Khemmis - Desolation

Khemmis have cultivated a pretty awesome following in the few years that they’ve been around, as a result of their successful debut Absolution and the immediate follow up Hunted, the Denver based unit have risen up to the status of doom metal elite very quickly. With all eyes on them, expectations are a bit severe, considering they’ve only been relevant for about three years; however as the rule of nature goes, once you dive in, you either sink or swim.

Desolation stays true to the spirit of how Khemmis have done things with a sharp and meticulous artistry that unravels a broad picture of their musical influences. Not content to sit on one wave and ride it, Khemmis have meddled in a variety of forces that culminate into a beautiful diverse lexicon of doom.

Desolation maintains that potent and tight musicianship which brought Khemmis to the metal vanguard. On the edges of classic rock and desert psychedelic bliss, their harmonies provide atmospheric layering to a storm of heavier doom trodden moods. This is the kind of composition that one might anticipate from band that has already proven to be capable of so much. Their ability to weave styles together without faulting themselves on fragmented escapades that lead nowhere is an exceptional trait, and it may hold for good if there aren’t any changes which result in changes to the elementary fabric of the band.

Foreboding and bone chilling, “Bloodletting” is a tragic poetic introduction that subtly leads down the path through to curb stomping tempos and eye awakening magic within catchy stoner licks. This song sets the doctrine for what you are probably already in the know; what you’re getting here is an open door into heavy metal’s future, which appears to be secured and well on the altar of Khemmis. The stylistic rhapsodies on Desolation brought forth with charming efficiency and depth provoke thoughtful mature images. Khemmis casts a worthy lot with this cascade of riffs sweeping down from the Mile High City. 

The shifting dynamics of Ben Hutcherson and Phil Pendergast as formidable co-frontman keep an interesting twist on tones. The elegant and sometimes ethereal vocals of Pendergast are like a melodic oasis in an otherwise treacherous landscape of morose and ominous riffs forecasting niches of black and sludge. Hutcherson has evolved a bit since Hunted, showing a noticeable capability to diversify his growls and powerful shrieks, and his ill portents on “Maw of Time” particularly gave me goosebumps and sank into my skin. The contrasting forces of Hutcherson and Pendergast are like an eerie revelation of light and dark transmogrifying into angelic and hellacious expression. Pendergast’s admirable ranges and hooks provoke a robust body of emotion as the band depicts cinematic story with bewitching grace.’

“From Ruin” brings the album around full circle, with an assurance of new found strength in darkness as a lasting resolution.

If you are a fan of metal with thick bluesy guitar solos guided by that rich 70s rock vibe, and rich harmonies surrounded by a forest of dissonant guitar gloom, then Desolation is an album that you will surrender yourself to time and time again.

Corrosion of Conformity - No Cross No Crown

Corrosion of Conformity have pledged a lifetime of work to creating music guided by the influences of early hard rock and hardcore punk music. If you have somehow found yourself to this blog without at least listening to Corrosion of Conformity, then No Cross No Crown would be a perfect introduction to what they’re all about; slithering southern style rock vibrating with heavy Sabbath inspiration shuffled in with a whirlwind of punk ethics. 

Corrosion of Conformity’s new album No Cross No Crown rocks in waves and hits like a hammer. This is the most genuine and powerful line up that the band has had in nearly two decades, and it shows in every layer and chord of the recording. Reed Mullin and Woody Weatherman have that abrasive hardcore crossover and thrash style that remain a consistent part of their audacious brew, with Mike Dean keeping the spirit alive with thick grooves. The combination of this band’s original foundation with Pepper Keenan’s sexy southern and potent blues rhythms have formed a creative relationship that simply does not compare to anything else. 

Before stoner metal was even coined, COC were perfecting the sound as they matured out of their hardcore thrash fusion early days and slammed into the 90s with Blind, Deliverance, and Wiseblood. No Cross No Crown is the band’s first record with Nuclear Blast and it does a fantastic job of reclaiming the aura of their Colombia Records days. Of course, the band’s reunion with guitar player, vocalist, and creative mastermind Pepper Keenan would be a major factor in the rejuvenation of the classic era’s spirit.  

No Cross No Crown is a powerful album that hits many peaks and delves into some serious depth. The album would take several listens to really appreciate all the layers, but at a moment’s listen it hooks you along into a joy ride reminiscent of finer days for hard rock and heavy metal fans. For one whole hour, the band drops down a certified crusher that should elate its fanbase. Let No Cross No Crown be a reminder that the masters of these old southern stoner vibes are killing it and still have places to go. 

Released: January 12th 2018

Venom Inc. - Ave'

Venom Inc.
Ave’
(Nuclear Blast)

Venom's legacy exists as a pillar that hoists up the metal community going as far back as 1981. Without compromise, they fostered an abundance of style and imagery that have now become permanently intertwined throughout our hessian culture.

However, more than the looks and Satanic themes, Venom thoroughly inspired metal with riffs and hooks that are now essential to speed metal and black n' roll's format.

Ave' may be one of the most anticipated and decisive comeback albums of 2017. Ave' sustains the heart and soul that powered Venom's ferocious music and takes the band into new terrain. Without question, Mantas and Abbadon maintain the creative forefront that drove Venom's energy. Ave' is a wall of 11 pummeling tracks that incorporate the spirit of Venom Inc's feral performance talent and undying zeal.

Ave’ honors Venom’s old strengths without failing to push forward as Venom Inc., which is an undeniably strong feat of the album. Although some may insist that Ave’ ventures off of a traditional path toward styles and tones that are not purely ‘80s, it’s not an overwhelming problem, given that the song structure is utterly Mantas and Abbadon in all forms with merely minor tonal adjustments via modern technology. The tracks are characteristically Venom through and through, wish some vision toward the future to allow for necessary creative growth.

Ave' was released on August 11th and is available via Nuclear Blast.

Album Review: Destruction - Under Attack

Destruction

Under Attack

(Nuclear Blast)

From the get go this album crushes. Under Attack’s title track is vicious and point blank, and there’s no stopping on this German speed metal train. For 47 minutes you are locked in with the masters of three decades of aggression hammering into your spine. The new Destruction will make your ears bleed bullets.

Destruction have never been shy about expressing their vehemence toward a decaying society. With corruption and madness unleashed all among us, the band are in a better position than ever to furiously attack the senses.

Destruction fans should be familiar with the melodic overkill of these Teutonic titans, but those just stepping into the master’s den should expect nothing short of the best hooks, and some of the cruelest riffs in the arena of thrash. Schmier’s vocals are an unforgiving hail storm of lyrics that revolve around a tornado of guitarist Mike Sifringer’s shredding chops. That’s two tornados, because Schmier’s bass is a bodacious twisting killer along with every lick. Everything is excellent here, and Vaaver (drummer) may be strongest of all. The third piece of this band is as essential as the classic downstage pair.

This album does not fall short. Buy it, play it, and mosh. 

Interview: Lost Society Offer Riffs And Solos That Will Cut You In Half On Their New Album

Interview with vocalist/guitarist Samy Elbanna | By Nicholas Pendergast

(Photo: Ville Juurikkala)

1986 was a big year for thrash metal. To its credit, it saw the release of quintessential albums like Metallica’s Master of Puppets, Megadeth’s Peace Sells… But Who’s Buying?, and Slayer’s Reign in Blood, three albums that established the genre for the 30 years that followed after, leading to today. In 2016, that thrash metal calling is still hammering away into eardrums around the world. Along with contemporaries like Bio-Cancer, Warbringer, and Dr. Living Dead, Finland’s Lost Society are tearing up show after show, paving their way and paying their dues. Lost Society are a fierce force in the New Wave of Thrash Metal, and they should be expected to shred for some time to come. In the grand tradition of thrash metal, their focus is on speed and energy, but also on substance. Lost Society are amped about their third full-length, Braindead. Expect a ton of riffs and solos that will cut you in half.

“The songwriting period started pretty much in the end of 2014 when our shows were done for the year,” vocalist and guitarist Samy Elbanna says of Braindead’s origins. “We’ve always wrote all of the material together at the rehearsal place, because that way, all of us get to throw around cool ideas with our own style into the songs to make them even more dynamic and interesting. One of the cool things we did did a bit differently this time around was that, after writing all of the songs, we went through them one at a time just to see if there was anything we could add or take out. Basically, we produced the songs in some way before we hit the studio.”

When asked what it is about the ‘80s thrash metal scene that makes it so influential, even for the younger generations of fans who weren’t around when the music first blew up, Elbanna says, “I’d have to say that the raw aggression in the music is the biggest reason—for me, at least.” He adds that there was a genuine passion behind the music, noting, “It’s just one of those genres of music where no one is faking anything, everything comes straight from the heart, and it’s all about the music and no bullshit. Also, the fact that the live shows are out of this world, with so much energy and passion, that makes the genre so special.”

Lost Society have been able to distinguish themselves from their peers in the thrash metal community partly because of their fantastic songwriting and guitar work. The Finnish rager, Elbanna, concludes that he and fellow guitarist Arttu Lesonen came through with the best solos of their careers on Braindead. “During the time after the release of 2014’s Terror Hungry and the recording sessions of Braindead, we’ve been practicing a lot,” he emphasizes. “We’ve practiced not only individually, but together too, which has made it really easy for us to make the harmony solos, and I think you can hear from the album that me and Arttu just work really well together on the solo parts.” Check out Braindead—and its cover art by Jan Meininghaus, which Elbanna says fits the album perfectly—especially “I Am The Antidote,” “Riot,” and “Only (My) Death is Certain,” which Elbanna calls his favorite tracks on the album. Make sure to crank those up and blast out those apocalyptic feels. Time to riot!


 (Originally posted here)