As much as I love being enveloped by swathes of orchestral and symphonic elements in my metal, sometimes a good no-frills, solid kick in the teeth gets me riled up and resets my metal equilibrium a little bit. And that’s exactly what Greek duo, Hate Manifesto has done with their second, punishing full-length album, I should say I have not heard the first one though.

I have not had my senses this directly, and mercilessly beaten in a long time, maybe going back to Morgue’s The Process to Define the Shape of Self-Loathing way back in 2002 (still a relentless masterpiece) as Hate Manifesto‘s unrelenting black/death metal just pummels from start to finish.

Who is behind this noise? Founder ‘W.S.P’ (ex-Inveracity,  Cult of Eibon, Black Blood Invocation) is on bass, guitar, and vocals and Bloodhammer who has been in Marduk, Eucharist, and Panzerchrist, is the drummer (though things do sound a bit programmed in this department), and boy do they make a racket. Think if Marduk were way more down-tuned, had gruffer death metal vocals, and made out with The Berzerker.

The 35 minutes and 7 songs (opener “Inauguration of Triumphal Ascension” is just a 2-minute intro), rarely breaks stride as Bloodhammer is just a nonstop force- even when there is a rare respite such as the start of “Chains of the Oppressor pt II” or end of “Sworn to Hatred’ , he’s still full go and its absolutely devastating.

And to be honest, the 35 minutes is perfect as the likes of “Extinction Ordained”, “Poison Infliction”, “Purging the Seeds of Pestilence”, “Extermination Order” and “Deconstructing the Assemblage of Deception”  are just fucking bludgeoning as fuck, and if this thing got in the 40+ minute realm, I’m not sure my ears could take this exhaustive brutality for an extended period of time.

A manifesto on hate for sure, as  this is excellent brutal stuff, and one of 2023s most uncompromising releases.

If you couldn’t tell, I dig Mustasch and their latest full-length Sounds Like Hell, Looks Like Heaven. Right from the start the music radiates from the speaker in classic rock/metal form, the kind that is best to crank up while putting back a few beers with the boys. “Speed Metal” is a raucous little number, a speedy passage that sets up the mood for what will transpire over the next 35 minutes.

“It’s Never Too Late”, “Your Father Must be Proud of You” and “I Don’t Hate You” all flaunt their muscles as each ebbs and flows the way great hard rock/metal should. Catchy riffs, memorable choruses, and a perfect “live” sound comprise virtually every minute of every song, resulting in an album that unfortunately seems to end too soon.

A ton of thought went into SLH, LLH and it just sounds like the Swedes have the time of their lives when performing, though it’s most evident on album highlight “The Challenger.” With supremely infectious rhythms and a kickass main riff, it’s got “instant classic” written all over it, one that will assuredly slay in the live setting. The song is so finely constructed it can easily be a radio hit. The same can be said about “It’s Never Too Late” as well, but since there’s no auto tuning, rapping, or the same sentence repeated over and over, that’s unlikely to happen.

Sounds Like Hell, Looks Like Hell is a splendid album. It’s heavy enough to kick some ass, but it’s not even close to anything resembling black or death metal. There aren’t any added studio dynamics to make shitty songs seem better. There aren’t any dizzying musical arrangements. There aren’t any mirrors, though there likely is a ton of smoke. There’s nothing cheap about this album; it’s just a meat and potatoes kickass slab of metal & roll.

Then there is the copying past glories for the sheer joy of it. Look to the past to build the future. Marduk is not out of ideas when they revisit the war style of Panzer Division, they just love playing those songs live so why not put their considerable energy into crafting a new modern Marduk classic to go along with “Scorched Earth” and “Baptism by Fire”?

The music is at once fast and slow, intricate and repetitive, yet there is no place in the music for you to rest. Intensity is the Marduk way. Marduk could do a faithful Trouble or Candlemass cover and crush you with the intensity of the delivery.

“Warschau 2: Headhunter Halfmoon” kicks the skulls off the skeletons left on the scorched battlefield, left smoldering in the morass of churned and trampled earth that has known no reemergence in life since Marduk last marched through in lockstep. Kick them when they are down, then pepper them with a few score more bombs. A worthy successor to part one. Part two is proof positive melodic lines are overrated.

Once “Wacht am Rhein: Drumbeats of Death” is through, archeologists will have to sift the dirt through strainers to find any traces of civilization.

Marduk uses the EP format to give us great cover songs, re-imagined classic songs or slightly off beat takes on the Marduk original. “Prochorovka: Blood and Sunflowers” is the one track I hope to hear live well into the future. The first two songs I would be amazed if they didn’t play them live, this one would be killer live. Slow punishing drum beat, sharp riffs that strike like lightning, and a simple guitar line anchoring the Voice, mesmerizing to the end. “Tod und Vernichtung” part two, with a twist, or would that be a snap, of your neck. The sun is rising higher after the funeral dawn, the deathmarch continues.

Iron Dawn is so devastating it has a half life. I’d say go hide under your desk if you need respite but better head straight to the bomb shelter instead. You’ll get plenty of rest there when it becomes your tomb.

Clocking in at thirteen minutes you have room on a CD-R to have six complete copies of this tryptic for a full presentation. That is what I did with my promo mp3-files for review purposes, and as far as I am concerned that qualifies it as a full-length recording and therefore eligible for the year end’s  ‘best of’ consideration.

With that in mind it is with great satisfaction I sit here listening to the new album, Angelus Exuro pro Eternus, enjoying it for its intrinsic value, for not only is it a harbinger of tours to come, it is a slab of high quality destined to live on live on stage well into the future. Emperor Magus Caligula can add another jewel to his iron crown. His master’s will is once again realized, let the masses bow before his power, his vassals deliver his message through nine black hymns. Burn the fields behind the fleeing christians, kill, kill, maim, destroy, decapitate, decimate, eradicate, leave not a single sheep bleating for the second coming. The fire is upon us, embrace your fate.

This latest attack is swift and mighty, a lightning charged blitzkrieg, speed and precision carry the banner high once more. The mouth of Satan shrieks forth, never faltering, often dropping to a mighty growl. The axes pierce the air both quick and precise and more slowly and roughly lending much power to the rhythm of the advances.

A coordinated strike on Christendom has begun. The strikes that win the day are the majestic “My Funeral” and the vicious “Declaration of Hate”, with “Demons of Five” and “The End of Human Race” bringing up the rear guard.

It’s fitting that after all the legal and personal issues that have plagued this Norwegian stalwart black metal band over the last few years, that the third track has returning vocalist Pest spit out this line during the aptly named third track, “Rebirth”

Truth be told, I’ve never been a huge fan of the bands work, as they seemed to be just a step behind some of their bigger named peers (Marduk, Dark Funeral, Immortal etc) but on this, the band’s eighth album, an album following a long year of legal wrangling with former members Gaahl and King ov Hell, I am finally starting to hear a band that I enjoy. Of course, one could argue that this really isn’t ‘true’ Gorgoroth persay, with Infernus being the only lone original member and without Gaahl and Kig Ov Hell, but either way, Quantos Possunt ad Satanitatem Trahunt is a damn solid album.

What surprised me about Quantos Possunt ad Satanitatem Trahunt is that its not a sheer, frosty or wall of sound blast-fest but a rather robust, mid paced album that relies on steady pacing and control. Sure, a few blasts pop up here and there in there tremolo fueled fury (“Aneuthanasia”, “Building a Man”, standout epic closer “Satan Prometheus”), but for the most part the album marches with a grim militaristic gait. The bass of Boddel (Obituary’s Frank Watkins) and steady double bass of former Dark Funeral drummer Tomas Asklund give the album a hefty backbone rather than the rather reedy thin sound that some black metal has ( I’m looking at you Immortal’s All Shall Fall).

The pulsing, deliberate pace of tracks like “Prayer”, almost doom laden “Rebirth”, thunderous “New Breed” and “Human Sacrifice” drip with a controlled malevolence that does not rely on overt theatrics, samples or interludes (“Satan Prometheus” does have some subtle choirs), just a rhythmically bombastic assault that rumbles with a mature and seething anger that’s cathartic but restrained at the same time. It would have been easy for Infernus to go all Arioch (Funeral Mist) and lose his musical shit and make the album completely over the top and a giant ‘fuck you’ to King and Gaahl, but instead the material he wrote (and even Pest’s vocals) seems to be more stripped down, brooding and back to Gorgoroth’s earlier roots and based in simple, effective riffs.

In all, an album that seems to make Infernus a resilient individual, able to make an album this strong and focus despite all the bull shit (regardless of whose side you take). This is the the album Immortal’s All Shall Fail wanted to be.

Like Marduk, Necrophobic’s first sound was one rooted in early Swedish death metal, namely Nihilist, Carnage, Gorement, Evocation and such, and this collection captures the bands pre The Nocturnal Silence sound with the band 3 demo’s (1989s 1 track rehearsal demo, 1990s Slow Asphyxiation demo, 1991s Unholy Prophecies demo) as well as the band’s 1993 debut EP, The Call.

Those only familiar with the bands respected and more familiar output from The Nocturnal Silence on (Darkside, The Third Antichrist, Bloodhymns, Hrimthursum and this years Death to All) will hardly recognize the band, as even with some remastering, the lo-fi Sunlight Studios sound on a majority of the material is pure, primal, early 90s mid range buzz and rumble with strains of doomy melody and deep cavernous vocals as opposed to the razor sharp slice and dice of the bands slightly more black metal influenced sound that the band is more recognized for. If you’ve heard the Nihilist/Entombed demos, that’s pretty much a pin point comparison as from the rough single track demo, “Realm of Terror” through the more polished but still gravelly lurch and squeal of the three tracks that comprise the excellent The Call EP (“Shadows of the Moon”, “The Ancients Gate”, “Father of Creation”) the material is pure Stockholm worship (not surprising since the band is from Stockholm).

Even the tracks that were redone for 1993s relatively classic debut album, The Nocturnal Silence, sound far more evil and death metal based than there more polished final versions that fans will be more familiar with. And while fans of the bands more recognized sound may be taken aback or even disappointed, for Stockholm worshippers like me, this collection is a must have as due to the fine remaster/touch up effort, it plays seamlessly like a full album of unearthed classic death metal and an undiscovered gem that fits in perfectly with the current interest and resurgence of the genre.

Relentless is a word long associated with Marduk, so is atmosphere, but now we are introduced to virtuosity. This is easily the most dynamic Marduk release to date, with hair raising twists and turns at full blastbeat driven speed as well as sharply dissected leads and dark slow doomy passages all laced together with killer bass lines that are more clean and louder in the mix. About time bass guitar got reintroduced to black metal, thanks Devo. The songs are layered with guitars and vocals that lend an edge of your seat insanity that bears little connection to the warp speed segments and more to the dark complexity of the vertigo inducing seething maelstrom  that is Mortuus and Morgan. The drums get overshadowed a bit, which is cool, yet they shine in the plentiful slower and slow passages, atmospheric fireworks abound.

The production values are excellent, thanks go to Devo. This is easily the most powerful Mortuus has sounded yet. The arrival of Mortuus and Devo a few years back has caused a feeding frenzy resulting in new levels of inspiration and devotion to songwriting. Former Excessum drummer Lars Broddesson is fitting right in, lets hope he stays longer than Emil. If the goal from a studio album for a major touring band is to get some new songs to add to the set list, Marduk has added six or seven serious contenders to still be on that set list ten years from now, and considering the strength and length of their back catalog that would be quite the achievement.

Many of Marduk’s shining moments, especially live, were with Legion at the microphone, but now with Mortuus, he shows off just how decidedly one dimensional Legion was, Hail Legion I salute you with a horn overflowing with christian blood for all your years of dedication and countless killer live performances, you will not be forgotten, but damn, Mortuus is awesome, the true Marduk voice has arrived, hell the voice of black metal. Imagine me getting this far into the review and not mentioning the lyrics. Trust me, they are just as visceral and blasphemous as ever, no worries.

Any fan of real metal out there that has never given Marduk a try before this is your chance, bandwagon jumpers better be quick about it, any hesitation will result in that run down feeling. Killer songs include, but are not limited to, “Nowhere, No-One, Nothing”, “Funeral Dawn”, “Into Utter Madness”, “Phosphorous Redeemer”, “To Redirect Perdition”, “Chorus Of Cracking Necks”, “As A Garment.”

That’ll teach me then won’t it?

Despite only having Jorge Rosado as the original member (now approaching 40), this incarnation of the band sounds firmly and confidently like the fire breathing behemoth from the mid 90s but doesn’t sound dated or feeble against today’s heavyweights. ‘Until,’ is indicative of this as it literally bursts from the speakers, driven by Jorge’s characteristic bark/scream medley before laying down a serious groove that is cast iron in its weight and impact. It’s further heightened by the omnipotent pre-chorus cry of “crush your enemies,” firmly propelled by heaving double bass and chugs.

That’s the first minute and a half.

Then comes ‘Ratcatcher.’ The build up is sublime, deftly teasing and hinting that at any second an avalanche will fold the speakers in half and true to this notion, at just before the 2 minute mark a rumbling, quaking molten riff is unleashed (like the hell Russell Crowe demanded in “Gladiator.”). Amazingly though, it sounds exactly as Merauder should sound at this time in their career. You can clearly hear it’s them, those deft metallic riffs and pounding beatdowns that were the hallmark of the mid 90s East Coast sound.

These are the cornerstone to the heaving heaviness on the album but they are coupled with something that has been somewhat forgotten in recent years, songs. God is I, is packed with great, great songs, that are as memorable as anything on Master Killer or Five Deadly Venoms, and certainly match those masterpieces in terms of intensity. What’s refreshing also is the type of breaks to be found herein. It’s not the over saturated, over played and over used staccato, Meshuggah ripped break to be found in most modern metalcore. Instead are heaving, organic, chugging rhythms that owe as much to All Out War as they do to Suffocation and Merauder have never denied their love of death metal.

It’s often said that many things in life are cyclical, and with stellar, stellar albums by Earth Crisis, Kickback and now Merauder, it seems as though the, classic metalcore from the 90s is finding its feet again in this massive, massive heavy musical landscape.

This record reeks of old school blackened melodic death metal and is played with veteran competence, which should come as no surprise as this band is made up of members of Entombed and Dismember. The album leans heavily toward the black metal side of things a la Dissection, Gates of Ishtar (remember them?), and Emperor, with blasts and tremolo picking, intertwined within death metal essence, and nostalgic Scandinavian harmonies. The blasphemous nature of In the Light of Darkness is displayed immediately with “Retribution in Blood” as lead man Micke Jansson screeches “take the blood of the lamb, bleed for me!” Very nice.

This record isn’t terribly fast. It lies within a pocket of groove (“In the Light of Darkness” and “Enemy of the Sun”) with plenty of abstract drumming courtesy of Peter Stjärnvind. Blast beats are forthright yet tempo changes happen numerous times to advance these songs from damnable to triumphant (“The Unconquered One.”)

The balance between beautiful melodies and downright demonic scale work from Johan Bohlin is sharp as it creates something special for Unanimated. This band reminds me of a blackened version of early In Flames. At one point, they are blasting pure black furry, and the next thing you hear are harmonized melodies harking back to the Jester Race. There really hasn’t been a band that could balance the two so well since the late Dissection.

Bottom line- old school fans will eat this puppy up. The awesome thing about In the Light of Darkness is just how nostalgic it is. I haven’t heard stuff like this in years. Well done Unanimated.

The seven tracks on the new album Hels Vite are allowed proper space to develop and reveal deeper, more intricate passages. There’s an emotional component on many of the songs lacking in most black and Viking metal, which favors a cold and shrill approach (unsurprising considering the systemic hatred of Christianity and disdain for all things modern in the genre). Hels Vite is more like a welcoming fire after a long and bloody conquest. The eponymous track and opener “En Sista Litania” channel Bathory’s more expansive and mythological works, in particular Twilight of the Gods. Quorthon’s footsteps still loom large. The music is also never slow or static despite a more deliberate and thoughtful pace.

Thryfing has a different cast then their last album Farsotstider (2005), and one less guitarist. The changes haven’t hurt their music. The most notable addition is new vocalist Jens Rydén (ex-Naglfar). Ryden’s vocals work exceptionally well here, and he often lets loose with a medieval scream that could upend the nearest glass of mead. All but two of the songs are written in Swedish, so brush up on your foreign language skills if you wish to explore further.

There’s plenty of Viking metal available these days, some of it recorded in lands where original heathens never set foot. Thryfing gets this type of music right, and adds their own thoughtful imprint to a genre that could easily become comical. More than a decade into their career their work is still authentic and moving.

Quite simply, Death to All is the Necrophobic I came to know and love. It hits with the same direct impact as Bloodhymns, yet still offers a relatively higher degree of song dynamics, though not to the extent that Hrimthursum does. The atmospheric touches have been pulled back, only appearing briefly for accent purposes on tracks like “For Those who stayed Satanic” and “The Tower,” and in both instances work well. The same can be said for the multipart, nine-minute title track, which includes ominous light picking, some acoustic bits, and more choral effects, yet blisters and lacerates just as effectively as the remaining tracks. In other words, Death to All is closer in style to Bloodhymns, yet retains elements of the expansionism of Hrimthursum, and still includes those blackened tinges.

But for lovers of the older style like myself, it is a song like opener “Celebration of the Goat” that is definitive Necrophobic. It is that pure evilness wrapped around unrelenting rhythms, darkly melodic harmonies, and those impeccably patterned vocals that owe as much to Slayer as Unleashed. Catchy in a snarled-face/fist-pumping kind of way, Death to All is filled with home run hitters too – “Revelation 666,” “Temple of Damnation,” you name it. It is as complete an album as they’ve ever recorded and is just a little extra satisfying for those of us smitten with the early works. Mandatory listening.

Basically, they’re still playing Misfits/Samhain covers. The 11 tracks on this album pretty much run the gamut from the energetic punk of the Misfits to the more bluesy sounds of Danzig and all points in between. That doesn’t mean it’s bad. In fact, there are quite a few entertaining numbers here for fans of the various incarnations of Danzig, but don’t go into this looking for something original.

The record starts off strong with a blast of Misfits on “Oceans Turn to Blood.” Two tracks later, it moves into doomier territory with “Speak the Name of the Dead,” which has the feel of some of Danzig’s more recent material. The brief, dark chanting style of “Cult of Death” provides a kind of interesting interlude to the all-out horror-punk of “Werewolf.” Full Samhain mode comes in with the less melodic turn on “Demons of the Flesh/Tight White Ropes” and “Face the Master,” but the band really shines on the darker more melodic numbers that closer to Danzig. “Shadows Never Change” is one of the better offerings in that vein, though it does show some of the vocal shortcomings of Maelstrom, who can’t quite get the deep, resonant Danzig tones. “Snakes Out the Mouth of Hell” is also memorable, recalling quieter Danzig numbers like “How the Gods Kill.”

Ultimately, Blood & Ashes is what it is — a group of guys who love the Misfits, Samhain and Danzig paying tribute to those bands. They do it well. Maelstrom has a passable Danzig impression, though at times it falters, and the rest of the band provides chops that wouldn’t be out of place on record by the aforementioned bands. It’s low on originality, high on energy and probably worth a listen for fans of the various faces of Danzig.

The most focused recording since the band’s classic album Master Killer, God Is I finds MERAUDER in perfect shape. Melding the bands roots with modern bite, the intent becomes immediately clear within seconds of the albums sucker punch opening riff; “Until” hones in on its listener and the chase begins. Runaway freight train grooves, mid-pace stomps, seething gang vocals and death metal drenched riffs all find themselves vying for supremacy amidst their patented NYHC delivery.

God Is I is set for release on Regain Records June 19th, 2009.
See MERAUDER on the road now on their way out to team up with THE HAUNTED and THE AGONIST for the full North American tour starting next week:

3/28/2009 Plan B – Danville, VA
3/30/2009 Lola’s – Ft. Worth, TX w/Destruction, Krisiun
3/31/2009 Scout Bar – San Antonio, TX w/Destruction, Krisiun

MERAUDER w/THE HAUNTED, THE AGONIST:
4/02/2009 The Glasshouse – Pomona, CA
4/03/2009 The Key Club – Hollywood, CA
4/04/2009 Slim’s – San Francisco, CA
4/05/2009 Hawthorne Theater – Portland, OR
4/06/2009 Neumo’s – Seattle, WA
4/07/2009 Commodore Ballroom – Vancouver, BC
4/08/2009 The Warehouse – Calgary, AB (new date)
4/09/2009 Starlite Ballroom – Edmonton, AB (new date)
4/11/2009 Royal Albert – Winnipeg, MB
4/12/2009 Station 4 – St. Paul, MN
4/13/2009 The Pearl Room – Mokena, IL
4/14/2009 Majestic Theatre – Detroit, MI
4/15/2009 Opera House – Toronto, ON
4/16/2009 Club Soda – Montreal, QC
4/17/2009 The Palladium – Worcester, MA
4/19/2009 BB King’s Blues Club – New York, NY
4/21/2009 Mr. Small’s – Millvale, PA
4/22/2009 Jaxx – Springfield, VA
4/23/2009 Volume 11 – Raleigh, NC
4/24/2009 The Masquerade – Atlanta, GA

http://www.myspace.com/merauder
http://www.regainrecords.com
http://www.myspace.com/regainrecords

The vocals are very similar to the vicious rasp of Ihsahn and the leads seem to pay heavy tribute to him and Samoth. The keyboards however give this a somewhat different feel in that they seem to invoke Anthems to the Welkin at Dusk more. It’s odd to say this but in combining parts of those two Emperor albums they manage to stand apart from them though the influence is obvious. They combine the faster passages with well timed ambient slowdowns to a devastating effect. The faster passages are also notable as they are to my recollections devoid of blast beats. I like the fact that they aren’t trying to rely on any one element of the music overpowering the rest of the songs. They know they have quite a bit to offer on all fronts and go with it. This is a smart move by a smart band. There is also the fact this album can’t really be taken in all at once. I liked it the first time I heard it but wasn’t crazy for it, but the more I hear it the better it gets. They also like to combine random spoken passages that scare the hell out of me. Is this an innovative record no, but a damn good one that keeps getting better with every listen.

Opener “Keep Your Tongue From Evil” alternates beatdown metalcore with blast sections, all very well performed.  Aroud the middle things get more interesting with some wild finger tapping, a pretty effective breakdown, and a slow moody ending.  As I said before, this is everything I’d want to hear in music like this.  Here’s the thing, though:  there seems to be more bands doing this exact style either heavier, more technical, faster, or moodier.  I also can’t get past the vocalist.  He’s got a great midrange scream, but sometimes starts the scream in this whiny, emo yelp (sorry, trying to describe this thing is a bitch), then goes into the full scream.  It’s very annoying, especially when he does it all the time.

But if you can get pasted the vocals and only slightly uninspired music, there’s a bunch here to enjoy.  In fact the second track, “A Clown Can Get Away With Murder”, is much more interesting than the first.  There are also tracks like “Elevader To Prypiat”, which is for the most part a soft jazzy strole, but with unexpected bursts of metal.  Interesting to fall asleep with this song playing.  All tracks have their ups and downs, but I’d definitely say there are  more ups.  Time Has Come are pretty creative writers, and their style has definitely grown on me quite a bit.  I can’t say this would be on my playlist regularly, but more due to personal taste rather than the integrity of this band.  If you enjoy this style, waste no time in obtaining White Fuzz.

 We’re introduced to both acts early on in the record. Opener “Cold” is a slower number, and while you can hear the influence of melodeath acts like Soilwork, you can hear just as much progressive. The second song, “Reason is the Truth” is a sonic attempt at ripping the listener’s face off after lulling them with the first song. The record continues in that fashion, progressive metal with some death and black influences, dueling with full-on, in your face death, thrash and black numbers. And there are gems to be found in both styles.

For me, the more progressive songs, like “I Divine” and my personal favorite on the record, “Bloodline,” fare better than the heavier numbers. Of course, I’m willing to admit that could be my own personal prejudice, since I do prefer a more melodic style. But songs like the black metal-influenced “Delirium in Vengeance,” while enjoyable, strike me as more than a little cliched and behind the times.

One of the more interesting moments on the record comes when they try to blend the sounds into one song, “Decide by Pain.” At its heart, it’s a solid traditional metal song, but on the bridge we get a little vocal squawk and some more atmospheric sounds. They do lose a little steam at the end of the record with the industrial-flavored “The Passing” and the lethargic “Waiting for the Wave,” neither of which works as well as any of the first seven tracks.

As I said at the beginning, there’s a great deal of promise in this band. I love the mood and atmosphere that they create on the darker songs, and I really like the versatility they display. I’d like to hear what they could do if they could get all of that together at the same time. I’m not jumping up and down about this record, but I like it. I’d recommend giving it more than a passing listen.

Deranged has always been one of those under the radar bands that works tirelessly, without fanfare or glamour, but released 7 quality albums when its all said and done. None of them are albums that redefined death metal, but all were albums that death metal fans should check out for no frills, well done death metal that’s sits squarely astride brutal and catchy.

In its overall sound, Red Light sounds like the self titled effort than any other album, its cleaner, more polished and has than very slight Gothenburg under current beneath its hack and slash visage, and it takes a step back in savagery from Plainfield Cemetery (I never heard Obscenities in B Flat). Still, the consistent visceral tightness displayed by Wermen and co on all 9 tracks is a serviceable and enjoyable romp through a fairly distinct sound in death metal.

The gait of the album is pretty constant throughout its 35 minute duration making for a ‘samey’ breeze of ferocious but not quite “broodle” death metal album, but some occasional grooves break up the pace once in a while like “The Killer Wore Black Gloves”. For the most part though, The Red Light squeals and slices at a fair pace as opener “Watch Me When I Kill”, “Gently Before She Dies”, “The Red Light Murder Case”, “So Sweet , So Dead” and especially “Formula For a Murder” and closer “Body Puzzle” show with the simplicity and effectiveness as a scalpel across the jugular. The end result is unspectacular but biting album of no nonsense death metal free from breakdowns or overly complex wankery just feral savage simplicity and scope-as are all of Deranged’s albums.

So Richard, now you have some free time on your hands, when can we expect another Killaman album?

Screaming leads, bombastic drums, cool screams, all balanced by a harsh and steady rhythm section and twisted thrash satanic vocals. If you think Destruction in their heyday attitude wise, and, for that matter skill level wise, you have a good internal image of what Nifelheim presents to my mind’s eye.

After a long wait, Nifelheim finally delivers the followup full length, seven years is a long wait and many fans would not have waited if not for the few teasers in recent years, but still the question remains, have they still got the magic? Another cool cover is a step in the right direction. Songs are all carefully crafted for immediate impact and give many glimpses into the past revealing Kreator and Bathory roots. The sound quality is excellent, which may disappoint some fans, not interfering in the listening pleasure in the slightest, and really making the guitars stand out and shine. The drums sound good with a nice heavy sound without rumbling roughshod over the whole affair. I particularly like the Iron Maiden moments, usually punctuated by a burst of harshness. There are plenty of riffs to write home about as well.

“Open the Gates to Damnation” really rolls along at a good clip with lots of twists and turns, which may disappoint those that worship the debut album but flows right off Servants of Darkness. “Claws of Death” starts off stripped down and blasting then slows to a lumbering pace distinguished by the drum pattern with melodic leads mostly absent. Instead guitars throw in some well-placed hooks and otherwise just provide sonic discord. During “Storm of the Reaper”, he does not actually say it, but the words that pop into my head are the reaper is you and the reaper is me. One of my favorite passages on the album is the opening minutes of “Evil is Eternal” and “Belial’s Prey” is a melodic masterpiece. “No More Life” is the strongest, coolest song and epic by thrash standards. It is a perfect example of knowing when to let the music speak for itself. Hellbutcher just shuts up, and there is an absolutely perfect ending. If you must listen before buying find an mp3 of this song. When Envoy of Lucifer ended I felt the need to hit repeat.

I do not own a single Vader release. Not one.

In fact the last Vader record I actually heard was 2002’s Revelations, and before that the only Vader record I physically even owned in the past was Black to the Blind, and I picked that up in a used bin. So, you’ll have to forgive me for not getting a boner over a 4 song/ 3 video between album filler EP.

That being said, I rather enjoyed these 3 new songs on offer. They seem to be more melodic, solo filled and rollicking than I remember but still full of those rumbling drums and Piotr “Peter“ Wiwczarek’s distinct gruff, more thrash based vocals. “Lead Us” and “Die” are high octane blazers, while “The Book” is a epic slow burner, then you get a cover of Slayer’s classic, “Reign In Blood” which delivers no real surprises.

More of interest to fans will be the three video on this enhanced EP. You get 2 typically low-fi filmed in a deserted warehouse videos for “This Is the War” (From The Art of War EP) and “Helleluyah!!! (God is Dead)” from 2006’s Impressions In Blood. However, there is a video for the song “Sword of the Witcher”, a song recorded for the respectable German PC RPG “Witcher”, and the higher quality and production values of the video interlaced with scenes from the game, is pretty cool, although the song is far from Vader’s usual fare.

Die hard Vader fans will probably only want this if the three new songs don’t appear on a forthcoming album, and the “Sword of the Witcher” video, the rest of us might want to hold off.

The result of mixing a couple of 1980s traditional metal band members with some younger musicians yields a set of solid trad songs with a few newer European power metal overtones. It’s not something that will make your jaw drop, but it’s also a sound that’s hard to dislike for people who grew up in the era of Priest and Maiden.

Genetic Disorder is aided by great production values. There are plenty of balls in the music and Amore is a solid vocalist. No girly vocals to be found here. There are even some nice snarly rasps on “Conspiracy.” Guitarists Franck Milleliri and Alex Hilbert provide some solid riffs throughout the course of the record, which score a big point in its favor.

The songs range from full-on power metal like “The Winds of Sin” to more restrained traditional fare like album opener “Nothing Left Behind” to some proggy work like the slower bits of “The Dominion Gate (Part II).” They’re better when they slow things down and play to the traditional side though. The histrionics that open “Forsaken Child” will likely remind listeners of Dragonforce — and that’s not a good thing. Much better is the big, thrash-influenced riff that opens “Wicked White Demon.”

To some extent, Genetic Disorder suffers from the same basic problem that a lot of traditional and power metal efforts have. While it’s enjoyable when it’s playing, you’ve kind of heard it all before and it’s not likely to stick out among the crowd. It would have been a lot more exciting in the mid-1980s than it is in 2008. Still, while it’s spinning it will certainly have heads banging, and it’s definitely worth a listen for fans of old school metal

I, like most was a bit worried about the departure of long time drummer and song writer Fred Estby, but first Thomas Daun (Insision, Repugnant) fills in admirably, and second, vocalist Matti Karki and guitarists David Blomquist and Martin Persson ensure that Dismember’s sound is intact and, in fact returning to form.

The album that comes to mind is Indecent & Obscene as far as tone, structure and mood. There’ still an menacing melody lurking underneath the classic Dismember riffs, for example the solo that closes “Under a Bloodred Sky”, but its melodic as Like An Ever Flowing Stream melodic, not more solo based Gothenburg melodic, which the last two albums seemed to have a lot of. However, most of the tracks, from opener “Death Conquers All” to “The Hills Have Eyes”, the furious “Legion”, “Combat Fatigue” and “To End it All” are more focused on classic, slicing Dismember riffs than solos. Of course, a couple of slower, more controlled tracks like “Europa Burns”, “Tide of Blood”, “Dark Depth” and the simply oozing “No Honour In Death” break up the re-invigorated fury, but it all seems far more natural and flowing than the last two albums.

Atmospheric closer “Black Sun” further adds to the Indecent & Obscene comparison with a haunting “Dreaming In Red” like closure to the album, as does the production courtesy of Entombed’s Nico Elgstrand, whose work with Murder Squad appears to have influenced this album’s more organic, raw tone as opposed to Estby’s fiddling. Vocalist Matti Karki is his usual self, again shifting into more modern world and War based themes, but even I think he sounds far more feral than he has in years.

Ultimately though, this is a Dismember album, and isn’t redefining death metal or pushing any sort of envelope for brutality or technicality. But it is enforcing that Dismember, after 20 years and 10 albums are in fact going strong and not compromising their sound regardless of label, trends or peer pressure.

Plying the same form of continual, tremolo picked staccato fury as the likes of mid era Marduk, Dark Funeral, The Legion, Setherial and such, though they do inject some of their own character here and there, Endstille are competent and feral but aren’t doing anything new, creative or groundbreaking as some of their German compatriots.

Still, though there’s enough here to entertain most traditional black metal fans, from the high pitched screeches to the pretty singular paced frozen blasts (“No Heaven Over Germany”, “The One I Hate”, “Scars”) and occasional menacing, Germanic military marches (“Der Ketzer”, “Endstille (Retalitat)). But nothing reached out and shredded my throat. It’s all done well with an above average production and tight musicianship, but apart from the clever atonal assault of both the title track and “I Am God”, the album is a pretty standard, raging black metal assault, delivered with typical German precision.

Despite all that’s decent about the album, the fact is when bands like Wolves in the Throne Room, Deathspell Omega, Averse Sefira are simply pushing the boundaries of black metal, a release like this seems almost prehistoric. But then again, history can be fun sometimes.

Better than a decade later I still regularly listen to these three Gorgoroth disc yet I almost never listen to Emperor, Immortal, Darkthrone, Satyricon, etc. of the same era. In fact, only Enslaved gets more air time of the Norwegian bands and if you factor in the Swedes, only Marduk. Gorgoroth is also every bit Marduk’s equal when it comes to genuine antichristian hatred. Even though musically they are quite different I have always thought of Gorgoroth as the Norwegian Marduk because of their shared convictions, neither band has softened their stance and both are sincere.

When Gorgoroth first started the second wave was at its full height and not yet swamped with the thousands of imitators. Gorgoroth is not a true second wave band, but they got their start imitating before the metal world at large new there was even a second wave so in retrospect they deserve to be considered one of the founders of True Norwegian. Regain records has decided to reissue the three classic Gorgoroth discs, as if there is anyone out there that does not own them already. Gorgoroth’s recent history has made them almost as well known as Cradle of Filth, but I wonder how many of the legions of curiosity seekers actually listen to the early discs.

I jumped on board with Gorgoroth relatively late, in 1996, when I ordered both Antichrist and the Pentagram reissue direct from Malicious Records. My copy of Pentagram came with the inlay card from Antichrist, so this Regain reissue is the first time I am seeing the back cover photos of Hat and Infernus, though I am not sure these were the original photos because of the many other layout changes on the new versions, such as enlarging the Gorgoroth logo on Pentagram and reducing the booklet to just a double sided card. Antichrist gets the more familiar Gorgoroth typeface both on the logo and on “True Norwegian Black Metal” as well as losing the apostrophe s. The booklet is also cut to just a double sided card, yet the booklet to Under The Sign of Hell is not trimmed in length, anyway, you get the idea, not exact copies.

Musically, however, there is nothing new, no rare tracks, bonus live tracks, unreleased or demo tracks added. Some changes have been made, however, like chopping two minutes of the ambient noise ending off of “The Rite Of Infernal Invocation”, and taking the opening howling wind effect from “Gorgoroth” and adding it to the end of “Bergtrollets Hevn” instead.

In my mind Hat is one of the top black metal vocalists ever and I have often lamented the loss of the high-pitched screams by other bands. Not many others could execute as well and it hardly mattered that his words were utterly incomprehensible. His voice is just as important to the atmosphere of Pentagram and Antichrist as the minimalist riffing and blastbeats. Pest does an admirable job with the vocals as well, sharing duties on Antichrist and performing solo on Under The Sign of Hell. Classic songs are too many to list. The cover of Antichrist proclaims true Norwegian black metal and Infernus certainly lives up to the billing. If you don’t have the originals quickly running out and buying these reissues can lessen your everlasting shame.

Not only that, but with the same lineup. Once again we the fans get to listen in on the real deal. This is black metal for purists, do not deviate from the formula, just perfect it. These guys helped write the formula anyhow. Albums like this will make you forget about Norwegian post black. They have captured the feel of a living breathing entity swirling through the mountain mists. They have also captured nostalgic souls like myself in the tapestry. The music varies from blistering hyperblast to Darkthronesque ritualistic but it is not the song structure that really counts here but the feel of the music. Pytten at Grieghallen studios is responsible for that. I wish modern Gorgoroth sounded this alive.

This time the nearly eleven minute “Steg” fills the ritualistic role of “Sonar Dreyri” from Til Et Annet…, both being highlights of black metal. The skills of Gaahl, Valgard, and Sir make even the Celtic interlude of “Eg Reiste I Minnet…” turn to gold, or at least tarnished copper. As for the vocals, my throat is still sore today from listening to Gaahl yesterday. The lyrics are once again mostly in Norwegian and for the most part clearly enunciated, and, of course, harsh. Gaahl is at once the definitive Hollywood evil voice and the characteristic black rasp and shriek. He also growls and roars and does a half spoken half sung passage as well.

Included in the thirty five minutes of highlights are “Bortkomme Svar,” “From This Past,” and “Steg.” My only real grip is that the album is only thirty-nine minutes long but pushing play again solves that, something I foresee myself doing quite a lot in the future. Next on the agenda is a new Gorgoroth studio album.