Cist - The Frozen Casket

Band: Cist
Title: The Frozen Casket
Label: Camo Pants Records
Release Date: 16 March 2018
Country: Russia

Okay, so right off the bat it should be mentioned that this release isn’t being covered as timely as it should as it came out near the end of January. Luckily, Cist aren’t too timely either. Formed by guitarist Nikolay Komshukov after leaving his thrash band, Cist play a style of death metal that feels only recently removed from the growing pains of thrash, and their newest extended play, The Frozen Casket,  follows suit: it sounds like they have been perpetually stuck in 1988, and in the best way possible. From the cold-start, no holds barred opening track of “Antisceptic,” the very first thing that jumps out is just how much it sounds like Leprosy-era Death, particularly in the song structures and the almost dead-on Schuldiner-style singing of vocalist Vitaliy Luschencov. Komshukov’s guitar work is the secret sauce that brings it all together, however. His blend of rhythm and lead playing manages to make the three-piece sound fully fleshed out. Komshukov also presumably handles bass duties. The bass is generally content to stay in the back and do it’s duties of bridging the gap between the guitar and drums. It does add a very rolling groove, especially on tracks like “Mitosis Simulation” where it’s almost funky pop helps make the song a highlight of the 21 minute EP. The Frozen Casket is a terrific show of appreciation for the origins of US death metal. Cist have really captured the feel of the era, and while the EP does have a bit more of a modern production, it still sounds organic and fresh without succumbing to sterility. It is almost a shame to have to point out that it still is a release drenched in worship without much deviation. Cist have found ears with The Frozen Casket, and it would be interesting to see what they can bring to the table with a bit more of a voice of their own. 7/10 d00mfr0gg

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7/10 Victory is possible

GraveCoven "Coughing Blood"

Band: GraveCoven
Title: Coughing Blood [EP]
Label: Godz ov War Productions
Release Date: 19 February 2018
Country: USA

GraveCoven is a black/death act out of California. Having released two demos, one in 2015 and one in 2016, as well as a cover of “Hades” from the first Bathory in 2016, GraveCoven have combined their work thus far onto a single EP being released under Godz ov War Productions. Since I had not heard the band before the EP’s release, I was unaware of what I was missing. The band fits comfortably in the palette of anyone who’s been enjoying Possession’s take on black/death, taking the chunky, Stockholm-style death metal riffs and blackening the songs over a blaze of hellfire. GraveCoven take it a step further, adding a bit more of the second-wave of black metal and a deeper, more resonating vocal approach. The songs are in the proper order of release, and show a leap in progression between the two demos. While all four original tracks are good, the second half (comprised of the Coughing Blood 2 demo) is more confident: its raw, bestial energy shows a lot of promise for the band. “The Ecstacy of Hatred” steals the show, with the best riffing and watertight rhythm section, peppered with the full use of interlayered death vocals and high-pitched wails and choral backing. The only part of the EP that comes across as a bit lukewarm is the aforementioned Bathory cover. It isn’t bad, and it is respectable that the band did it in their own style, but overall isn’t worth a fuss and just works as a nice B-side or rarity to add to a hopefully fruitful future discography. 8/10 By d00mfr0gg

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Druid Lord "Grotesque Offerings"

Band: Druid Lord

Title: Grotesque Offerings

Label: Hells Headbangers

Release Date: January 19, 2018

Country: United States

Florida death/doom outfit Druid Lord have returned with their sophomore full-length, Grotesque Offerings. It's been eight years since their debut, Hymns for the Wicked, was released, and the band brings their horror-themed stylings home for an enjoyable slice of classic sounding death/doom. Thick guitar production, coupled with solid songwriting, stand as the highlight features of the album. The hardest part of anything on doom territory is keeping the attention of the listener, and Druid Lord manage to do so by not dwelling too long on one tempo. The speeds vary throughout each track between the slower, dirge-y sections and the builds that seem to rely more on a driven, mid-tempo feel. There are even plenty of faster sections to get the listener's head banging a bit. The solos feel well-placed and are executed with precision. One of the biggest stand-out features of the album was the use of the B-horror movie aesthetic; the whole album feels like classic gore flick. The touches of organ-replicating synths really add a nice touch of atmosphere without taking over the spotlight from the backbone of the band. Overall Grotesque Offerings is a solid effort from Druid Lord, and I hope they don't take eight years to release a follow-up! (7/10) By d00mfr00g

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Cosmic Void Ritual "The Excreted Remains of the Sabatier System"

Band: Cosmic Void Ritual
Title: "The Excreted Remains of the Sabatier System"
Label: Blood Harvest
Format: Tape
Release date: Oct. 6, 2017
Country: United States

First things first: it is a new year, and while I normally am not the type to do New Year's resoultions, I have set a new goal for myself for the year: try to stay more ahead in my reviews! That being said,
January tends to be a slower month for releases, and I tend to spend a lot of my listening time checking out releases I have missed in the previous year. Enter Cosmic Void Ritual. Having released their first two demos earlier in 2017, Blood Harvest has put June's "Gateways Through Septic Flesh" and July's "Transcendence Through Galactic Death" together as a single release under the title #The
Excreted Remains of the Sabatier System".
While I had not heard the demos before listening to the compilation, I had a pretty good idea what I
was in for from a death metal band on Blood Harvest. Angular riffing, seeped in reverb, and an open
devotion to either the 90's Finnish death metal scene or Incantation. As it turns out Cosmic Void Ritual lean more toward the former, the Demilich riffing is all over this one. As the name might suggest, Cosmic Void Ritual focus on sci-fi themes, which pairs well with project mastermind Unknown Entity's style. The guitar worships on the edge of chaos, constantly on the verge of falling completely off course and into, well, the void, or the backdrop created by the desolate atmosphere of the production. The rhythm section manages to provide a solid base and it is this dichotomy that makes the music work. While there are slight production differences between the two demos, they both have their own slight characteristic differences that serve their respective songs well.
Overall, while the style was predictable, the journey itself was most enjoyable, and I've found myself
coming back to the compilation multiple times. In a style that has begun to get a bit crowded as of late, Cosmic Void Ritual manage to show their is terrain yet to be fully explored. 7.5/10 By d00mfr00g

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d00mfr0gg - Top 10

1
The Ruins of Beverast - Exuvia
Genre: Black/Doom
Label: Ván Records
Country: Germany
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I first heard Exuvia while sitting on my front porch, headphones in, as a storm front started moving in. The setting could not have been better. The dark clouds rolling in, the cool winds picking up, the drop in air pressure all fit the experience of the album so perfectly. Alexander von Meilenwald approaches each Ruins of Beverast album differently and, in my opinion, always with stellar results. Yet something about this album is truely special. Meilenwald is a master of his craft, using every instrument he feels necessary to create haunting soundscapes that build on each other to epic climaxes. Not only does he create tension, but he manages to succeed where so many other artists struggle: he delivers. Every crescendo is done with purpose and leaves the listener satisfied. Exuvia may be but another display of his sheer brilliance, but he's so far ahead of his contempraries that they pale in comparison.

2
Perverted Ceremony - Sabbat of Behezaël
Genre: Black
Label: Nuclear War Now! Productions
Country: Belgium
Bandcamp
I will admit, I am always a sucker for Beherit-worship, especially from the Drawing Down the Moon
era. And while Perverted Ceremony definitely evoke a similar sound, going for a dark, ritualistic form of black metal complete with whispered vocals, they stand out amongst the clones. Excellently produced while retaining their filth, Perverted Ceremony accomplish preciesly what they set out to achieve with Sabbat of Behezaël: worship of a mysterious and dark force through primitive, bestial black metal.
**Note: The band has recently announced a new EP, out Dec 25th on Nuclear War Now! Productions

3
Temple of Void - Lords of Death
Genre: Death/Doom
Label: Shadow Kingdom Records
Country: USA
Bandcamp
Death/doom with a sense of drive. The record never loses it's momentum, and the production issues
that (minorly) plagued the first release have been cleaned up. The vocal delivery is some of the best
death vocals I've heard in a while, deep and resounding, yet completely decypherable without the help of a lyric sheet. The band even toys with clean vocals on "Graven Desires", which pays off in spades (my favorite track on an album full of excellence). Lords of Death is to be commended as a crowning achievement in the already fertile Detroit metal scene.

4
Vesicant - Shadows of Cleansing Iron
Genre: Black/Death/Doom
Label: Iron Bonehead Productions
Country: New Zealand
Bandcamp
Vesicant may not be war metal proper, but their blend of black/death calls to mind the horrors of one
of the most savage conflicts of our time: WWI. My full review of Shadows of Cleansing Iron can be found
Review

5
Tchornobog -Tchornobog
Genre: Black/Death/Doom
Label: Fallen Empire Records/I, Voidhanger Records
Country: USA
Bandcamp
A devisive record, from what I've noticed. I'm firmly in the camp that it is a monolith of inspired
extreme metal. Full of surprises across it's four massive tracks, Tchornobog is brilliantly layered
masterwork, with each layer adding another coat to create a suffocating sense of dread.

6
Hellripper - Coagulating Darkness
Genre: Black/Speed
Label: Independent/Barbarian Wrath/Diabolic Might/Granite Factory
Country: Scotland
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Speaking of fun records, just try to listen to this while driving without hitting the gas. A blasphemous
ripper from front to back that moves Hellripper out of his earlier blackened-Motörhead worship (though those roots are still most definietly present) and into his own brand of blackened speed metal. Check out my interview with Hellripper mastermind James McBain
Interview

7
Malokarpatan - Nordkarpatanland
Genre: Black/Heavy
Label: Invictus Productions
Country: Slovakia
Bandcamp
One of the most fun records of the year for me, Malokarpatan's sophmore effort calls upon Master's
Hammer, Bathory, and a healthy dose of Mercyful Fate riffing set to Slovakian folklore and drunkenness. A very bizarre yet entertaining listen, this record could have gone off the rails quickly, but Malokarpatan have the chops (and the balls) to pull it off with seeming ease.

8
Black Cilice - Banished From Time
Genre: Raw Black
Label: Iron Bonehead Productions
Country: Portugal
Soundcloud
Black Cilice's fourth full-length, and possibly the most "accessible" one to date. Beautifully produced
raw black metal that I find myself lost in on every listen. The vocal performance is outstanding,
contrasting well against the melodic chord progressions, and truely sounding like the desperate cries of a soul lost amonst the cosmos.

9
Tomb Mold - Primordial Malignity
Genre: Death
Label: Blood Harvest
Country: Canada
Bandcamp
Quite possibly the hardest working death metal band today, certainly the hardest of 2017. On the toes
of their debut album the band also released a new demo, a compilation of their two 2016 demos, and
promised an album in spring of 2018, all while touring. The music is reminescent of the classic Finnish death scene while managing to feel fresh and inspired. Drenched in decay and reverb, the guitars coat the solid rhythm section in a feeling of frantic and overwhelming dread.

10
Ascended Dead - Abhorrent Manifestation
Genre: Death
Label: Dark Descent Records/Invictus Productions
Country: USA
Bandcamp
Riffs on top of riffs on top of riffs. Death metal delivered at breakneck speed and a furociousness
unmatched by their peers. Bestial, yet technical, the band manages to keep their brand of death metal
interesting and enganging thoughout the record. The stellar debut from the San Diego natives leaves mewanting more every time.

Kawir "Exilasmos"

Band: Kawir
Album: Exilasmos
Release date: Nov. 3rd, 2017
Label: Iron Bonehead Productions
Country: Greece

When considering black metal inspired by mythology, it is easy to conjure thoughts of Norse gods and Viking legends, yet Greece has a history of drawing such inspiration almost as frequently as their Scandinavian counterparts. Kawir is no exception, using their brand of  Hellenic black metal to tell tales, in the case of Exilasmos, of the houses of Lavdakides and Atreus. The music itself fits the epic scale of the legends, utilizing a grandiose scale that the Greek black metal scene has become known for. Despite being based around tragedies, the songs’ moods vary between ferocious and triumphant, the second track, “Oedipus”, being a stand out in regards to such features. The riffs are well-written, flowing from one to the next, showcasing the band’s experienced songwriting abilities. The choral samples sprinkled throughout add a nice touch, and while Kawir don’t rely on them for their grand sound, they do a good job of adding to the music. Overall, Exilasmos is a better-than-average Greek black metal release that warrants several listens to fully appreciate the storytelling as well as the songwriting, and for me one of heir best to date. 7/10 By d00mfr00g

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Vaultwraith "Death is Proof of Satan’s Power"

Band: Vaultwraith
Title: Death is Proof of Satan’s Power
Label: Hells Headbangers Records
Release Date: October 31, 2017
Country: USA

In 2006, when Dissection releases the much-anticipated Reinkaos, fans were a bit disappointed in the change in direction that the notorious Jon Nödtveidt had taken the band. To be completely fair, nothing could meet the fans expectations after a twelve year wait for a follow-up to Storm of the Lights Bane. In retrospect, Reinkaos is actually a solid record, relying more on the mid-tempo grooves of hard rock and traditional heavy metal than the blazing blast beats and shredding of The Somberlain or Storm of the Lights Bane. Eleven years later, enter Springfield, Missouri’s Vaultwraith. While still a black metal record, the album takes more of a Reinkaos approach, relying on a mid-tempo feel to espouse their devotion to Satan, black magic, and the occult. The band makes use of synths, but they never overpower the other instruments, content to stay in the background, adding a mysterious under layer of fog to the atmosphere of the record. Overall, the songs feel well written, highlights being the anthemic “Ravaged in the Crimson Mist”, the Mercyful Fate style riffing on “Night Ride Through the Black Wood”, the and, surprisingly, the slowest track on the album, “Manifest at Midnight”. The album is not without issues, however. The closing track, “Skeltonized Malediction” seems to meander aimlessly and really drags the record out instead of closing it on a memorable note. Production-wise, while not bad per se, feels overly digital and could benefit from less processing of the guitar sound and especially the drum tones. It’s a record I feel I’ll mostly be revisiting in the future in pieces, rather than a whole work. Nevertheless, Death is Proof of Satan’s Power is a solid debut from Vaultwraith and if they can overcome the production issues I will eagerly await their next material. 6.5/10 By d00mfr0gg

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Vesicant "Shadows of Cleansing Iron"

Band: Vesicant
Title: Shadows of Cleansing Iron
Label: Iron Bonehead Productions
Release Date: July 14, 2017
Country: New Zealand

“Vesicant” is defined as a blistering agent, in this case referring to mustard gas used during the first World War, a war notorious for its technological advances on the battlefield. It was these advances that made for arguably the bloodiest and most viscous wars in the history of man, as battlefield tactics had not yet adapted to these new methods of destruction. Vesicant have chosen their name well, as their debut, The Shadows of Cleansing Iron, is a consistent barrage of battlefield chaos that just drops to a trudge blanketed in the fog of war. Their sonic assault feels like the hellish battlefields from which they draw inspiration: for example, the first track (“Blood Miller”) starts slow, as though the next wave of troops are advancing over the fallen before meeting the enemy before all out warfare ensues. The snare drum sounds like a Vickers Machine gun blasting through the haze of battle. The guitars, heavy and coated in fuzz and reverb blanket the sonic landscape with an air of fear. This maintains throughout the album, unexpected twists and turns before dropping back to the slow crawl as the next wave works its way towards an uncertain fate in the meat grinder of the front line. For a two-piece, I can’t get over how unbelievably FULL this record sounds. The cover art does the album justice: a massive, intimidating building looming out of the shadows pairs perfectly with the crushing, massive atmosphere Profanum and Mordance (Impetuous Ritual, Temple Nightside) present. In a genre that has a tendency to produce many clone bands, Vesicant feel fresh and inspired. To call The Shadows of Cleansing Iron a "breath of fresh air", however, would do it a disservice; the air here feels full of carbon, diesel exhaust, and possibly mustard gas creeping in the trenches: exactly what I want in a war metal release. 9/10 By d00mfr00g


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Sacrocurse "Gnostic Holocaust"

Band: Sacrocurse
Title: Gnostic Holocaust
Label: Iron Bonehead Productions
Release Date: October 19, 2017
Country: Mexico

The greatest issue with black/death bands is the very limiting restrictions of the genre. There is not much room to expand, and thus stand out from the waves of Blasphemy clones that seem to pop up all over the globe. A few have managed to really stand out this year, with Goatpenis and Weregoat taking a more melodic, accessible approach or Vesicant dropping their tempos into doom territory. Enter Sacrocurse and their sophmore full-length, Gnostic Holocaust. There is not much new here, but what they bring to the table is a solid slice of black/death nonetheless. Their are hooks to be found here, especially on the surprisingly catchy "Endless Khaoz", which stands as an anthemic highlight and I would assume a future live staple for the band. The production is good, not lo-fi but not squeaky clean either. The guitar solos serve the purpose of taking the tracks to the next level without overstaying their welcome, and the pick scrapes ZK (of Nodens, Obeisance, ex-Morbosidad) flavors the tracks with are loud and full. The band's solid rhythm section has no trouble locking into a groove on the breakdowns between the chaotic fast attacks or on the slower "Vengence Consumed". The vocals are well delivered, but rarely deviate from the same delivery, though there are bits of higher-pitched screams to be found sprinkled in. Overall, despite my complaints of not bringing much new to the war metal table, the release is enjoyable enough to stand out a bit amongst the other Blasphmeny clones releasing albums this year. 6.5/10 By d00mfr0gg

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INTERVIEW: JAMES MCBAIN (HELLRIPPER)

Hellripper is a one-man black/thrash project out of Aberdeen, Scotland that has been generating some buzz around the release of the debut album, Coagulating Darkness. A fast-paced frenzy of speed metal charred over the fires of hell, it has been a favorite release of mine this year. I recently had the privilege of catching up with the mastermind behind the project, James McBain about the recording of the album, his influences, and his many other active projects. 

What is your writing and recording process like? Do you typically go to record with fully realized songs or hash them out as you go?

When I start recording, everything has already been written out in guitarpro so that a MIDI version of the song exists before any recording takes place. This helps me a lot as it gives me a good idea of how the final product will sound. Of course, I add things during the recording process and add vocals etc.

Why do you choose to keep Hellripper a one-man project? I see you’ve played some local shows live before, any chance of a touring outfit?

At the moment, it's convenient to record by myself at home. Less time consuming, no deadlines, minimal cost and I can learn new things about recording as I go haha. We have played a few local shows and just recently played at 'Old Grave Fest' in Romania along with bands like Necrophobic and Blackevil which was amazing. There is a full live line-up now and we are looking to play live as much as possible.

The guitar work on Coagulating Darkness is top notch, is the guitar your “native” instrument?

It's my only instrument haha. I'm glad you like the playing. I'm more of a rhythm guitarist than a lead guitarist which is why there is more focus on riffs as opposed to solos. I do play bass but it's not advanced stuff and basically mimics the guitar parts most of the time.

The drums on the album sound live, are they all recorded that way or is there any programming involved?

Completely programmed. I'm useless at playing drums so it's easier that way. I'm very happy with how it sounds so the fact that the drums aren't live doesn't bother me.

You have previously revealed that, among others, your parents are on the new album. Did your interest in metal (or music as a whole) come from them? And if not, how did you discover metal?

They did. They performed some backing vocals on one of the songs. My Dad is into old rock music like AC/DC and The Eagles so I guess that helped. But I think I got into metal just by hearing stuff on TV or by coming across it on the internet. I've always liked rock music and I think I just gradually started to like heavier stuff. Metallica and Megadeth were probably the first metal bands I liked and the first two metal albums I purchased were ...And Justice For All and Peace Sells... but Who's Buyin'. Still my favourite albums from both bands.

What are some of your biggest influences, aside from the obvious picks (Bathory, Venom, etc)?

Bathory's first album, first three Venom albums, Sabbat [JPN], Toxic Holocaust, Midnight, Enforcer, Darkthrone, TANK, Metallica, Megadeth, Mercyful Fate, Kreator, Sodom, Motley Crue.

That's just some off the top of my head. The list goes on and on.

I know several of your releases (including Coagulating Darkness) are available on cassette. How do you feel about the tape “resurgence” that seems to have been occurring the past few years? Is this a medium you yourself enjoy or prefer?

I am a CD person myself. Probably just because I grew up with that as the primary format. I do like tapes as you get the analogue sound, but for convenience it's CD for me.

How is the underground scene in Aberdeen and Scotland as a whole?

It's picking up quite a bit in Aberdeen. It's been quite difficult for the past year or so as our main venue closed down so we have been forced to find alternatives. I couldn't tell you about the Scottish scene overall as I haven't really been involved in anything other than the local Aberdeen scene.

You seem to be a busy man, any of your other projects you’d like to plug (I’ve dipped into Lord Rot, that EP is a delicious slice of brutality!)

Thank you for that! I'll plug Lock Howl, another one-man project and Rats of Reality. Lock Howl is a post-punk/metal project of mine that sounds somewhere in between Type O Negative and Beastmilk with a mixture of clean and harsh vocals and a whole lotta reverb. I released the debut album Pareidolia earlier this year. Rats of Reality is a 3-piece band that plays some sort of crusty black metal and draws influence from a bunch of different stuff from Celtic Frost to Converge to Oathbreaker to Darkthrone. We have 3 EP's released so far.

2017 is coming to a close and has been a great year for metal. Any new releases you’ve been enjoying?

There's a few cool ones. I'm really enjoying the new Grave Pleasures, Warbringer, Lich King, Trivium, The Black Dahlia Murder and Blackevil albums. There's probably a whole lot more but again, off the top of my head.

What does the future hold for Hellripper? For your other projects? Any details on your upcoming releases?

I have 4 planned split releases for Hellripper to be released over the next year. The first of which is also includes Wasteland Riders, Nightrider and Dulvel. I won't go into detail on the others yet. I also have a plan for the next album which is quite a long way from being finished but it will be a concept album. That should be released in 2019 I imagine. Other than all that, Hellripper will be playing shows throughout 2018 so that should be cool!

A split between Lord Rot and VHS is nearing completion too so that should be out in the near future…

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Interview by: d00mfr0gg

Interviwer note: Needless to say, I am excited to hear four new releases from this project alone in the coming year. To stream/purchase Coagulating Darkness, follow the link below, proceeded by links to Lord Rot, Lock Howl, and Rats of Reality. Support underground metal! -d00mfr0gg

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Lock Howl

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Necandi Homines "Da'at"

Band: Necandi Homines

Album: Da’at

Label: Vacula Productions

Release date: June 5, 2017

Country: Italy

Focus and direction are two qualities that often are taken for granted. It’s easy to lose sight of them when they are present in a record, but when they aren’t there it becomes a glaring omission and the entire work suffers. Unfortunately, Necandi Homines are missing both on their debut full length, Da’at. The black/doom outfit attempts to rely on ambiance and movements to carry their songs, but it comes off as stale and disjointed. The entire first track (“Memento”) is eight minutes of choral mood-setting that, used as an intro, could be cut down by six minutes and still serve the same purpose. There is no payoff, as the first track fizzles out into another meandering build-up on “The Faceless Sculpture”. When the track climaxes, it plateaus and fails to progress, instead dropping off into more atmospheric “mood-building” that fails to evoke much of anything besides waiting for the next track to start. The waiting continues throughout “The Fifth Dimension”, another atmospheric track of mostly bass and drums, until “The Ocean After the Storm” comes in. This is the first track with any real meat on the bones, the drums do a good job of driving the song forward, and it actually feels like there is a purpose here. The vocals, evoke desperation and despair amidst the strummed chord progressions before again dropping into what is the saving grace of the record: the seventeen minute climax track, “Through Deep Waters.” It feels as though this song has purpose, the transitions between movements are smoother and the builds actually have payoff. Atmosphere is finally achieved. The female vocals are extremely well executed and fit right in, they serve as a highlight of the entire album, followed by the best passage Necandi Homines offers on the album. Had this track alone been perhaps released as an EP, the band would have left a much stronger impression, but it’s almost too late at this point. 3/10 By d00mfr0gg

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