Testament - Para Bellum (2025)

People surrounding me (both in meatspace and cyberspace) absolutely lost their shit over this album, and I can't count how many times I was asked if I had 'heard the new Testament' record. And I HAD heard a track or two, and was a little confused over the hype, not that I disliked the material, but from the way people were speaking about it I thought this was the second coming of The Legacy or The New Order. Granted, I am an odd duck with regards to this band's catalogue. The Ritual is my favorite, with its washed out, heavy metal leanings, not at all typical of their output, and appreciated by few; but I do also really love that first run of three albums, as well as others (Formation of Damnation) which hearken back to that very sound. So I allowed myself to get excited...

And I probably shouldn't have. This is a Testament album, through and through, with a few stylistic embellishments that are added to try and round it out, namely the more black metal and death metal elements. It's not their first rodeo with the latter, records like Low and Demonic walked that line, and often quite well, but the black metal here in "For the Love of Pain", obviously included as some sort of paean to Eric Peterson's run in Dragonlord, feels fresh. It's well performed, with incredibly drumming from Chris Dovas as well as Chuck Billy adapting his unmistakable voice with ease. But I don't think it actually adds anything I was really expecting to hear, even with Steve DiGiorgio laying in some awesome swerving bass lines to give it a more unique feel. Para Bellum is far, far better when it's sticking to the thrash that put them on the map, that's where I can really appreciate Chuck's more melodic chorus parts, and there are a bunch of tracks I enjoyed like "Witch Hunt", "Shadow People", and the awesome titular closer which is probably my favorite of the bunch with the technical riffing from Eric and Alex.

The ballad, "Meant to Be", clearly a callback to some of my fave material from The Ritual, doesn't quite land with me, but overall I think Para Bellum is a better listen than Titans of Creation. That album was rock solid, doing what Testament do, but it didn't impact me beyond the surface level. I think all the musicians in Testament are flexing a lot more throughout this record, and that's where the most curious details lie, because it rewards you for a number of listens with something you might not have noticed. I also think there's an EP worth of top shelf songwriting present, but even then none of the chorus parts or riffs necessarily stand out against their classics. Production and performances are exceptional, and so this is worth picking up for that alone, but it never amounted to AOTY material for me, despites its numerous strengths and the utter perseverance of this band to sound as energetic as it still does. That aspect of Para Bellum is humbling, for sure, and maybe the rest of this will grow on me more.

Verdict: Win [7.75/10]

https://www.testamentlegions.com/site/

World of Shit - Bleeding the Rats EP (2025)

World of Shit is a project which has existed in the shadows for over two decades, finally coming to full fruition with this new EP Bleeding the Rats that sees an escalation in volume and intensity. It's essentially death metal or death/grind adjacent, but not to be pigeonholed, the material has an industrial sheen to its backbone, and a lot of weird dissonance and rhythmic dynamism which wouldn't feel out of place in some extreme mathcore or industrial death metal outfit. The production is dense and suffocating, there's a lot going on between the beats and the riffs, and if that weren't enough, Morgue Supplier's Paul Gillis has been brought on board to saturate our ears with a gruesome exhibition of vocals that I'd place somewhere between Alain Jourgensen and Martin van Drunen, but also prone to grinding out into a higher, nastier pitch too. If you've heard Paul on his other projects, you'll know things are about to get very uncomfortable, and considering that he and one of this project's architects, Eric Bauer, have worked together in both Rabid Beast and Morgue Supplier before, you'll also know that you are about to be leveled by the aural artillery.

Strangely, as pummeling and rhythmic as this is, it's got a slight warmth to it created through the mix, or perhaps some of the more dissonant, noisy patches create this feeling in spite of themselves. It's so loud and larger than life, I was reminded of Strapping Young Lad if they were being flogged by Gorguts. A soundscape with something interesting happening in every corner, a really powerful guitar tone, brutal drum programming. Some of the riffs feel like you're implanting an intense post-hardcore dissonance straight into a vortex of chugging, churning grooves, and it's a really interesting hybrid. The 'leads' are more a thing of atmosphere, tremolo licks spitting melodies that are heavily dowsed in effects, but they are a perfect fit to the apocalyptic post-modernism of the rhythmic aesthetics. Sometimes it can grow a little TOO intense, but thankfully you're only being murdered for about 13 minutes with this. With a longer track list and some more variety to explore these dilapidated landscapes, with calmer calms, hints of melody more melodic, and more extreme extremes, connected through the tendons of such kinetic musicianship as this guy metes out, I think you could have a pretty frightening, unique voice for death metal here.

Verdict: Win [7.5/10]

https://worldofshit1.bandcamp.com/music

Blizaro - Light and Desolation (2025)

I had encountered some shitposting somewhere about the cover artwork for Blizaro's third proper full-length, Light and Desolation, but I think it must have been the product of someone who didn't quite grasp what was going on here. This is essentially the 'basement doom' album envisioned and performed by your local Dungeon Master, that kind of awkward guy who scribbled all sorts of arcane imagery, logos and monsters in his school notebooks while the rest of you were trying to pay attention to whatever lesson was being taught that day. Which, let's face it, he didn't need to hear, since he was probably already on cruise control to a higher grade, having long since grasped the material. I personally think it looks awesome...amateurish, creepy, enigmatic and quick to unlock the gates of nostalgia that will soon flood over you when listening to it.

The music is almost as eldritch as the artwork, with a very primitive, stripped down sound, clean on the chugging rhythm guitars, never dowsed in any excess layer of studio polish. It does have a 'demo' vibe, which wouldn't be the first time for John Gallo's project, as some of the stuff off the excellent Strange Doorways compilation possessed a similar sincerity. Of all the Blizaro records, I think this one returns most to the fundamentals of the doom metal genre, embellishes them with a range of proggy synths, equally as lo-fi sounding as the rest of the instruments. Minus a few tweaks here or there, this sounds like something you could have dug up in a record bin 30 years ago, when the doom metal genre as a whole was really only starting to snowball itself into a legitimate sub-classification. However, the use of the synths and epic, barbaric vibes created through the vocals and harder rhythm guitar riffs delve into a world much more fantastic than a Pentagram or Trouble; lyrically more in line with Cirith Ungol, sword and sorcery/cosmic horror influences, but the synths and structures here feel much more fresh and...bizarre.

John's vocals are humble, workmanlike, and constantly multi-tracked to create the impression that you are constantly listening to some cult ritual or haunted choir. He might not have the classic range or presence of an Osbourne, Marcolin or Wagner, but his technique grows even more hypnotic the further you journey through the record. In fact, I felt that the entire experience escalated through the entire play length, from the folksy acoustic intro "The Last Winter" all the way to the climactic "Warriors of the New Lands", the best-produced track on the album and one of the best I've ever heard from Blizaro, with charging riffs and loads of atmosphere over the groove of the drums and bass fills, all of which are also performed here by Gallo. There are no stinkers en route, mind you, as tunes like "Lightning Strikes Back" and the titular "Glare of Light and Desolation" totally kill it with a balance of mean, minimal doom riffs with extravagant melodies, harmonies, and a nice acoustic segue here or there.

This is a vibe album, and once it hooks you, there's no letting go as your imagination spirals into a limbo of twisted landscapes, imposing dark castles, demons and wizards and the steel in hand one needs to end such curses and threats. I wasn't immersed as immediately (nor as much) as on City of the Living Nightmare or Cornucopia della morte, or the compilation I mentioned above, but when this one levels up on some tunes, they're the measure of nearly anything John has written before. Just know what you are getting into, a realm of yellowed paperbacks, teenage dreams, horrors eldritch and medieval, darkness and heroism, performed with a panoramic understanding of the genre and its influences, stripped down to its very basics and then re-dressed in starry new robes.

Verdict: Win [8.25/10]

https://blizaro.bandcamp.com/album/light-and-desolation

Doldrum - The Knocking, or the Story of the Sound That Preceded Their Disappearance (2022)

The Knocking... is one of their rare, anomalous records that comes around and completely eradicates you, and then has you begging the question: why it wasn't more popular? Even a couple years later, I am baffled that this one hasn't stuck with more listeners. Perhaps it's just too obscure, wasn't advertised much, released in a limited batch of vinyl or cassettes, no CD (to my dismay). The alternative would be to believe that folks weren't interested in a brilliantly horror themed progressive black metal opus which rewards through repeated listens, and that is a thought I am just not willing to bear. A few members of this project were also in the band Gallows, which put out an awesome record in 66 Black Wings, with a more traditional, straightforward black metal style, but Doldrum is far more ambitious and interesting.

I'd describe this as sounding like a mix of late 90s/early 00s Opeth and modern, progressive Enslaved aesthetics, but it doesn't sound quite the same as either. I was also reminded of Spain's Foscor for some reason; I daresay, even a little modern Chewy-era Voivod finds its way in, or Norway's Virus. It's got well-defined rhythms that make full use of the percussion and bass, both of which are brilliantly executed through the album, and then covers those up with dissonant, creepy guitar chords and an excellent, rasped vocal to deliver a chilling and memorable experience that never gets tiring even after the 50th spin or so. The lyrics are poetic, sad and incredible, spinning a tale of 1800s American folk horror that feels refreshing and unique amidst all the usual haunted houses, zombies and vampires. It's all told in five tracks ranging from 5-9 minutes, totally under 40 minutes, never wearing out its welcome and incorporating quite a lot of range within that timespan. The Knocking... is bristling with riffs to die for, textured and immersive and fully supported by the rhythm instruments which are every measure as important. The keys and acoustics are also tasteful and non-intrusive to the central, pulsing black metal aesthetics.

I think this might have even been recorded in Salem, MA at the Gallows Hill studios, which gives me a bit of a personal connection as I met my wife there and used to live with her a few years, well before this thing came out but I always marvel at the music that comes out of the place. Largely through Kurt Ballou's God City studios, yes, but it's cool to know there are other venues. But if I'm being honest, this might be my favorite metal or 'heavy' album ever recorded in that city, it's stunning. This shit slays, and though I loved it the year it came out (and I'm still pining for a CD release!), it's grown on me even more in the interim...the towering riffs, corpulent bass lines, grooving drums, excellent vocals, all of which can surge in and out of a more traditional black metal rhythm whenever necessary, but more often errs on the side of the adventurous. I might tell you that I'd be sad if this proved to be a one-off, but at the same time, it'll be just as timeless even if the project disappears like its unfortunate subjects.

Happy Halloween!

Verdict: Epic Win [9.25/10]

https://doldrumbm.bandcamp.com/

Deceased - Ghostly White (2018)

Deceased have become one of our most enduring US death metal bands; granted they temper that genre with a lot of speed, thrash and traditional metal elements and have done so for the last 30+ years, but when it comes to their mainline releases, they've become synonymous with quality since Fearless Undead Machines and arguably even earlier than that. Ghostly White is another ambitious record where songwriting and pacing are key, structures and riffs are paired up alongside the lyrics and narrative of the themes, and there's absolutely no wanking or nonsense that doesn't serve the band's consistent style. The songs can pop off in 3-4 minutes or be blown out to over 13 and you don't get any noticeable dip in quality, everything is as it needs to be written.

To some extent, it might lack some of the 'surprise' from albums like Supernatural Addiction and Surreal Overdose, since we're so used to them writing in this style. It's honestly hard to even dub this proper 'death metal', outside of King's harsh vocals, but in a way, that's kind of why it is, like Root is to black metal, these guys are an outlier in their genre who think for themselves and rarely sound like anyone else outside of some of their original 80s peers. But if we're analyzing the music directly, it's a mix of thrash, speed and heavy metal which is enriched with creepy melodies and leads and that hoarse and unmistakable tone of the vocals. There's a rawness about the mix, more so than a few of the other albums, which renders this thing perfectly timeless, with brash rhythm guitars and wild leads that almost always sound awesome and well-rendered into the ghastly atmosphere that their productions always deliver.

I don't think "Mrs. Allardyce" is the best track on the record as an opener, I don't really start getting drawn into this one until "To Serve the Insane" with its descending, mournful chorus melody, or "The Shivers" which is another nice speed/heavy metal rager with a great, simplistic melody that pokes out into the night. The aforementioned 13+ minute opus "Germ of Distorted Lore" is quite good, having Deceased play with some slower, almost martial sounding sections to break up the thrashing outbreaks, and "Pale Surroundings" stands out as another catchier tune later in the track list with some eerie female spoken word parts. That said, there isn't actually a weak song here, it's just not putting its best foot forward, but drawing you deeper into its web before you get to the truly memorable moments, and that's often the calling card of a well-written record. Which this is, and it's another victory for one of our finest USDM institutions, and probably mandatory for horror metal fanatics the world over.

Verdict: Win [8.5/10]

https://www.facebook.com/deceasedofficial/

Blood Feast - Infinite Evolution (2024)

Blood Feast is a band I perhaps undervalued or appreciated in the past, I had mixed feelings on their first two records and Face the Fate EP, but have occasionally dived back to them and occasionally gotten a little more enjoyment than I remembered. Their first 'comeback' album, The Future State of Wicked, sort of paralleled Possessed's Revelations of Oblivion (though two years earlier, and a full decade after this band had started playing together again). It was tighter, faster, more musically engaging for me, and occasionally came across like a revival of the sound from the amazing Rigor Mortis s/t debut. With Infinite Evolution, they've shifted to the long-time guitarist Adam Tranquilli performing vocals, and he replaces his predecessor's harsher, snarled vocals with a style far more similar to Jeff Becera, more splatter sounding, maybe more crossover, more 'thrash', where the intonation is a bit edgy and filthy and sustained.

Despite the fact that it'll draw huge comparisons to that more popular band, it works for me better than the vocals on the last record. Coupled with some fast, driven, choppy guitar work, wiry leads and raging kit work from their new-ish drummer, Infinite Evolution is really entertaining, with just enough variation and riff quality to keep me heading back to its well of carnage across many spins. Yes, I won't obfuscate, this is essentially East Coast Possessed, there are a few differences in how some riffs are imagine or leads structured, but if you enjoy Seven Churches or Revelations of Oblivion, this will be like Christmas for you, because it's on such a similar course. Like that band, they also have the focus on horror film lyrics; sometimes with similar themes like demons and possession, but also dipping a little more into the gore alongside the blasphemy. It's always an appreciated combo, and as the band busts out numbers like "Ravaging the Loins of Mary", "Of Hell" and "Outbreak", I am thinking this is easily the best album of their career...

And when they try something more ambitious like "Eye of Glass", I become assured of that opinion, an epic number with cool robotic vocals in the intro. A tune like this instantly reminded me of Deceased, who also craft more elaborate horror narratives with the thrash and speed metal influences, and another band whose fans would probably LOVE this (and probably already do). I think a future Blood Feast record could kind of embrace this idea, with the longer song lengths and unique mechanics, and help distinguish themselves from their West Coast brethren, but Infinite Evolution is a banger of a listen for me regardless, and one easily recommended to fans of any of the above or really any black/thrash or death/thrash hybrid, which are myriad over the last 20 years. Smokin', evil thrash metal that honors both its cinematic and musical influences with class.

Verdict: Win [8.25/10]

https://www.bloodfeastlegions.com/

Possessed - Revelations of Oblivion (2019)

There have been endless reunion albums out there, from bands both successful and obscure, but the return of Possessed had to be one of the most anticipated. Possibly its because they had never really had a lot of input during their early run, two albums and an EP, and the legend those generated became so disproportionately popular. Not for no reason, mind you, since they influenced multitudes of black, death, and thrash metal bands today, and are even occasionally cited as the originators of that middle category. But this is one that a lot of folks were very much looking forward to, especially after hearing the samples, and I've gotta say that Jeff Becera and his new crew deliver on all fronts, a record that might not hold up nostalgia-wise against its predecessors, but might honestly be the most structurally and technically the best piece of music the devil ever spawned through their brains and limbs.

After a tasteful and brief, cautionary symphonic intro which serves the purpose of placing the listener into a space not unlike the Omen films, they blaze straight through you with "No More Room in Hell", a tune that will quash all disbelievers with its evil proto-death metal tremolo thrashing and then the tortured Jeff Becera vocals which sound INCREDIBLE, as if the decades between this and the The Eyes of Horror EP just never happened. Not only does he meet the mark, but he puts an even more ghastly brand to them by honoring all the vocalists he influences with his own slightly more guttural accents and some sustained growls which are also quite cool. The guitar work is on fire, obviously more complex and lead-heavy than the old material, simply because a lot of the progeny of these influences have developed over the decades, and Daniel Gonzalez and Claudeous Creamer are no bullshit talents. The Emilio Marquez drumming is much more intense than on, say, Seven Churches, and that also makes some sense as they're returning to a world where things are just more intense.

This record is dominated by those faster-picked rhythms, which have the intricacy of some of the evil riffs you'll remember from later 80s Kreator or the Pestilence debut, and that's where the material is the strongest, especially where they whip into a moderately paced breakdown or a great, memorable lead. However, there are plenty of more mid-speed chunkier parts reminiscent of Beyond the Gates and tunes like "Demon" which play around with some newer ideas (at least for this band). And the track list is quite deep, granted you've got that symphonic intro and the "Temple of Samael" acoustic/dark ambient instrumental closer, but they rifle out ten original scorchers and for Possessed, that feels substantial (again, as famous as they got, they never put out a ton to begin with). The production is super clean, but for some reason it doesn't seem to leech away from the sinister feel of the songwriting which is entirely in line with where they were in the 80s. The bass is decent but maybe that could stand out a little more, otherwise the rhythms, leads, drums and Jeff all sound formidable.

Very few flaws...perhaps it does seem a little too mechanical and 'perfect' in places, especially when you listen through the entirety, but I think this is just an illusion created by the band's devotion to getting it right when they finally burned through their re-entry. Revelations in Oblivion is an unquestionable triumph, one that I'm not sure we'll ever hear replicated, and one that, for me, lives up to the first wave of their material, as heretical as that statement might sound. I mean I definitely prefer it to Beyond the Gates, but maybe it won't ever reach that cult appreciation of Seven Churches. Either way, I listen to so many bands whose style is partly derived from this one (alongside Slayer, Celtic Frost, etc), that I was absolutely thrilled to have the genuine article back in such fine form, even if it's just the one original member.

Epic Win [9/10]

https://www.facebook.com/possessedofficial/

Dawnbringer - Snake (2020)

Snake is another unusual highway stop in the Dawnbringer trajectory, an album that very heavily leans of heavy metal traditions but also tries to mix a few of them together into a novel outcome. Gone (but not entirely gone) are the melancholic strains of Night of the Hammer, and in its place we've got what feels like a modern tribute to London's grimiest sons Motörhead. There are riffs here or there which feel exactly like them, as in the uncomfortably "Iron Fist" intro to "Out of Mind", or the bridge of "Paradise Lust", or "Killed by Death", etc being contained as a medley in "Inferno" (also, coincidentally an album title). Others seem more to capture that punk/metal/speed in spirit, like the opener "Return to the Shrine" which doesn't quite clone Lemmy and the boys, but plays around in the same sort of sandbox. And I think that was the better way to approach this. Then you have a few of the band's further embellishments, a melodic sensibility which is more reminiscent of other NWOBHM bands or maybe some Thin Lizzy, or Chris Black's other band Superchrist which is a little more rock & roll to begin with.

It's an odd choice as a follow-up to their style from a few years before, but as more of a tribute to Lemmy who had ben gone a half-decade by this time, it at least delivers on the studio mix and energy. While I wish they hadn't included a few of those too-close, albeit brief mirror riffs, there are also some tunes which feel rather unique in that bass-driven speed/heavy sound, like "The Idea of Progress" with its great glaze of melodies and guitar effects, or "Twisting the Nest" with the great bass lines and snaky grooves, or "Loyal to Death" which puts an almost atmospheric, poppy polished spin on this sort of rock & roll. The bass tone is awesome throughout, as is the guitar tone, everything, with Chris continuing some of his more refined vocals. The best produced Dawnbringer record? Quite possibly, but only in service to a hybrid of styles that don't feel much like their own. Granted, there has always been a Motörhead influence in the vocals of this band, and some of the riffs, sure, but I feel like a project as this one could have been more effective if they changed the name, excluded any direct covering of riffs or tracks and just gone with something in that style, all dressed up with their own penchant for melodies and other influences.

I do realize this was allegedly written long ago, finished around the time of Lemmy's passing and was never meant to be a proper release. There's nothing malign about it, it's an independent release and by no means some sort of cheap commercial cash-in on a tragic loss. However, once you smack it down into the Dawnbringer lineage it kind of sticks there, and thus feels like another weird anomaly in a steady progression of them. Plenty of style here, also some substance, Chris Black clearly groks his inspiration and even expands upon it; he's a talented chap, but the presence of the direct referential licks/covers kind of betrays what could be an amazing peripheral tribute to one of the greatest musical institutions our ball of mud has spewed forth. It's also just not that memorable other than the strange story of its very existence. It's fine, but I'm never choosing it over the original article, nor am I choosing it over records like Unbleed, Nucleus, Sun God or Night of the Hammer. It remains as just a curiosity and hopefully a speed (metal) bump on the road to their next original work.

Verdict: Indifference [6.5/10]

Dawnbringer - XX EP (2016)

Kind of how Into the Lair of the Sun God mirrored Nucleus,  XX is a stylistic sibling to its predecessor Night of the Hammer, which you probably could tell from the very glum nature of the cover art. There are a few differences, the production here really kicks ass, it's every bit as accessible as that last album but it's got more depth and power to it, and that has a transformative effect on some of the saddening heavy metal anthems here, giving them a brighter edge of hope. Chris has developed his vocals even further, and these might honestly be some of the best he's done throughout his career. It's a little hard to pinpoint, they've got a lot of NWOBHM influence to them, but I find it hard to think of the exact bands; essentially he's punching way beyond his range until he actually MAKES that his range, and that creates an immediate uphill, emotional battle which drives the music below. At least once or twice here he even reminds me of Jonas from Katatonia, just that sad, spoken harmonic style. Overall, the highlight of this EP.

The music is glorious too, though. Tunes like "Into the Maze" and "North by North" are similar in scope, with these bright, airy guitars, slow to mid paced rhythms, the latter having some great backup chants in the verses, maybe even a tiny ounce of later epic Bathory poking through. Leads are resplendent and bluesy and 'felt', rather than the more technical flights they provided on the past few records. Having said that, the riffs are themselves nothing too special, they all move along in a predictable fashion, it's just that they sound so well produced and supportive of the vocals that they succeed anyways. The opening tune "Why Would You Leave Me" is a little too short to leave any impact, that probably should have been extended or just left off to allow the better tracks to do their business. Also, I feel like it can get a little too emotionally 'one-note'. Basically, the three best songs here ("Into the Maze", "North by North", "Earth") would have been better utilized as parts of a more diverse full-length where they could be countered off with some faster tunes, busier licks, just something to give them more poignancy than running straight into one another. But I do dig much of this, especially the singing.

Verdict: Win [7.25/10]

Dawnbringer - Night of the Hammer (2014)

Night of the Hammer is not a complete mellowing out of the style that Dawnbringer had explored with the two albums before it, but it's for sure a more comfortable and subdued slab of melodic heavy metal. The thing is, Chris and Scott brought the RIFFs with them, and this has a plethora of meaty, laid back chord and tasteful melodies that help to complement some of the best vocal structures and chorus lines they've had. The cover art here is quite different, just a photo of a guy staring out across some farmland or plain, with a silo or something off in the distance? With a hammer, of course. I often wondered if this is supposed to be the same figure from In Sickness and in Dreams, just captured from a different angle, with a weapon this time...perhaps a little bit of conceptual connection there.

In fact, this album has a heavy air of melancholy to it, which also begs that comparison, even though the style here is FAR removed from the surging melo-black/death of their formative years. Whereas the last two discs before this one were defined by ambition and redemption, Night of the Hammer is sad and self-reflective, with lyrics to match. It's got tasty, mid-paced rockers like "Alien", but also a lot of slower, sad heavy metal tunes like "Nobody There", "Hands of Death" and "Damn You", some of which, like the last, are definitely flirting more with a pure doom metal aesthetic, albeit unique with the little atmospheric guitars and Chris's vocal style. Speaking of which, he's dropped some of that gruffer edge for something more piercing and melodic, and it's pretty awesome since he's clearly becoming a more confident and effective singer (in this and other bands). The guitars sound smooth, some of the cleanest tone of the band's career, and most accessible; the drums as well. The songwriting in general is just as refined as Nucleus or Into the Lair of the Sun God, but the focus is much more grounded and personal...

That is, until the final three tracks of the album, which heard the band starting to 'fuck around' with a number of different style. These aren't deal breakers, but they definitely leech the record of some of its emotional weight. "Not Your Night" is a throwback to their more extreme metal days, with a blast beat and breathy, harsher vocals recalling In Sickness and in Dreams. "Funeral Child" is a Mercyful Fate and King Diamond tribute, and a pretty good one, but it's just something you don't expect at all in context with the rest of the new material here. The falsetto had me laughing, but I guess they had done the one song in the past that sounded like 80s/Painkiller Judas Priest, so I guess I can't be too shocked they could pull it off...and weirdly, the end of the tune goes right back into the style present on the rest of the record, which makes it even stranger. The finale, "Crawling Off to Die" does fit the record the most of these three but it's definitely got a feel of electrified folk balladry to it, and vocals that are more like a Pink Floyd vibe. None of these tunes are bad at all, in fact they're all catchy, but I just don't think they serve Night of the Hammer as a whole, and I always found them distracting. Otherwise, this is another compelling milestone on the band's journey, a shade of melancholy to disperse some of the Sun God's gleaming.

Verdict: Win [8/10]

Dawnbringer - Into the Lair of the Sun God (2012)

Into the Lair of the Sun God is a continuation of the sound Chris and Scott had found with Nucleus, only it sounds more refined and 'mature', as if the duo had really settled into this like some band having played around in it for decades. It's got another classy Christina Casperson cover like its predecessor, and I think both are the best in the whole Dawnbringer catalog at reeling a prospective listener into the journey that awaits them on the actual album, without giving away the content. Normally I'd look at these and think I might be bound for some dungeon synth or obscure black metal (which I'd be okay with in either case), but it's such a great pairing with this epic USPM sound. There should also be some kudos that Chris manages to explore this style without stepping on the toes of any of his other heavy metal projects, numerous of which were well active by this time, like High Spirits, Superchrist and the brilliant Pharaoh.

Sure, there are a few points of crossover, especially with Pharaoh (Matt Johnsen even pops in for some lead guitars here). A few vocals, a few of the busier guitar lines, but this is it's own thing, a classy and atmospheric conceptual heavy metal record eschewing song titles for Roman numerals. Pretty atypical for metal of this style, but it does actually help the listener roadmap the album as something to experience fully without worry about the 'hits', and that's a good thing, because Into the Lair of the Sun God is an extremely consistent 44 minutes of steady or galloping rhythms, well-layered leads, balanced tempos that shift between momentum and atmospheric reflection ("III" is a good example). The drums feel the best in the band's entire career, the bass lines thrive where in the past they were somewhat suppressed against the other instruments. The guitars are as bright as the title demands, which create a good contrast against Black's middle-ranged, hazier vocals which still remind me a bit of Lemmy, if the legend had been fronting something less lewd and rock & roll. There is a fair amount of complexity to some of the riffing, not so far as Helstar or Pharaoh maybe, but certainly in that region (as with "IV"). On the other hand, there are also a few pieces like "V" which is basically a straight up radio rock anthem, or the plodding and potent "VI".

I have to reiterate how well composed this music is...this might be the best 'songwriting' they have ever done, even if I'm nostalgically connected to Unbleed, which was quite different in style, that record does seem like chicken scratch compared to Sun God's calligraphy. This is not a record without precedent, there are many points here where you'll find parallels to Omen, Riot, Manilla Road or most of the other bands I mentioned before, but the way it's imbued with theme and pacing and consistency and the vocals make it all quite unique regardless. A pretty strong showing for a band that doesn't seem to spend too much time re-treading the same terrain, they hit little peaks and plateaus. Into the Lair of the Sun God shares this particular plateau with Nemesis, but it's further developed, catchier, with little moments of grace and power in each of its rhythmic arcs that better reward the listener. I think it's the pinnacle of this entire later phase of the band's career, a record I put up alongside the works of a Slough Feg or Hammers of Misfortune, two of my favorite peers when it comes to modern/throwback US heavy metal.

Verdict: Win [8.75/10]

Dawnbringer - Three Soldiers Standing/Night of the Sinner EP (2011)

This was a weird little ditty to drop between Dawnbringer's two epic heavy metal albums Nucleus and Into the Lair of the Sun God, since it's a pair of unreleased tunes from back in the days shortly after Unbleed was released. As such, you can expect a much rawer style, and in fact, the mix on these is so disheveled and demo-level that it makes that debut album sound like it was recorded in an AAA studio by comparison. That does also limit my enjoyment a little, since the beats sound like a couple cans being slapped, the bass is just present on the edge of perception, and the overall effect is a little cringe. However, the guitars do sound pretty damn good, you can hear the brightness of the leads against the bustle of rhythm guitars performing a hybrid of heavy, speed, and melodic black metal, and the vocals are nasty in a good way, creating their own contrast against the cleaner backups belting out the choruses. Hell, they sound better than they did on the Sacrament EP, although I think the mix on that was overall much cleaner than this.

As for the songs themselves, they're both pretty good. They're not as rustic or melodic sounding or escapist as Unbleed, these have a more urban, aggressive, violent feel to them, with a bigger influence from thrash metal twisting into the other styles from that record. Granted, there are moments like the breakout rhythm in "Three Soldiers Standing" where it would have fit right in, but these feel more like they were being developed for a more asphalt-tearing sophomore effort that never quite manifest. The mix holds me back from giving this a higher recommendation, but if you did enjoy Unbleed, or if you like a lot of old demos from the first few waves of melodic death and black metal, or maybe some of the bands coming out through Invasion records back in the mid to late 90s, then this digital/7" release could be worth a listen. It's an artifact, for sure, and I think the songs could actually benefit from a re-recording if the band ever went back to that style. However, for anyone else who hasn't already heard Dawnbringer, the three full-lengths I mentioned in this very review are the better starting points. 

Verdict: Indifference [6.25/10]

Dawnbringer - Nucleus (2010)

Four years and one deal with the budding Profound Lore records later, and Dawnbringer returned with a much more professional, refined sound that leaned far deeper into their heavy metal influences. Granted, the melodies and harmonies were always there in the guitars, and you can certainly trace some of the content here back to the last three discs, but the song structures definitely seem more brazenly epic, inspired by a lot of the NWOBHM classics, but with the same urgency and speed they applied to a lot of their black metal stuff. I also hear some comparisons to the cult US heavy metal gods Manilla Road, there's a similar sense or adventure being told though the guitars, though the production here is probably a lot more accessible, and certainly better than In Sickness and In Dreams.

Still a two-piece here, and Chris has converted his vocals more to that dirtier style he used on the last album, only here the intonation works better against the music, more of a humble blue collar bludgeon against the constant barrage of heavy metal melody. What if Lemmy fronted Iron Maiden. That sort of sound, and while his delivery is not going to win any prizes, it does tend to function within this context. But the songs are just more robust and striving, inspirational in places like "Swing Hard" and the glorious, moody, atmospheric "Pendulum" which ends off the record with some vocal lines that remind me of "Astronomy Domine". They try their hands at pure Sabbath-style doom in "Old Wizard", and it works, Chris using a little bit of a higher, more forceful pitch to match the weight of the riffs. "You Know Me" is jammy, proggy and Rush influenced, while the end of the bridge in "The Devil" brings them right back around to some of their most intense material off the older albums, the blasting drums used to create a pummeling atmosphere which supports the feedback-driven guitars vaulting over them.

A few of the tunes, "All I See" and "Like an Earthquake", might also come across as more melancholic alternatives to the style he'd use in High Spirits. Nucleus definitely messes around and explores, about as much as the prior album, so I did come away from this with the same sense of growing pains. However, it almost all works well within the milieu of this particular record, and what's more, the individual songs here are much better than they were on either In Sickness... or Catharsis Instinct. But this is the real 'flex point' where they became more of a heavy/epic metal band as their defining trait. With the Profound Lore visibility and all-around improvements, it's no wonder this was the record that put Dawnbringer on a lot of radars, and rightfully so; it's one of the first I'll reach for when I'm not in the mood for the rustic melo-black of Unbleed, and also one of the first I'd recommend to newcomers, or honestly any fans of heavy metal or heavy/prog metal.

Verdict: Win [8.25/10]

Dawnbringer - In Sickness and in Dreams (2006)

In Sickness and Dreams is somewhat of a continuation of Catharsis Instinct, but also somewhat of an identity crisis, one of the more unusual albums in the Dawnbringer catalogue. It's characterized by a lot of very short songs, few over two minutes in length, and though Chris and Scott still manage to pack in a lot of ideas, I rarely felt as if they were fleshed out enough to really grasp onto them. The core style here is still melodic black and death metal, perhaps leaning more towards the latter due to the vocals, but it's also got some cleaner vocals, soothing or even hypnotic in parts, and a few straight heavy metal leanings which will foreshadow where they'll be ending up down the road. The opening piece, "Scream and Run", seems to portend a proggier, psychedelic style, and that does appear a few times, but it's more of a tease for later records.

The production on this thing is dingy, and that's one of my biggest issues. Chris is using a more croaked, death metal vocal and it sort of disintegrates against some of the guitars, almost like he's not putting enough force into the inflection or it's just mixed terribly. Sometimes it comes across breathy, and when he's using the cleaner vocals it can almost sound like Lemmy ("There and Back") chilling out behind the guitars, or brought to mind the later Swedish band Bombus ("Under No Flag").. It's a strange contrast with the blazing, melodic guitars, which definitely prove highlights on the records with a lot of riffs that sent a lot of the trendier Swedish death-inspired US metalcore bands home on a stretcher. However, there are some weird sections where they just keep jamming on the same repetitive notes, like almost the whole shorter tune "You Get Nothing" or the end of "Hell is a Desert", strange choices that feel like they almost exist on the album solely to floss out the listener's brain or palate.

It gets weirder..."11:58" has Rob Halford style power vocals, sounding like some sort of mock tribute, and then morphing into faster acoustic guitars. "Death in Time" is a 16 second fugue with a little doom lick that shouldn't have even been bothered with. Both feel unnecessary. On the other hand, there are some fun tracks deeper into the list, like "Attack of the Spiders" with some great speedy NWOBHM licks, or "Endless Guilt" which is a catchy melo-death tune with some organs in there. Overall, the music is pretty solid, I just wish there had been less songs, more focus making the better ones more substantial, and a brighter mix that would have benefited them. Some of the vocals here are my second least favorite after the Sacrament EP, and while the whole album clocks in at 24 minutes, and you never get a chance to get bored, the overall production is just underwhelming. Like an experimental EP sending out feelers for where Dawnbringer would adventure next. Some great riffs keep it hovering just above the precipice of mediocrity, but it's not one of their better offerings.

Verdict: Win [7/10]

Dawnbringer - Catharsis Instinct (2000)

Three years later, Catharsis Instinct answers some of the production shortcomings of Unbleed, with a louder, fatter, more straightforward mix more representative of more mainstream extreme metal in its era, but musically this feels quite close to the debut. The emphasis is on the driving melodic, harmonized passages, lead breaks, shuffling if not terribly powerful drum beats, and black metal vocals. You can hear Chris Black getting a little more comfortable with the playing here as he busts out some more traditional heavy metal/hard rock leads, but there's no obnoxious wanking or showing off whatsoever, they always seem to service the song they are splashed over. The acoustics are also still pretty important as they create the biggest contrasts on the record, but I did not find them as tasty as those on the debut, even in their better moments like the "Bleeding City" interlude they are just a forgettable support for the melodies.

I think one issue this has it 12 songs, about half of them doing the same sort of style of the debut, and then the rest are headed off into more thrashing or death/metal territory, like "Halfman" or "Mudslicer" which occasionally border on a less brash At the Gates sound. They still have their moments mind you, or even "What Are You Running From?" which reminds me of In Flames at the turn of the millennium, maybe a little Edge of Sanity circa Purgatory Afterflow or Infernal. Chris had been joined by another guitarist for this one, longtime member Scott Hoffman, and the pair are certainly adept at exploring all these more trendy sounds, especially with their penchant for the melodies and leads, but I do feel as if part of this record is headed down the wrong direction, away from that blindingly melodic stuff that captured my imagination in the first place. Another thing is that I feel the vocals get sort of crushed by the guitars in a lot of places, they're a little deeper and less raspy than on the last album and I think, especially when the guitars get the most melodic, they are just drowned between them.

There are a few other new touches, like the cleaner howling vocals on "Cosmos Disease", a pretty cool tune with the proggy keys too, and this is obviously something Chris will explore a lot more in his other bands later. So it's unquestionable that this is a progression from Unbleed, a modernization of the style that keeps holding on to large chunks of its past, and though I like most of what's here, and certainly the production level is a welcome upgrade, the songs themselves are often a mixed bag, and maybe in an ironic twist, that cleaner sound might have sapped away some of the atmosphere that I found myself lost in. At any rate, Catharsis Instinct has its moments; it's one of my less favorite albums in their backlog, but there's plenty of creativity and evolution left in this band's future. Might just take a few tries.

Verdict: Win [7.25/10]

Dawnbringer - Unbleed (1997)

Full disclosure: Unbleed is my favorite Dawnbringer album, but that does come with a few caveats. The production here leaves a lot to be desired, and I realize that eventually their style drifts far away enough from this debut full-length to almost seem like an entirely different band, so some listeners that might never have heard it, and joined in on their more directly heavy-metal oriented efforts, might be surprised. But this is the first album I picked up in a bargain bin at the place my friends and I would grab import metal CDs, with its curious, idyllic nature scene and waterfall, and despite thinking the mix was thin even back in the 90s, I was instantly smitten by the passionate contrast of ear-bleeding riff melodicism, atmosphere, and rasping vocals. I remember sharing this with one of my bandmates from that era (also on guitars) and I think the playing here might even have rubbed off on both of us.

It's still the same style as the Sacrament EP, which I only encountered 25 years after this, with passages of driving melodic black metal interspersed with flourishes of classical acoustic guitars, and this time out they dropped the stupid, boxed off vocal effects, for a more effective and traditional black metal rasp, and added in some tasteful touches of organ in tunes like "Waterbreath" that really elevate them. I'll say this now, if it had a slightly bulkier mix and some actual visibility, Unbleed might have been a record that fans of vintage In Flames or Dark Tranquillity would have attached to immediately, possibly Dissection, and I'd even wonder if later groups like the excellent Obsequiae had ever heard this, because there is that same sense for centralized melodicism in both, even though the execution isn't quite the same. Now, the mix isn't even really that bad, the guitars, beats and organs all mingle seamlessly, the acoustics tasteful and elegant. The bass isn't super standout here (neither on the EP) but you can hear it cruising below like a faster take on Steve Harris, simply subordinate to the bristling melodies in tunes like "Witness", which ironically also have a strong Iron Maiden influence.

But it's all a little narrow in tone, so some of the depth to the songwriting and guitar tone has to come in through the listener's imagination, which it does, but had this been beefed up then it might have wound up in a lot more stereos and headphones. Also, though the vocals are improved, when you listen up closely they still don't seem to be recorded perfectly, and they can come off a little overbearing next to the instruments, but nowhere soiling my admiration for this disc. It's not entirely a one-man show this time, I believe Chris had picked up another guitarist, and they work well in tandem, and it's really this excellent little US melodic black metal gem that I'm not sure many have even listened to. It seems like that whole scene was ushered over to the States by all the hardcore/metalcore bands that heard Slaughter of the Soul and then changed their styles to match, but in fact we already had Dawnbringer and a few others at the vanguard (and frankly, a lot better). You'll note that I love a lot of this band's output, but Unbleed has that personal connection which maintains the top spot for me.

Verdict: Epic Win [9/10]

Dawnbringer - Sacrament EP (1996)

Before deciding to run through Dawnbringer's catalog and offer some thoughts, I'd never even heard the Sacrament EP. I wasn't even aware that it existed. But here it is, one of (if not THE) first releases from the prolific Chris Black, vocalist and multi-instrumentalist that would go on to at least a half dozen excellent bands including Aktor, Superchrist, High Spirits and even a stint in Pharaoh. Dawnbringer would clearly be seen as one of the more extreme projects in his canon, a sort of heavy and black metal fusion which wasn't too out of place with a lot of the Scandinavian melodic black or death metal acts of the mid-90s. This initial EP is a strange one, as it mixes some fairly well produced riffs with shoddy, effects-ridden vocals and lots of acoustic guitars.

The last of those excel out of the starting gates in the opening instrumental, relished with some weird ambient sounds and pianos. Then we're treated some driving melodic riffs that were probably pretty tasty for melo-death/black fans at that time, and barking, semi-BM vocals which have an unfortunate effect on them that feels like it was ported over from a telephone call or tape recorded, and they kind of spoil the rest of the mix which is admittedly smooth. The acoustics are lush, the drums are well executed though if they're a machine or not it fools me, and the bass is present if not a major factor. It's really those faster electric guitars which are the highlight here and setup for what was to come later. I'm assuming that Chris plays ALL the instruments on this, I know at least two of the three band pseudonyms are attributed to him and having heard his guitar work later, that's probably him too, but regardless, this EP is really only compelling to me as a historical artifact establishing the excellence that would follow. "Sacrament" and "In a Handful of Dust" have some strong riffing material, shredding and atmosphere but still feel a bit 'demo' or incomplete due to the beats and vocals.

Verdict: Indifference [6/10]

Skeletal Remains - Desolate Isolation (2021)

Desolate Isolation is a compact little fan package released through Century Media for completists to own the 2011 Skeletal Remains demo of the same name, remastered, with some bonus content. I have to admit that, having the Beyond the Flesh full-length already gives me all the original music from the demo, but I was attracted to the cover of "Chronic Infection" by Pestilence, that also happens to be one of my favorite tunes from the Dutchmen, and one of my favorite death metal tunes in general. Further disclosure: if you've grabbed the 2021 reissue of Beyond the Flesh, then all of this demo stuff is already included, INCLUDING the cover. So what does that really leave here? Some live tunes, a couple bonus tracks, and an additional cover of Asphyx's "Evocation" taken from a compilation.

The three demo remaster tracks do sound fun and chunky, a little denser than what I've listened to of the original release, and the Pestilence cover doesn't quite match the original for me, but it plays it fairly close, and you get that same amazing sense of groove and almost 'rappy' vocals in the verses, which sound so over the top, unforgettable from van Drunen and that is what Chris Monroy is also aping here. But the bridge, the drumming and some of the little details throw me off. That said, it's proof that this band has excellent taste, although if you've heard their full-length albums and noted the influences then this will offer you no surprise. The Asphyx cover fares pretty well too, and here he gets a little closer to van Drunen, though the mix offered on this one doesn't really compare to any of their original albums. Considering that the live tracks are taken from pretty early off in their career, I do think they sound excellent, drawn from a Tokyo performance and sounding almost studio quality; I'd have been mighty impressed if I were there to make the comparison directly.

Otherwise, the two 'rare tracks' are pretty solid, with "Crippled Sanity" which has another of those meatier tributes to early Death that were so prevalent on the first two records. "Planetary Genocide" was released as a single around the time of Devouring Mortality and fits more with the content of that album, and that is to say that's pretty much peak Skeletal Remains in my opinion. Old school and evil with some Death, Obituary, Pestilence and Asphyx vibes, but also just clinical and modern enough to parallel the Californians' transition into what they've come today. So, in summary, Desolate Isolation is going to have more value if you don't already have the reissued debut CD without half the content, and its core is limited to stuff that already exists on another full-length to begin with, but it's by no means a bad product and the extras are at least enjoyable or well recorded in the case of the live offerings.

Verdict: Indifference [6.75/10]

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Skeletal Remains - Fragments of the Ageless (2024)

If the title doesn't sort of tip you off, the first track on Fragments of the Ageless will begin to show a new influence emanating heavily and centrally from the Skeletal Remains crew, and that is Morbid Angel, or rather a more sleek, modern, hyper-technical evolution of that band's sound circa the 90s. There are still plenty of Cannibal Corpse and Vader chops, and through a few of the picking patterns, thrashing and grooving sections I feel a little Pestilence still poke through, but this fifth record is most assuredly one that cements the band as a more brutally honed entity than their earlier records with their Death-like old school vibes. That's not to say the foundation isn't there on a few tracks, but this definitely seems like they are pushing themselves even harder than on The Entombment of Chaos, and frankly, writing better songs.

From the production to the precision this thing is their most flawless execution, and carries a good variety with it to boot. The drumming is by far the most intense it's ever been, again with that Morbid Angel influence of 'more is better', from blasting to fills there's not really a moment to catch your breath. The grooves are significantly more complex than those they've performed in the past, with busier riffing patterns and the same incessant drums that roll out below them. The vocals definitely have lost a lot of that Chuck/Martin style and follow a more David Vincent mold, another element that makes me feel like their most important influence has fully shifted over from one Florida legend to another. That said, the riffs are certainly more excellent and memorable than anything Trey has written in decades, and the leads here have the usual Skeletal Remains penchant for being catchy and well constructed, technical and flashy but never going too overboard where it sounds like self-flagellation. And the rhythm guitars are 'holy fuck' awesome in both their potency and dexterity, creating a framework with the drums that the bass can hardly penetrate, but thankfully you can still here that too cruising along.

There are a few places where they do give you some space like the sweet interlude "Ceremony of Impiety" with its evil piano and percussion sounds, or the intro to "...Evocation (The Rebirth)" with its dark acoustic twangs that erupt into some more awesome, rolling riffs, or the proggy bits in there where you can hear the bass take control, but this is still pretty soundly the most aggressive they've sounded through their career. Rather than sounding completely soulless, there are just a billion riffs in there that make my ears perk up, and the album plays out like an unholy and delicious union of Domination and Bloodthirst, which I have no major complaints about; for my money, this album is second only to Devouring Mortality in their catalogue and in many technical departments it sends that one away in an ambulance.

Verdict: Win [8.75/10]

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Skeletal Remains - The Entombment of Chaos (2020)

I know several death metal fanatics that consider The Entombment of Chaos to be the best Skeletal Remains album, and it's an entirely understandable perspective, since this feels even more visceral and intense than Devouring Mortality before it. It's largely on the same level creative field, but I would say that they do incorporate some even more atmospheric elements like the synth intro "Cosmic Chasm" or the eerie acoustic interlude "Enshrined in Agony" which feel like a great way to round out and diversify their sound. Also, this is the first album where they do start to drop out the more obvious overtures to some of their influences...this one feels more like its converted those basic building blocks and energies into a more strictly brutal modern death metal offering...you get traces, here or there, but this is much angrier and in more direct contention with the bands of its age that rely more directly on technicality and brutality.

The riffs don't quite stick with me as much a Devouring Mortality, although a lot of this stuff does have me reminiscing of bands like Cannibal Corpse, Vader and Severe Torture, which I do appreciate, since they have long thrived on the level of speed and punishment that this record operates on. The vocals do seem a little more straightforward, not aping Schuldiner or van Drunen too much, maybe the latter more than the former, but I'd also say that they're just not as distinct as either, or even as their own attempts at either that were worn on their sleeves. Still, though, very brutal and destructive in how they mete out the blunt force against the more dexterous and detailed riffing barrages, and for good measure they also spit out some more snarled goregrind-like backups to offer a little more dimension (although these are not a standout for me). I'd say the real strengths to this record are the dizzying levels of musicianship that all hands have achieved, with lightning drums and guitar patterns that pack a lot into a reasonable song length that usually hangs around 4-5 minutes.

This still has its love letters to the 80s/90s death metal scene that birthed the band, for instance they go without another amazing Dan Seagrave cover art, and the album itself is second in a row produced by Dan Swano of Edge of Sanity, Infestdead, Bloodbath and a million other bands. It's also got a thrifty cover of Disincarnate's "Stench of Paradise Burning", fitting as that one-shot band was clearly another part of the Skeletal Remains DNA even on the earlier albums. But apart from the intro and interlude, it does stick out as noticeably less intense than the new originals due to its age. All told, Entombment is a disc I'm more likely to break out than the first two, but it rarely hooked me as much as the last one, though it's clearly a sign that the band isn't afraid to keep mutating and intensifying its sound, as if it was always intended to scope out all the decades before it until catching up to the now.

Verdict: Win [8.25/10]

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