeds my inner metalhead soul. The solos are equally impressive, full of venom and executed with style and aplomb. Occasionally, there’s a dip in the speed in favour of a mid-pace groove, which is positive too. But it doesn’t quite feel like it’s enough. The album comes to an end, and I’m left thinking ‘oh, that’s it, then’, which is never how you want to feel at the end of a record.

Now, I’m well aware that an album shouldn’t be judged on outside factors, such as what other bands within the same genre are doing, but in this instance, it’s hard not to. Over the past year or two, a number of the heavyweights of the genre have released some excellent new material, and there are a handful of exciting releases still to come before 2022 is out. More than ever therefore, it is imperative that bands are on their mettle, delivering the best that they possibly can. But that doesn’t feel like that’s the case here. There will be the hardcore fanbase that’ll lap up every confrontational moment of ‘Electrified Brain’, but it’s nowhere near essential enough for me to recommend it more widely than that. Unless you’re a devotee, I’d search elsewhere for your thrash metal fix.

The Score of Much Metal: 69%

Check out my other 2022 reviews here:

Philosophobia – Philosophobia

Darkane – Inhuman Spirits

Exocrine – The Hybrid Suns

Fallen Sanctuary – Terranova

Deathwhite – Grey Everlasting

Charlie Griffiths – Tiktaalika

Kreator – Hate Über Alles

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Darkane – Inhuman Spirits – Album Review

Artist: Darkane

Album Title: Inhuman Spirits

Label: Massacre Records

Date of Release: 24 June 2022

Ever since I discovered ‘Expanding Senses’ back in 2002 or thereabouts, I have had a soft spot for Swedish band Darkane. At a time when I was still very heavily into exploring everything that the melodic death metal genre had to offer, I stumbled across their third album and never looked back. What attracted me to Darkane was the fact that they were always just a little bit different from everyone else in the densely populated scene. Whilst others were experimenting with loads of clean vocals, going ultra-melodic, or completely the opposite direction, here was a band that had a much more pronounced thrash metal element to their output, alongside some great riffs, and savagery blended with a sense of the epic and grandiose. I also liked the vaguely progressive edge that they had, meaning that you had to work a little harder to fully appreciate their output. To me, this was a great mix which led to my becoming a firm fan of the quintet.

And then, after they released album number six, ‘The Sinister Supremacy’ in 2013, everything went very quiet. And it isn’t clear why. But no matter, because 2022 is the year that Darkane have retuned, and I for one am happy about this. With one of the most stable line-ups in extreme metal, the original core quartet who came together in 1998 remain present and correct. This means that the guitars are handled by Klas Ideberg and Christofer Malmström, Jörgen Löfberg is the bassist, and Peter Wildoer remains on the drum stool. The vocalist is the only person that has changed over the years, but original singer Lawrence Mackrory fronts ‘Inhuman Spirits’, his second album appearance since his return in 2011.

After such a prolonged hiatus, their return could have gone one of several ways. The resultant album could have been a pale shadow of their past offerings, it could have seen their modus operandi change with a pronounced identity shift, or the quintet could have come back hungrier than ever, or with no real appreciable change to their core identity. Thankfully, it is the latter that has transpired, and this has made me even happier.

It takes precisely 2.5 seconds before I start to smile. The opening song is also the title track and in classic Darkane style, it comes roaring out of the blocks with intensity, heaviness, and a grandiose bombast that only they can deliver. The drums mete out a punishing beat, ably assisted by a rumbling bass and strong riffs, all coated in some excellent, rich orchestration. Darkane are back, peeps! From there, Lawrence Mackrory takes centre stage with his familiar aggressive, gritty, snarling delivery whilst the energetic hybrid of death and thrash metal alongside him cuts and scythes with precise intensity. The chorus, however, when it arrives, is a magnificent thing of thunderous and melodic beauty. It takes a few spins to fully make its mark, but when it lodges itself in your brain, it will not let go.

Up next is ‘Awakening’ and whilst it is still unmistakeably Darkane, the approach is slightly different. It’s much more death metal-centric, with Mackrory unleashing a deeper growl that is less decipherable. That is, until the chorus, which is a stomping, groove-laden beast that builds upon the far less orchestrated, and far more muscular, chunky riff-laden affair that you hear in the verses. As the song develops, there’s a return to the cleaner vocals, plus there’s a large dollop of melody within the lead guitar solos that emerge later in the track.

The more I listen to ‘Inhuman Spirits’, the more I come to the conclusion that the album could very well be neatly split into two halves. Opener aside, the first few songs feel a little more spiky, incisive, and aggressive; there is still melody and groove, of that there’s no doubt, but the songs feel a little more confrontational and extreme, if I can use that descriptor. The second half however, is markedly more catchy and more melodic overall. Unless my ears are playing tricks on me of course.

And then track five, ‘Inhaling Mental Chaos’ kicks in. It still deploys a pleasing amount of strong and tight riffs, not sacrificing the heaviness one iota, but after a frenetic introduction, the melody feels more immediate and pronounced. Those that know me will know that this is a very positive thing indeed, so the combination of memorable riffs and melodically tinged cleaner vocals of Mackrory satisfy my needs perfectly. The ensuing lead solos and harmonic leads are delicious too, bringing that wicked smile to my lips once again.

I could pick any number of songs to thrust under the spotlight, but the truth is that ‘Inhuman Spirits’ is a remarkably consistent creation, with not one of the ten songs falling short, not even the slightly strange and unexpected final instrumental that’s just piano and atmospherics to end the record in moody fashion. It won’t be everyone’s preferred way of ending the album, but thanks to the darkness and the melancholy within the central melody, I rather like it.

Back to the heavier songs though, and ‘Mansion Of Torture’ is a snarling, frothing monster of a track that blends savagery and attitude with a huge chorus that once again sees some pronounced symphonic orchestration to inject that sense of majestic opulence to the material, culminating in a full-on cinematic film score outro.

In a slight change of pace, the intro to ‘The Quintessence Of…’ is a much slower affair, that shows the way in which Darkane can, if the need arises, offer a sense of more measured drama and slow build to their material. I love the way that the music builds from all corners of the band over the course of a minute or more, taking its time to come to full fruition. Whilst the pace does quicken slightly within the verses, it is a slower-paced composition overall, revelling in a big, grandstand chorus via a wonderfully groovy riff that will test those neck muscles whether or not you want it to. Alongside the title track, this is where Darkane are at their most gloriously epic and it’s at this point that I suddenly realise how much I love this band and how much I have missed them over the past near decade.

‘A Spiral To Nothing’ is a catchy and upbeat song, whose opening riff and melody reminds me a little of Arch Enemy, albeit in their early days when they wrote their best material by a million miles. There’s also a hint of early Megadeth too, particularly in the chorus that mimics the song title by cleverly spiralling down as it goes along. But don’t be fooled, because this is still 100% Darkane.

The only disappointment that I have is that I singularly failed in my attempt to bring this review to you before the album’s release. However, being such an important band for me and many others, and with such expectation after their hiatus, I felt I owed it to Darkane to get this review right, and to give the music as much time to fully resonate as possible. Having done that, I am delighted to be able to say that ‘Inhuman Spirits’ shows that this quintet have lost none of their ability, hunger, or bite. All that remains is my now heightened ambition to see the Swedes on a stage as I’ve never had the pleasure to date. In the meantime, won’t you all please stop what you are doing and wrap your ears around ‘Inhuman Spirits’, as Darkane are well and truly back.

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

Exocrine – The Hybrid Suns

Fallen Sanctuary – Terranova

Deathwhite – Grey Everlasting

Charlie Griffiths – Tiktaalika

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Charlie Griffiths – Tiktaalika – Album Review

Artist: Charlie Griffiths

Album Title: Tiktaalika

Label: InsideOut Music

Date of Release: 17 June 2022

My love and admiration for the progressive metal band Haken is something with which regular readers of manofmuchmetal.com will be all too familiar. Hell, I even wrote a piece suggesting that Haken might be the best band from the UK currently plying their trade. That thought may resonate, or it might seem like misguided hyperbole but either way, it demonstrates the strength of feeling I have for a band that I have steadfastly followed since the beginning. It was something of a no-brainer then, when I was presented with the opportunity to check out the debut solo album, ‘Tiktaalika’ by Haken guitarist Charlie Griffiths.

Handling the guitars, bass, keyboards, as well as writing the material and even singing lead vocals on a song, Griffiths demonstrates just how annoyingly talented he is as a musician on ‘Tiktaalika’. He is then joined throughout the album by drummer Darby Todd (Frost*, Devin Townsend), as well as a number of guest musicians including Dream Theater keyboardist Jordan Rudess, and saxophonist Rob Townsend (Steve Hackett). The list of guest vocalists is also eye-watering, as it includes Tommy Rogers (Between The Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organized Chaos), and Neil Purdy (Luna’s Call).

In anyone’s language, this is a hefty cast of musicians, so undoubtedly, expectations in various quarters were very high. But all of the star names in the world cannot save an album that suffers from poor songwriting, so it is imperative that this is not a stumbling block right at the outset. Thank goodness that Charlie Griffiths is a talented guy and a consummate professional, because almost immediately, I was able to relax and absorb the music on ‘Tiktaalika’ with a smile on my face.

As a side note, whilst there might be some slight play on words with a certain Bay Area thrash band, the bulk of the title of this album is inspired by the ‘Tiktaalik’, an extinct species that was present on Earth some 375 million years ago, a special creature that helped us to better understand the evolution of dinosaurs, fish, and land mammals. I’d never heard of it, so props to Mr Griffiths for making another day a school day. Love that!

My oblique reference to Metallica makes sense from the very get go of ‘Tiktaalika’, because the opening track, ‘Prehistoric Prelude’ begins in a manner that immediately reminds me of the wonderful opening of the classic track, ‘Battery’. When you hear the tone of the acoustic guitar and the chosen melody, you’ll understand. From there, the heaviness cranks up, eventually opening up into a full-on, speedy thrash metal work out complete with energetic riffs, thunderous drumming, and exuberant lead guitar soloing.

One of the big selling points with ‘Tiktaalika’ is Griffith’s return to a six-string guitar with the man himself remarking just how easily the riffs started to come to him. And this album is a proper riff heavy affair that leaves the listener in no doubt about the truth of this statement. ‘Arctic Cemetery’, featuring Tommy Rogers is a microcosm of everything that Charlie Griffiths is clearly striving for with this record; it is subtle, nuanced, heavy, and memorable. But most of all, it is varied, keeping the listener on their toes. It helps that Rogers delivers both his quiet, clean tones as well as his more aggressive style, because it creates another layer of variation. But between the chunky, groovy riffs, delicate melodies, and whimsical, atmospheric chorus, not to mention the numerous peaks and troughs, the song never sits still, with creativity seemingly oozing from every pore.

From there, we’re confronted with further experimentation, seemingly at every turn. ‘Luminous Beings’ is far more progressive in tone, with a stronger jazzy, fusion feel to large portions of it. The vocals of Danïel De Jongh are really excellent, completely in keeping with the soundtrack upon which he sings. The quieter moments allow Griffiths’ not inconsiderable bass talents to come more to the fore too, as he delves deeper into out-and-out prog before pulling us back from the brink with a satisfyingly bruising riff alongside a typically non-standard time signature.

As my favourite track of them all begins, you’re left in no doubt about the quality of the production, handled by Nolly Getgood. It is superb, bringing all of the songs to life. However, ‘In Alluvium’, one of three songs that extends beyond eight minutes, is a stand-out affair. The synth-heavy opening is melodious and enticing with the ensuing mid-paced groove utterly compelling, enhanced by Vladimir Lalić’s singing. The drumming from Darby Todd is marvellous too as the song slowly increases the intensity, dishing out killer riff after killer riff. The one-take keyboard solo courtesy of Jordan Rudess is impressive, but so is the whole song which again acts as a smorgasbord of different styles and inspirations, all wrapped up in some catchy as hell melodies.

I wasn’t originally as much of a fan of ‘Dead In The Water’ given my general dislike of the saxophone but I have been won over for the most part thanks to Griffiths’ songwriting prowess. Once again, the disparate has been forged into something surprisingly cohesive, dominated again by some instantly memorable and muscular progressive metal riffing and a hint of ‘The Mountain’ era Haken. Then there’s the epic-sounding segment that emerges after a brief foray into more extreme metal territory. Neil Purdy’s clean vocals join what feels like an outpouring of melodic emotion, before there’s a clever return to the motif from ‘In Alluvium’ at the death.

On ‘Digging Deeper’, an overall more delicate song, Charlie sings. It’s more of a hushed, delicate and tentative delivery, often strongly effect-laden, but it is a great vehicle to explore another different soundscape. With an echo of ‘Affinity’-era Haken thanks to the chosen samples and electronic effects, it further demonstrates Charlie Griffiths’ desire to keep experimenting.

The title track is an instrumental piece that is positively brimming with exuberance, instant feel-good melody and yes, you’ve guessed it, a ton of riffs. It feels very much as if this was the chance for Griffiths to go all-out and tell the world what an incredible guitarist he is – and he succeeds in the strongest of ways. Blazing solos, clever time signatures, light and shade, and groove by the truck full, it has everything you could want if you’re a lover of the six-string.

And finally, ‘Crawl Walk Run’ rounds things out in tandem with ‘Under Polaris’. The former reminds me a little of bands like latter-day Symphony X thanks to the high tempo and intricate riffs, despite some savage growls from Danïel De Jongh. The latter sees the album come full circle with a return of some impossibly fast guitar work that’s part prog, part thrash akin to the opener. But led by the vocals of Tommy Rogers, it also sees a reprise of several of the melodies seen throughout the album. I love this sort of thing, and it means that, as far as I’m concerned, ‘Tiktaalika’ ends in the strongest and most captivating way possible. The return of the acoustic guitar at the death in particular sends a shiver down my spine.

I had a feeling that ‘Tiktaalika’ would be good, but I wasn’t banking on it being quite this good if I’m being brutally honest. There is much to enjoy about Charlie Griffith’s debut solo effort, and I keep discovering new things with each passing listen too. No doubt it’ll appeal first and foremost to lovers of the guitar and the almighty riff, but given the diversity of the material and the quality of the songs themselves, I’m certain that the appeal of ‘Tiktaalika’ will be much wider, and rightly so. The only problem for Charlie Griffiths now, is how does he go about topping this on his sophomore release? Tune in 375 million years from now to find out!

The Score of Much Metal: 93%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Seven Kingdoms – Zenith – Album Review

Artist: Seven Kingdoms

Album Title: Zenith

Label: Distortion Music Group

Date of Release: 17 June 2022

For a few years now, I’ve been meaning to check out the band Seven Kingdoms but something has always got in the way. I’ve heard a smattering of songs here and there, but that’s about it. However, finally, in 2022, I have found the opportunity with the Floridian’s latest offering, ‘Zenith’. Somewhat shamefully, I was unaware just how long the band have been going, having started their journey back in 2007. In that time, the American band have released four full-length albums, with ‘Zenith’ being their fifth and first in five years.

Following the departure of John Tyler McDaniel from the apparently cursed bass position earlier this year, Seven Kingdoms took the decision to continue as a quartet. As such, the band is now comprised of a tight-knit, long-standing group of musicians, featuring guitarists Camden Cruz and Kevin Byrd, drummer Keith Byrd, and vocalist Sabrina Cruz. ‘Zenith’ sees the light of day following a highly successful crowdfunding campaign, but I’m convinced that this brings with it some serious pressure as fans have put their hands in their pockets and given money to the band to create a new record. I know I’d feel the pressure at any rate.

Not so much the Seven Kingdom guys though, if the end result is anything to go by. ‘Zenith’ features ten new cuts, alongside a cover of ‘I Hate Myself For Loving You’ by Joan Jett and The Blackhearts, and I cannot tell you how much I have enjoyed listening to this record. To give you a small inkling, I listened to the album front to back for the first time and immediately pressed play for a second time. What makes this even more impressive, is that the first spin began late at night. I was very bleary-eyed the next morning, but it was worth it.

Having now spent several days in its company, I can say with some certainty that the biggest strength of ‘Zenith’ is the variety found within it. Broadly speaking, Seven Kingdoms are a power metal band but in addition, I hear thrash metal, classic heavy metal, NWOBHM, and hard rock. There is plenty of melody and atmosphere too, not to mention a bit of welcome attitude that adds some swagger here and there. Everything comes together cohesively too, with the band’s identity remaining intact throughout. It all adds up to be a highly impressive and thoroughly enjoyable listening experience.

‘Zenith’ begins in powerful fashion too, courtesy of ‘Diamond Handed’. It’s an enthusiastic rocker of a song with a variety of paces from full throttle to a pounding mid-tempo that gets the head nodding appreciatively. There’s even a modern Evergrey-esque chugging riff at one point. Wailing solos, hooks galore, and a strong, memorable chorus are all present and it’s led by the impressive powerhouse vocalist Sabrina Cruz; she gives her all and she has a formidable set of lungs.

With my attention fully captured, Seven Kingdoms don’t waste it, following up the excellent opener with another catchy track in the form of ‘A Silent Remedy’. The power metal influences come to the fore here, whilst the ghost of the NWOBHM genre looms nicely over the proceedings, manifested in the guitar riffs and the harmonies, for which I have a real soft spot.

In a slight change of pace, ‘Love Dagger’ breaks out the full 80s melodic hard rock influences, with a hint of warm AOR aesthetics for good measure. It’s a fabulous track that’s great fun as well as catchy as hell, an irresistible hit of feel-good guitar-driven music that never gets old, especially the chorus, galloping rhythms, and effervescent solos.

The best news of all is that the quality that’s exhibited within the first three songs is not diluted as the album continues. In fact, ‘Zenith’ offers impressive quality and consistency throughout. I can’t think of a single track that I want to skip, or that I like less than the others. ‘Chasing The Mirage’ has a moody, but killer chorus, not to mention more NWOBHM-inspired dual guitar histrionics, galloping power, and over-the-top flamboyance.

Speaking of moody though, none of the tracks are as dark, moody, and atmospheric as the beguiling ‘Valonqar’. It opens in really brooding fashion, and continues in a similar vein throughout. Never exploding into metallic aggression as you might be expecting, instead it acts as an intriguing and magnetic vehicle to showcase Sabrina Cruz’s vocal prowess, albeit accented by a couple of lead guitar solos, a gorgeous rumbling, pulsing bass, and simple but commanding drumbeats.

‘Empty Eyes’ sees the band experimenting with some bold electronic sounds, whilst ‘Magic In The Mist’ opens with blood-and-thunder speedy power metal exuberance which largely continues throughout the song. Incidentally, it’s a great song to listen to whilst cycling uphill – trust me on that one!

The thrash influences that I mentioned earlier within the review are most keenly felt within songs such as ‘Universal Terrestrial’ which incidentally benefits from one of mu favourite choruses on this album. The thrash element continues at the outset of ‘The Water Dance’ which later segues seamlessly into a more grandiose power metal anthem thanks to the huge choral-accented section that appears later in the piece. But overall, this is easily the most varied of the songs on ‘Zenith’, meaning that it is probably my favourite of the lot.

I can take or leave the Joan Jett cover, but this aside, I really cannot fault Seven Kingdom’s new album at all. It’s catchy, fun, well-crafted, professionally executed, and highly entertaining from start to finish. And that will do me very nicely indeed. Be sure to check out ‘Zenith’ if intelligently written melodic power metal is your kind of music, because this should perfectly satisfy any cravings you have in this direction. Nicely done Seven Kingdoms, nicely done indeed.

The Score of Much Metal: 91%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Denouncement Pyre – Forever Burning – Album Review

Artist: Denouncement Pyre

Album Title: Forever Burning

Label: Agonia Records

Date of Release: 17 June 2022

It wasn’t until I was doing my research ahead of this release, that I realised just how many bands that fall into the black/death/thrash arena hail from Australia. The most famous of these is arguably Deströyer 666, about which I am at least slightly familiar. However, the list also includes the likes of Nocturnal Graves, Impious Baptism, and Destruktor to name but a few. And to that list, we must also add Denouncement Pyre. I’ll admit that I wasn’t familiar at all with the name, but I figured I’d give the fourth album of this Melbourne-based quartet a listen. It was a decision, if I’m honest, based on a combination of the cover artwork, illegible logo, and the fact that ‘Forever Burning’ finds itself on the relatively reliable Agonia Records.

As with many bands of their ilk, the quartet that makes up Denouncement Pyre are cloaked in anonymity. Mercifully they don’t have names like ‘Bludgeoner’ or ‘Havokwreaker’ – instead, it’s simply initials, namely D (vocals and guitars), T (guitars), R (bass and backing vocals), and drummer L. They talk a good fight, stating that the music on this album “represents a fiery will that cannot be broken…a homage to the triumph and tribulations of those who walk the path of fire. With the limitations of the mundane world fiercely aligned against us, we charge forth, unwavering, unbound! Forever Burning!”

I’m sure you’ll agree that this is essentially a middle finger attitude, aimed at all those that might seek to oppose the band and their brand of music. And as it turns out, the attitude and the music go hand in hand because ‘Forever Burning’ is a 40-minute barrage of unbridled menace, aggression, and bristling attitude. Not that this should come as any kind of surprise though, because none of us listen to this kind of music to learn more about fluffy animals or the delicate charms of garden fairies. Music that incorporates death, black, and thrash metal is meant to be nasty and full of spite. So strike one for Denouncement Pyre.

There is a great deal to like within ‘Forever Burning’, but if I am going to be 100% fair and honest, there’s just something ever so slightly missing overall which impedes some of my enjoyment. What you do get is plenty of cold, icy riffs in the minor key, lots of brisk and unrelenting blastbeats, a nicely rumbling bass, wild lead breaks and wailing guitars, and caustic, venomous rasping growls. There are even times when the music veers into slightly slower, more groove-oriented passages, or the band deliver a melody or two. It sounds like a great combination on paper, and the reality isn’t bad either. But it isn’t absolutely knocking my socks off and that’s a little disappointing.

After further reflection in an effort to untangle my thoughts on this record, I think there are a couple of reasons why ‘Forever Burning’ is just ‘good’ and not essential in my opinion. Firstly, I find the general unrelenting nature of the music, coupled with the production to be a little wearing. Even at the halfway mark, it feels like I’ve been listening for a lot longer than I actually have. And by the end, I need to give my ears a bit of a rest. That’s not because the music is too insanely heavy or overly extreme for my tastes. But when you take the rather abrasive-sounding production and add in fast-picked riffs and incessant double pedal drumming, it creates no small amount of fatigue within me.

I also think things would be far more enjoyable with greater variety woven into the music. When there’s a hint of melody or a slower, groovier section, I find the material resonates with me just a little more, creating some extra memorability. Take the opening title track as an example of all that is so right about Denouncement Pyre. It kicks off at a brisk pace with the black metal elements most prominent, especially when the lead guitar lines come in to add some frosty melody. But there’s a demonstrable thrash attitude which further manifests itself in a fast, wailing lead guitar solo. And later, the band inject a really cool groove that gets my head nodding appreciatively.

There’s a lovely melody-tinged solo buried deep within ‘Tongues Stretched For Salvation’ but the bulk of the song does little for me, even when some sampled voices are added to the quieter section to provide something a little different. The best song on ‘Forever Burning’ as far as I’m concerned is the charmingly titled ‘Burn This World And Start Again’ which benefits from a much greater degree of groove and has some melodic refrains and leads that prove that these Aussies can do it when they want to. I just wish they’d want to do it a little more often throughout this record.

Therefore, as solid and uncompromising as ‘Forever Burning’ undeniably is, I find that I am left just a little cold by it. I have literally no doubt that real afficionados of this style of music will rubbish my review and love every sadistic, hate-filled note. But I speak as I find and aside from a few of the tracks on offer, I don’t hear enough to allow me to wax lyrical about this album, or to add it to my collection.

The Score of Much Metal: 71%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Kreator – Hate Über Alles – Album Review

Artist: Kreator

Album Title: Hate Über Alles

Label: Nuclear Blast

Date of Release: 10 June 2022

After a wait of five years, I can finally review a new album by the band I consider to be my favourite of all of the German thrash scene. One of the ‘big four’, they stand alongside Destruction, Sodom, and Tankard as one of the best thrash metal exports from their homeland, as well as a world leader in their art. These are well deserved accolades in my opinion too because, aside from a period of experimentation in the nineties and noughties that’s probably best left unmentioned, they have consistently delivered some of the strongest thrash metal throughout their 40-year career.

Entitled ‘Hate Über Alles’, this is the band’s fifteenth release and it’s an angry beast. That’s a bit of a daft statement I’ll grant you, because thrash metal is meant to be angry, fuelled by the world’s injustices, and sticking it to ‘the Man’. But even so, and even by Kreator’s standards, my first impression was that the quartet, comprised of vocalist/guitarist Miland ‘Mille’ Petrozza, guitarist Sami Yli-Sirniö,,drummer Jürgen ‘Ventor’ Reil, and newbie bassist Frédéric Leclercq are seriously annoyed. Even the name of the album, which translates to ‘Hate Above All’ screams aggression. Mind you, there’s much to be angry about at the moment, even for a more and more left wing Mille. The pandemic, the war in the Ukraine, the alarming rising cost of living, the ever increasing disconnect and distrust in politicians, gun crime, racism; you name it, it’s there, and it’s all fertile fodder for a band like Kreator.

Importantly though, the quartet back up the anger with some seriously strong and on ‘Hate Über Alles’, beginning with the title track that appears immediately after a strange and unexpected intro piece entitled ‘Sergio Corbucci Is Dead’. The intro, named after an Italian film director, has a hint of Ennio Morricone about it, but lasts less than a minute, and then it’s on to what I’d call the main event. The title track literally blasts out of the speakers with barely contained rage, manifested in huge riffs, a thunderous rhythm section, and Mille’s ubiquitous vocals that begin with a howling wail of rage. Lyrics pelted forth with spite and venom ensue, as do furious lead breaks, rousing solos, and a huge sing-along chorus that it simple but incredibly effective in its infectiousness.

It is a breathless opening, but Kreator have only just begun, with ‘Killer Of Jesus’ following with barely a pause for breath. If anything, the opening riff is even faster than the title track, with the drums of Reil and bass of Leclercq galloping along with frenetic precision alongside. Again, the chorus is deceptively simple but effective, even more catchy than its predecessor in my opinion. I also like the way that there’s time for a slightly slower, groove-led section, with ‘gang’ vocals making an appearance before the lead guitar solo trade-off begins.

It’s when the intro riff to ‘Crush The Tyrants’ kicks off that I fully appreciate the strength and clarity of the production on this record. Taking their collective foot off the accelerator pedal, this track is a stomping behemoth where the chugging riffs crush just about everything in their path. It’s also a dangerous song to play loud whilst driving on the motorway as I have discovered, as the urge to bang your head rather than concentrate on the fast-moving traffic is almost too strong to deny.

If you’re wondering about the Kreator penchant to inject irresistible melody into their bulldozing thrash onslaught, then wonder no longer as ‘Strongest Of The Strong’ enters stage left. After an intro that has a slight Slayer vibe, it’s all about groove and melody, particularly the chorus that’s absolutely huge and catchy as hell. But it’snot just the chorus, as the solos are imbued with melody too, meaning that this is easily one of my favourites on the album. Mind you, it is pushed hard for this accolade by others, including ‘Conquer And Destrroy’ and ‘Midnight Sun’ to name just two.

The former opens with a Mainden-esque quiet melodic harmony intro led by lead guitars, accented by drums and bass. The pace quickens appreciably in the verses, but the gloriously poignant melody returns to form the basis for the chorus, even featuring delicate clean vocals later in the song. The magic for me is in the pronounced juxtaposition between fast-paced aggression and stunning melody, the two combining with real style and power, especially around the key change towards the close that creates a really epic, anthemic feel. The latter features pop singer Sofia Portanet but is a wonderful song regardless thanks to fast staccato riffing and a killer sprawling chorus that delivers a real grower of a melody. Portanet herself though adds another dimension in that her performance injects something very different, almost progressive or avant-garde when she sings solo at the heart of the song within the harsher, more aggressive sections which is a really great touch.

The more I listen, the harder it is to identify a track on ‘Hate Über Alles’ that is either substandard, or that I just don’t like. ‘Demonic Future’ is another catchy beast that rips along at a fair lick, and once again features wailing and gnashing lead guitar solos alongside undeniably memorable melodies. The final song, ‘Dying Planet’ is nearly seven minutes in length, thereby ending the record with a real statement piece, full of dark menace as the stomping riffs return to clobber anything and everything in their sedate path. The atmospheres are also more pronounced, ensuring that ‘Hate Über Alles’ closes in dramatic fashion, albeit no less aggressive and angry than the opening tracks.

It really is hard to fault ‘Hate Über Alles’ when all is said and done, because Kreator have well and truly delivered the goods once again. Power, aggression, venom, and spite collide superbly with expert songwriting, memorable melody, and irresistible catchiness to produce easily one of my favourite thrash records of the past couple of years. Simple as that, really.

The Score of Much Metal: 94%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Skull Fist – Paid In Full – Album Review

Artist: Skull Fist

Album Title: Paid In Full

Label: Atomic Fire Records

Date of Release: 22 April 2022

Any normal year, and this release may have fallen by the wayside. But this is 2022, and I’m on a mission to listen to more music than ever before, as well as review more music than ever before. A quick look at the cover artwork and I would normally pass on by, given how cliched it looks with a leather-clad long-haired gent (probably band mastermind Zach Schottler himself) holding a guitar in his fiercely clenched fist. He’s holding some metal chains for good measure and tattooed on his arm is the title of this record, ‘Paid In Full’. However, finding themselves on the Atomic Fire Records Label, who have enjoyed a powerful start to life, I decided to investigate.

‘Paid In Full’ is the fourth album from Toronto trio Skull Fist and it turns out that record labels play a big part in this Canadian band’s past. Apparently, band mastermind Schottler suffered a number of issues over the years, culminating in the loss of significant funds. What Schottler didn’t lose though, was his determination, which helps to better explain the chosen cover artwork that I initially derided. Instead of throwing in the towel, the vocalist and guitarist pulled together his long-time bandmates Casey Guest (bass), and JJ Tartagila (drums) to create more new music. As it turns out, it’s pretty good music, too, as ‘Paid In Full’ ably demonstrates.

For a start, the music feels as if it is the work of more than just three musicians, as there is plenty going on. Aside from the rather cheesy intro, the opening, self-titled track is a smashing song that immediately made me realise that I was onto something exciting. Riffs, harmonies, melodies, classic heavy metal attitude, it’s all here and I love it. Lead breaks and solos aplenty embellish a punchy rhythm section, where the bass guitar sounds delightfully massive. Schottler has a great voice too, as he demonstrates when the ludicrously 80s-infused anthemic chorus hits. High notes that verge on screams pierce the ears, but his lower register is great too, with a nice tone and delivery. Sweeping solos are layered over slower lead work to add an explosive dimension, whilst the chugging verse riffs are equally as infectious as everything else. It’s just a killer song, with elements of NWOBHM, classic heavy metal, hard rock, and AOR all looming large. Schottler wasn’t kidding when he is quoted as saying he’s ‘on a never-ending pursuit of melody’ and ‘guitars can do other things than just four chords’.

Apart from being armed with a ludicrous title, ‘Long Live The Fist’, is an up-tempo, energetic beast with an even greater swagger than the opener if that’s possible. It is faster, more urgent, and contains some of the best performances from the trio anywhere on this album. The solos are ridiculous, the drum fills are thunderous, and the bass dances and skips with effervescence too. Pulling this song together are more strong riffs, catchy melodies, and an all-out vocal assault from Schottler.

The more I listen to ‘Paid In Full’, the more brilliant and infectious it gets. ‘Crush, Kill, Destroy’ started out as a ‘meh’ track after the opening duo, but it’s thrash ‘lite’ feel just gets better and better. The faster riffs add a different dimension, as does the overt attitude that the song carries with it. But again, the melodies and catchiness of the music have worn me down. Then there’s the delicious ‘Concierto de Aranjeuz’ style intro to ‘Blackout’ that shows us yet more of Schottler’s skills with the six string.

The speed is then sacrificed for serious groove on ‘Madman’, led by a heavy metal riff that many would have killed to write. It isn’t complex, or tricky, it just sounds big, heavy, and gets the neck muscles moving of their own accord. We’re still treated to the guitar histrionics that we’ve come to expect, but the change of pace and focus with ‘Madman’ is brilliant, topped off by a chorus that gets right under my skin, such is its power and infectious nature. In the blink of an eye, it’s done, and we’re off again at top speed with ‘For The Last Time’, complete with an intro full of wailing and gnashing intent. As it develops, there’s a slight touch of ‘ballad’ about it, but it’s nowhere near a ‘lighter in the air’ track, so those with an aversion to such things can breathe easy again.

The only problem with ‘Paid In Full’ is that it’s all over and done with in a little over half an hour. That’s eight blood and thunder songs, and then the curtain falls. I know that I normally criticise albums for being overly long, but this falls into the completely opposite camp. And when I enjoy the music so much, and when there honestly are no fillers throughout, I genuinely do wish that I had more to sink my teeth into. But that’s the only criticism I have to be honest.

That leaves me with precious little else to report then. ‘Paid In Full’ is one of those all-too-rare records that plants a great big grin on your face, whilst reminding you why you got into heavy metal in the first place. For me, it was the solos, the riffs, the harmonies, melodies, the attitude, and the blood-and-thunder nature of the music. ‘Paid In Full’ has all of these elements and more besides, so if you got into metal for similar reasons to me, I suggest that you investigate this latest endeavour by Skull Fist as quickly as you can. Just be warned: blink and you’ll miss it!

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here: