There is enough death, doom, and dying, destruction, deviance, and decay to keep any metal fan completely filled and satisfied pretty much until the end of time. Obviously those subjects fill up a great deal of the medium, and we would have it no other way. Still, it’s always nice when a band has a different approach and pulls from other sources than what we’ve all come to expect.

Like their country mates Amorphis, Finnish doom outfit Kuolemanlaakso (which means “death valley”) concentrate on their homeland and its history, the surrounding forests and bodies of water, as well as the nation’s collection of folklore. In fact, according to the band’s bio materials, to create their new album “Tulijoutsen” (translates to “The Fire Swan”), the members actually isolated themselves in their land’s surroundings to soak up the ambiance and have that come out in the music. It makes for something a little different, and while there are dark and dangerous elements to what they do, they are inspired by other things than your run-of-the-mill death and doom bands. It’s refreshing and very much a unique perspective that you don’t get from every other band, and that gets translated into the band’s atmospheric, death-scorched music that’s equally melodic and devastating.

The band worked on branching out their music even more than they what we heard on their debut record “Uljas Uusi Maailma” from 2012. The melodies are larger, the vocals are more expansive, and while there are more delicate moments and airier sections, they still maintain their penchant for crunch. So don’t worry that this band is going soft on you. No way. They’re just finding different ways to bring the darkness, sadness, and majesty they see before them. In addition, the new record is more of a collaboration among the members of the band, so elements of each personality in Kuolemanlaakso get a chance to come to the forefront and make a more complete, more interesting machine.

Those entities that comprise Kuolemanlaakso all bring rich experience from other bands to what they’re doing here. On vocals is Mikko Kotamäki, who you also know from Swallow the Sun, Verivala, and from his time with Barren Earth; on guitars are Kouta and Laakso (also on keys) who both are from Chaosweaver; on bass is Usva (of Nibiruan and Elenium); and behind the drums is Tierra (also of Backstabbing Bastard and Cult of Endtime). You can just hear from what’s going on during this experience how much they’ve grown as a band, and having V. Santura (of the mighty Triptykon, as well as Dark Fortress) producing the record helps them find that extra grit they need to make the music sound evil and nasty when the need arises.

Opening cut “Aarnivalkea” (named after a place of eternal fire where gold is said to be buried), is doomy and murky, with low-register singing that eventually switches over to ugly growls. The guitar work sounds like vintage, downtuned Celtic Frost horror, and the song blows up into a fury as it reaches its conclusion. “Verihaaksi” has a rather dreary tempo, staying mostly slower for its duration, which is ideal for this track. The vocals go from a death growl to a goblin-like delivery, while the guitar work drips over the whole thing, with the synth coming into the scene and adding more color and texture. “Me vaellamme yössä” follows with a serious dose of crunch, heavy, sweltering guitar work, and vicious growls that make this one menacing piece. It might sound silly to say this, but this track just sounds so Finnish, making this one of the songs that most represents what they experienced in their woodsy preparation. “Arpeni” has an interesting first half, with a composition that trades off between doom bells and a sludgy guitar lick, and that leads into a gothy section that dominates the middle section of the song. It’s compelling and melodic, with tortured growls and darkness drizzling all over, and it’s a track that just grips you and pulls you the whole way through to the closing funeral bells.

The second half of the record opens with “Musta,” that has acoustics greeting you at the gate, and that gives way to sorrowful guitar work, aggressive chugging, and filthy grit you can taste between your teeth. This feels like a fever dream at times, and it’s the song that lurks the deepest into the shadows on this album. The the most interesting piece of all lands by way of “Glastonburyn lehto” that opens with a jazzy tempo complete with finger snaps and the feeling you might be in a bar that’s a little too cool for you. Lots of people calling each other “Cat” and all. It has a chance to really sink like lead, but it doesn’t largely due to how the band sells this wacky piece, right on through to Kotamäki’s showman vocals that remind of Mike Patton at his most rubbery, as well as the synth that sets in and feels like it landed from outer space. “Tuonen tähtivyö” also feels a little different, with clean guitar work and mesmerizing synth. There is more actual singing from Kotamäki on the track, and the band goes for spacious and breezy before settling into a heavier finish, with bent doomy guitar lines and bubbling trauma. Closer “Raadot raunioilla” has an ominous start before the band launches into a chugging pace that’s designed to flatten, and the singing quickly morphs from clean to gruff growls. The song is pulverizing, sure, but it also feels weirdly inviting, like it’s drawing you into an adventure. As the song goes on, it changes from dreamy and foggy to grisly and gothic. It’s quite a capper to a record with a ton of different faces and that’s always keeping you guessing.

There are plenty of death-encrusted doom metal bands out there, so it’s hard to sift through and find the really good ones. Kuolemanlaakso is one of those groups without question. They mix the atmospheric and uncomfortable darkness as well as anyone, and they seem like they’ve really hit on something with “Tulijoutsen,” that’s now their high-water mark. Sure, these guys have responsibilities elsewhere to other bands, but I really hope they take time to explore even more of what they’re capable of unearthing with this project. Maybe next time they can spend six weeks in the middle of a lake or something, but whatever they do, it’s bound to be enthralling.

For more on the band, go here: http://kuolemanlaakso.net/

To buy the album, go here: http://www.svartrecords.com/shoppe/en/

For more on the label, go here: http://www.svartrecords.com/

Who can’t use a pick-me-up on a Tuesday? It’s still early in the week, and there’s a lot of things that have to be done before it’s time to relax again, so having something to kick you into gear can be a good thing. One’s coming for you today from California.

You can’t possibly put on “Bless Off,” the new record from The Shrine, and not feel a boost of energy going through you. Every second of this record sounds like it is aggressively trying to kick your ass, as these three guys pound through classic metal and hard rock, vintage punk and hardcore, and even a little doom and sludge on these 11 songs that are chock full of guitar goodness and sonic demolition. If you’re into Thin Lizzy, Motorhead, Coliseum, and early Metallica, these guys are for you. It’s also a really fun record, one that’ll sound even better with the warmer months approaching here in the States as backyard barbecues become a more common thing, kids take to their bikes and boards, and you need loud, spirited rock to make what you’re doing even more memorable. The Shrine’s music definitely would serve.

The three members of The Shrine–guitarist/vocalist Josh Landau, bassist Courtland Murphy, and drummer Jeff Murray–formed in 2008, started playing around, and eventually caught the ear of former Black Flag bassist/songwriter/founding member Chuck Dukowski, who got them going even further by producing their earlier recordings. In fact, they recorded a track using Bukowski-penned lyrics originally intended for Black Flag song on “Bless Off.” More on that in a bit. They released their debut full-length “Primitive Blast” in 2012 on Tee Pee and started playing tours with like-minded bands such as Red Fang, Fu Manchu, Earthless, and the mighty Dinosaur Jr. On “Bless Off,” everything is amplified bigger than ever, from their attitudes, the rock, the vocals, the sneering, everything. It’s meant to be played at top volume. Anything else would be an insult.

“Destroyers” is a pretty fitting opening salvo, with Landau warning, “We ride the streets,” like they’re bringing Armageddon behind them, as the band settles into a filthy groove and eventually really kicks up dust as the song reaches its end. “Worship” is fast and blistering, with a thrashy gallop, noise, and some rough punk rock edges, while “Tripping Corpse” has some cool, bluesy riffs, the band trucking full speed ahead, and a simple, infectious chorus that’s easy to yell back. “The Duke” is the track with the Dukowski-penned lyrics, and the guys do a fine job injecting some of the Black Flag spirit into the song, as it’s catchy and swaggering. “Nothing Forever” has some attitude-laden thrash and hardcore spilled into the song, with shouting vocals and more infectious melodies. This one will wreck your neck.

The title track has some nice Southern rock-style guitar work figured into the mix, with a pace that can maul you, and the lyrics bite hard with sarcasm, as Landau taunts, “That gun in your hand makes you feel like a man.” “On the Ground” should sound great when your belly’s full of beer and you want to shout incoherent things at people. It’s packed with cowbell goodness and shuffling melodies, but as the song progresses, it gets mean, doomy, and punishing. “No Penalty” is a blast and full of memories of youthful damage-causing and no consequences as a result, and they treat that with some abrasive fun. “Spit in My Face” also has a Black Flag essence, with Landau poking, “One of these days I’m going to dance on your grave.” “Napalm” has that killer Thin Lizzy feel to it, with a classic hardcore edge with some classic rock guitar work layered in for good measure. The closer “Hellride” is a final blast of madness, with some great riffs, more cowbell, blazing insanity, and Landau barking what could be their mantra with, “We are road dogs!” Great finish to a fun album.

“Bless Off” might not be a record that revolutionizes heavy music, and for those who take themselves a little too seriously, the vibe here might go over that audience’s heads. But if you want a seriously rowdy, kick-ass rock record you can put on and get your creative juices flowing, you won’t do much better than this second album from The Shrine. Even when they’re pissed off they sound like they’re having a blast, and it’s impossible not to get caught up in the energy. They may not be pretty, they may not be proper, but The Shrine always gets the job done right and have a crushing second album to prove that point over and over again,

For more on the band, go here: https://www.facebook.com/theshrinefuzz

To buy the album, go here: http://shop.teepeerecords.com/

Or here: http://www.eliminator.bigcartel.com/

For more on the label, go here: http://teepeerecords.com/

It always nice when you can pick a band’s record, glance at the cover art, read the name, and have a really good idea what’s in store for you once you take the thing home and release it from its shrink wrap. Actually, in this digital age, does anyone really do that anymore? Just me?

Anyway, the first time you heard the names and saw the cover art of bands such as Darkthrone, Immortal, Iron Maiden, and Judas Priest, groups with powerful monikers who employ eye-catching imagery, didn’t you kind of have an idea of what you could expect once you first heard the music? Granted, those types of bands don’t come along all that often anymore, which is kind of a shame, but it’s not like we’re devoid of them altogether. After all, UK trio Conan are stomping all over creation, making doom metal that’s ugly and monstrous, and living up to their name, making like stoner-fueled barbarians looking to tear down your villages. Or homes. I mean, their name is Conan, so you should expect a sonic beating when you endure their music, and if you didn’t know what they sounded like, their album covers still would lure you in.

Conan first started making a name for themselves globally on their excellent 2012 release “Monnos,” released by Burning World, that first exposed much of the world to their drubbing, massive style. Their records are interesting because there’s like a line that runs through all the songs, keeping things nearly the same pace throughout, with sections that burst and come to bloody life, and heaviness that can maul you. But for the most part, their music keeps you on the ropes, drill you with jabs, and now and again goes for the knockout punch. They don’t seem all that interested in doing what other doom bands are up to these days and have their sights set on making Conan’s world unique to them. That’s also what makes them special, and their new second album “Blood Eagle” follows the same pace. It’s also their best release to date, which is a tall order having to measure it up to “Monnos,” but they’ve added enough meat, sinew, and muscle to their songs to take them to the next level of their sound. They also have Napalm Records behind them, which should only raise their profile and put the in the right hands.

As noted, this hulking machine is but a trio, made up of guitarist/vocalist Jon Davis, drummer Paul O’Neill, and new bass player Chris Fielding, who also handles some vocal work. They’ve slowly perfected their approach over their time together, and over the course of their two full-length releases, as well as a couple of EPs, a split, and a live record, they’ve gotten better over time, reaching their high point with “Blood Eagle,” a record that could conjure hypnosis. And just by seeing the album art alone, you know you’re in for stories of legends, giants, monsters, viking, and all other elements of metal lore, and they do sell it all perfectly.

The record opens with the nearly 10-minute “Crown of Talons,” a buzzing, slow-driving cut that fills your head with fuzz and metes out its punishment in a calculating a manner possible. These guys aren’t in any hurry to get from point A to point B, which is pretty refreshing, and they let the song unfurl with hulking pounding, vocals that rise up and hang in the air, as if trying to seek a ledge on a mountainside, and drone that’ll rupture you. “Total Conquest” follows, feeling mighty trippy and spacey before again unleashing their suffocating doom that even gets treated with a little bit of speed. Vocals go from caveman howl to a more melodic snarl, and the final moments open up a hornet’s nest and fill the entire atmosphere with bone-shaking buzzing. “Foehammer” follows and just buries your ass. The band hits a gallop that actually reminds a bit of Iron Maiden, and O’Neill’s drums completely take over and deliver utter devastation. Eventually, all parts become equal, and the band does an astonishing job hitting a united front as they bring the song to a smashing, bashing finish that could bruise your eardrums.

“Gravity Chasm” rips open the second half of the album with an awesome, thick doom shuffle that might make you think of vintage Black Sabbath, rolliking melodies, and doomy thunder, where they up the ante on their heaviness. The song simmers and boils along the way, with the final few minutes devoted to killer repetition that keeps driving at you again and again until you find yourself begging for mercy. But there is no mercy! “Horns for Teeth” just keeps pushing forward with the momentum Conan have achieved up to this point, with Davis howling, “Destroyed, destruction, outgoing death!” before giving way to some of his most forceful vocal work on the record. The band keeps lunging at you, digging deeper holes to cover you with dirt, and they hit such a massive fever pitch on this song, it’s hard to imagine how they’ll follow up a track so massive. Yet they do it on closer “Altar of Grief,” where deliberate drumming falls into clubbing madness and throat-mangling yells that mix right into the crazy drone and doom fury that coats this song. This is just a killer outright, and over its 10 minutes, it gets ridiculously heavy, kicks out a steady but smoldering pace, and gives them one more chance to shout in your face before they retreat to their caves or holes in the forest from which they hail.

Conan deserve to be in the discussion when talking about the top new doom bands, and they have the added bonus of their own style that you always know is them when their songs come on. Theirs is the perfect chill-out doom that can make you think of fantasy creatures attacking puny humans, vikings ruling the seas, and other crazy things, but their penchant for heaviness is what keeps you awake and prevents you from fully losing yourself in your imagination. This band should be ruling major halls soon, with attendees holding aloft their strong ales as they howl back all of these battle hymns. Conan never have sounded better, and really, it’s just the beginning of the story for this group of barbarians.

For more on the band, go here: http://www.hailconan.com/

To buy the album go here: http://shop.napalmrecords.com/

For more on the label, go here: http://www.napalmrecords.com/

Metal albums often are referred to as sounding like wars or battles or struggles, sides pulling at each other for complete dominance over the other. Blood is shed, bodies are strewn about the battlefield–real or proverbial–and the listener is left to sort it all out.

I initially had the same feeling when taking on Psalm Zero, the duo comprised of Andrew Hock of black metal maulers Castevet, and experimental, avant-garde musician Charlie Looker, who has performed in bands as diverse as The Dirty Projectors, the Zs, and Extra Life. On the surface, it would seem these two forces would have nothing to do with each other and have not a thing in common musically. That’s a very rudimentary book-by-the-cover kind of assessment, but if you dig deeper into what each musician does, there’s always been more than enough room for creativity and adventure, and that’s on full display on the band’s self-released two-track 7-inch, as well as on their debut record “The Drain” that we will discuss today.

As noted, my first inclination was to think of this record as a sort of battle of forces, the darkwave, New Wave, and drab sadness brought to the table by Looker, and the savage, unbridled violence unleashed by Hock. But again, that was an on-the-surface assessment first time through the album, but as time has gone on and I’ve had far more listens, that doesn’t seem to be the case anymore. Instead, the seven songs on “The Drain” sound more like a back-and-for conversation between forms, or even the raging bipolar emotions that can go on in one’s head, as sometimes the mood is dreary, dark, and rainy, while at others there are savage explosions, fires raging out of control, and a sense that the only logical way to suppress the madness is to bring it to a cataclysmic end. They’re not at war. They’re working together. The sounds on this record meld so perfectly together that, when a death-like assault rises out of a murky, gothier section, it feels like it’s something that’s been bubbling and has to happen. Same for when it goes the opposite direction. It’s such an interesting, unique record that I could go on and on describing the tugs and pulls I’ve experienced. I know this is a major statement you hear all the time, but you won’t hear another record like “The Drain” this year. That’s a promise.

You are immersed in this band’s mindframe immediately on the opening title cut, that has tenets of deathrock, some metallic washes electrifying the music, and Looker’s deep baritone that fills your mind with depressive thoughts. As the drama builds, Hock’s guitars begin to mangle, and he unleashes his trademark growls, easily jarring you into consciousness and making you ride out the cold sweat final few minutes of dreary madness. “Force My Hand” is mesmerizing, with strange keyboards and guitars swirling. Looker’s singing runs headlong into Hock’s heathen shouts and screams, which actually carry the bulk of the song, especially when he shouts, “Force my hand!” like it’s exploding from his chest cavity. “Chaos Body” is ideally named, with noisy yelling, punchy and mean metallics, and warm synth swimming beneath the black waters and breaking the surface here and there. The tension between the heavy and the dark collide beautifully, as fires in both worlds burn brightly and eventually overlap.Guitars are smeared over the chaos, Hock lets go his animalistic best, and the track has a devastating, spacey finish.

“In the Dead” feels more like it’s out of Looker’s wheelhouse, with disarmingly poppy melodies, deep, morbid keyboard work, and his vocals that remind of Morrissey’s more biting moments, especially when he sings, “I’ll keep you close, close but not safe,” as the two blend together their playing for the final few minutes as the song disappears into thin air. “Drain Postlude” is a cold, isolated, synth-driven interlude that sounds like it was dreamt up in a sterile lab somewhere, and it leads into “Undoing,” with its murky melodies, combination of clean singing and cataclysmic growls, and penetrating keyboards and effects. Hock digs deep for his harshest growls, the program drums pelt you like rapid machine gun fire, and the whole last half has an uneasy feeling like something really bad is going to happen, especially when Looker offers, “The ugly one has quit the stage, we paint our home and burn it down.” Closer “Meanwhile” teases, taunts, and tricks you over its eight-minute run time, starting off with steady beats and trickling guitars, slowly building the tempo and drama, and even getting into proggy territory as the playing branches out further. Looker’s singing is oddly, yet purposely, detached, the guitars conjure a trance-like repetition that’ll get you staring in confusion, and all of the elements come together for the end of the song. Looker and Hock clash vocally, the doom drama builds to its thickness, bells ring as if signaling the end, and the final blaze of synth sounds like doom trumpets, bringing the record to a smoking conclusion.

This is a record that could get people with devout worship of the Cure, My Bloody Valentine, the Smiths, and Swans into a room with Cobalt, Castevet, Krallice, and those who swear to the darkest of the dark and all get something to pull out and devour. There are very few examples of such diverse sides coming together like Psalm Zero do on “The Drain” and have things turn into dark, morbid, depressive magic that was always meant to be together. This record will not soon leave your brain, your blood, or you life, and you might find yourself returning often to figure out just what about this record strikes such a deep chord within you. It’s a struggle that may be eternal, but once I intend to continue to explore well into my days.

For more on the band, go here: https://www.facebook.com/psalmzeronyc

To buy the album, go here: http://www.profoundlorerecords.com/products-page/

For more on the label, go here: http://www.profoundlorerecords.com/

I used to take a lot of grief for my love of classic and power metal. Whatever, man. It sounds goofy to some people because it can be kind of bombastic and over the top, but I’ve loved it as long as I can remember. And that passion never has gone away even a little bit.

I relished growing up around cassettes from bands such as Iron Maiden, Dio, Judas Priest, and Helloween, and all of those bands remain in high regard in my heart today. In fact, for as many records as I own, those bands comprise one of the largest percentages of my collection. There is just something about the music, the ability to escape into their fantasy worlds, and get caught up in something larger than yourself. When I hear a great dual guitar part, or a singer who can blow away planets, or songs that just immerse you in fun, it takes me back to my youth when I spent every day defending my music choices and basically costing myself parts of my hearing from having these bands blasting in my ears.

UK metal band Dark Forest (not to be confused with the multiple black metal bands with the same name) bring me back to those times when I was sitting in my humid bedroom in the summer blasting “Somewhere in Time.” They have a knack for knocking out classic heavy metal that sounds like it originated in the 1980s, and even though they don’t hail from that country, have some Teutonic tenets to their style that are what make me think of early Helloween and Gamma Ray, when those bands could do no wrong. Dark Forest’s third record “The Awakening” is one of the better classic/power metal records I’ve heard in some time (meaning the last few years or so), and ever since getting their promo early this year, I’ve listened to it at least a few times a week, which is a lot when you consider I have numerous albums to hear each week for review.

There have been some pretty big changes since the band’s last record “Dawn of Infinity” in 2011, one of which being new singer Josh Winnard. He takes over the mic from guitarist Christian Horton (who remains in the band) and does a fine job keeping his vocals both grounded and energetic. He has the right amount of passion, never goes over the top, and delivers his words in a way you can both feel and understand. Great choice here. The other new addition is second guitarist Patrick Jenkins, who adds some added muscle to the band, that also includes bassist Paul Thompson and drummer Adam Sidaway. These guys are powerful and have a knack for fluid melodies, and they sound like they’re really hitting their stride on “The Awakening.”

The record gets off to a rousing start with the title track, that opens with lines from “The Masque of Anarchy” and then blows open into full-fledged power, with glorious guitar lines, a sense of true majesty, and a rousing chorus that’ll get stuck in your head for weeks. In fact, the band has a real strength carving out killer choruses, which you’ll learn going through the record. “Sacred Signs” gets a little heavier, with strong guitar work, and more of that Germanic metal influence barreling through, and that leads to “Penda’s Fen,” were Winnard howls, “I stand on the last horizon,” as the rest of the band surrounds him with huge melodies and undeniable passion. “Turning of the Tides” has an opening so heavy and pulverizing, it nears death metal territory, but it all evens out eventually, with the tempo chugging along, and Winnard even hits some high points vocally that remind of Michael Kiske. “Rise Like Lions” then comes in, with upbeat guitar work, some classic-sounding tones, and talk of breaking “the chains of slavery.”

“Immortal Remains” could be called a ballad if need be, but it’s not syrupy or sappy. In fact, the track is pretty dark, looking death in the face as Winnard notes, “I hear the final melody,” and the band backs him up with proper amounts of strength and somber sentiment. Really strong song. “Secret Commonwealth” is a decent one, but probably the weakest of the bunch, though the singing is solid, and the soloing hits the spot. Things kick back in with “The Last Season,” opening with Iron Maiden-style guitar textures, hitting a solid power metal gallop, and with Winnard pulling back a bit vocally as to not overwhelm what’s going on here. It’s a good decision and proves he can bring his voice down to match what’s going on. Closer “Sons of England” brings everything back to a head again, as the band plays with passion and energy, Winnard belts out lines such as, “Your freedom is calling,” and things go into a Euro power metal assault. It’s a great epic cut from the band, one that sprawls, rises and falls, and hits all the right buttons over eight minutes, before ending in an explosion of power before acoustic guitars and church bells ring into the darkness.

Dark Forest are one of the most promising pure heavy metal bands out there, and the changes they made from their last record absolutely have been for the better. “The Awakening,” as fitting a title as any, as it really does bring back the memories I have of discovering metal and finding what about it made my heart soar. I hear those same things in this band, and with more seasoning and experience, they could have some real classics ahead of them.

For more on the band, go here: https://www.facebook.com/Darkforestuk

To buy the album, go here: http://www.cruzdelsurmusic.com/store/

For more on the label, go here: http://www.cruzdelsurmusic.com/

Sometimes you get a bunch of friends together, you pick up instruments, and things you didn’t imagine would transpire do. I’m sure a lot of bands take their form that way, and I’d imagine it’s the best way to do it because it’s so organic and true.

For example, the band Twilight of the Gods brought together some notable members of the metal world so that they could pay homage to Bathory. Instead things morphed into a band that just took influence from Quorthon and crafted their own songs that drip in heavy metal glory. Another one of Mount Salem, a new signee to Metal Blade Records, who practice doom metal along the lines of Black Sabbath, Blood Ceremony, and Pentagram that definitely leans toward the British sense of the genre. Even though they hail from Chicago, where metallic molecules must be in the water. In fact, when this band took form, they even decided to get out of their comfort zones and try instruments that are little foreign to to each member, and from that came their first EP “Endless,” that first was released last February.

Now with Metal Blade behind them, and with live shows under their belts alongside contemporaries such as Windhand, Howl, and Witch Mountain, the EP is being re-released for a larger audience, with two new songs added for good measure. All of this is to introduce them to metal fans while the band gets ready to record their first proper full-length, for which they already are writing. It’s a smart move for both parties, as the label gets an up-and-coming band that plays classic doom as well as anyone going right now, and Mount Salem has more security and support than before, giving them the added confidence they’ll need when hitting the studio.

The band is a four-piece, with powerfully voiced singer/organ player Emily Kopplin right up front, pushing this band along. She has really strong pipes and is one hell of a great singer, and her storytelling skills already are stellar. If there’s one thing she could work on, it would be adding more of a sinister, dark touch to her delivery. She can lure you in for sure, but it would be nice to hear her add a sharper killer instinct so she can slay you once you’re in her grasp. But she has more than enough time to develop that and is a spectacular singer. On guitar is Kyle Morrison, on bass is Mark Hewett, and behind the drums is Cody Davidson, who also are rock solid and deliver their sound with great energy and fire, which should make their doom ancestors proud.

“Good Times” kicks off the record with punchy tempos, swelling organs, and Kopplin telling tales of walking past burned-out churches, setting up some pretty surreal imagery. “You’ll haunt me ’til I’m dead,” she calls, as the song caps off with a catchy, strong finish. “The Tower” is one of the two new tracks, with pulsating sounds, a riff full of dread, and a slow-driving pace that does conjure some of that danger I spoke of earlier. The guitar work just smothers, with a Sabbath feel to the song, and Kopplin delivers some of her best singing on the record. This does make me look forward to what the band is up to next. “Lucid” follows with a thick doomy shuffle, bluesy vocals, and lines that make you feel like you’re stuck in a dream. “Full Moon” is one of the longer songs on here, with an eerie intro, and Kopplin warning, “You will run, but your time is done,” as the song hits a chugging pace that starts to really hammer you. The guitars seriously darken, with the pace picking up and grinding to a halt, and Kopplin cries out in anguish toward the end of the song, with the music burning out and making for a strong finish.

“Mescaline” is a shimmery, psychedelic-edged instrumental, with swelling organs and guitars doing tricks with your mind, and that leads into the other new cut “Mescaline II,” that’s full of crunch, grit, and really strong singing. This song also fills me with hope as for where the band goes from here, and this one really will get smoke in your eyes. “Hysteria” is the longest track on the collection, with more slow-driving playing, and Kopplin once again poking at horror themes with, “Things you don’t believe are true, and they are coming straight for you.” The pace goes back and forth from slow and spooky to fast and clubbing, and the final minutes of the song are some of the strongest on the whole record, with fiery, compelling damage being done. Closer “The End” opens with ritualistic organs wafting out, guitars catching onto that darkness, and a swaggering pace that is something this band always does quite well. The lyrics, obviously, speak of, well, the end, and the song injects tons of power and mystical weirdness, especially with the organs sounding like something out of an old horror film. There aren’t a ton of surprises on this song, and you’ll be pretty sure you know exactly where you’re being led, but that’s not a bad thing. A lot of Sabbath songs are the same way, and as long as the band holds up their end and delivers the fun, that’s all that matters. And Mount Salem do here and on this record.

Mount Salem are off to a strong start with “Endless,” a damn honorable first release that should get them some notoriety in the suddenly swelling doom metal world. With more touring coming up and the band refining their writing and creative skills leading into their debut full-length, there’s a lot to be excited about with Mount Salem and what they are capable of accomplishing. That’ll be one to keep your eyes open for, but for now “Endless” should be enough to tide over their audience, which only should get bigger.

For more on the band, go here: https://www.facebook.com/MountSalem

To buy the album, go here: http://www.indiemerch.com/metalbladerecords/band/mount-salem

For more on the label, go here: http://www.metalblade.com/us/

Bands that can adhere to a certain sound for their entire careers, as long as they make good music, are to be commended for sticking to their guns. At the same time, bands that choose to expand beyond rigid boundaries and really explore what is out there to take their music to the next level are the ones that I find the most interesting.

We’ve heard Voivod explore all over the cosmos to season their apocalyptic thrash metal, Nachtmystium step away from black metal to go into areas like psychedelic rock and industrial (admittedly to mixed results), Oranssi Pazuzu create black metal that’ll melt your mind with all of its added influences, and Tom G. Warrior has pushed the limits of extreme metal with the sadly deceased Celtic Frost and his new band Triptykon to form sounds that are downright unclassifiable because no musicians had done it before. Those bands taking risks resulted in records more interesting than what their peers were doing, and even if they hit a wall with what they created, and you at least could give them points for trying something out of their comfort.

We’re seeing all of this again with Swedish death metal band Morbus Chron, who never did things normally or by the books anyway, but who really have gone off the deep end with the excellent, ground-shattering new record “Sweven.” This is the band’s first record in three years (their debut “Sleepers in the Rift” was released by Pulverised) and their debut full-length for indie giant Century Media, the perfect place for these guys to expand their audience, which they richly deserve. The meaning of the album title is a sort of dream or vision, and sitting down and immersing yourself fully in this record certainly could have you seeing shadows on the wall. It is trippy, psychedelic, and worlds more interesting than what most modern death metal bands are doing, putting them in the category of innovator rather than follower. The songs are musically ambitious and stimulating, and no matter how many times you hear this record, you will notice something you didn’t on previous visits.

Morbus Chron are comprised of vocalist/guitarist Robert Andersson, guitarist/vocalist Edvin Aftonfalk, bassist Dag Landin, and drummer Adam Lindmark, and what they conjure together is as much spiritually spooky as it is brutal. The band maintains some of its old-time haunted house ethos (especially with the shrieky, ghoulish vocals), but they bring together so many other sounds, from 1970s-inspired prog, trippy passages that’ll cause your head to float amongst the stars, and even some jazzy moments where they really hit on something musically and find themselves exploring their muse to its fullest. This band might end up being this year’s big out-of-the-dark metal success story based on “Sweven,” and it’s a good bet to end up on a lot of year-end lists, mine included. It’s really that special of an album.

The record opens peculiarly with “Berceuse,” a word that means a form of a lullaby played in 6/8 time, and here is where they begin to lull you into a staring session, with surfy guitar work, and riveting playing that flows organically into “Chains,” making it sound like one big piece. The tempo kicks up here, with harsh vocals that cut through the murk, and the band hits into a prog-flavored death assault that they follow long into the night. The music slips into trippy territory, a place they visit often on this record, and the finish burns brightly and sounds a little jazzy. “Towards a Dark Sky” is one of the best tracks on the album, as it opens cleanly and seemingly gently before it ignites. The middle portion of the song hits on a musical sequence that, if played on acoustic instruments might sound a lot like bluegrass, and it’s at this moment where the brilliance of the band really hits home. It’s such a tasty little segment. The song starts fading at about the five-minute mark, but then the music returns, goes spacey and contemplative, then blows up in your face at the end. “Aurora in the Offing” begins with a nice doomy, trad metal guitar riff that eventually slips into speed metal territory, letting the band remind you their teeth remain sharp. The soloing reeks of classic heavy metal, and the roars from Andersson are downright monstrous. “It Stretches in the Hollow” is dark and eerie, but also one of the more brutal cuts on here, as screams turn into guttural growls, the dueling guitar work dizzies you, and the finish sounds mystical like a lost part of “Seventh Son of a Seventh Son.”

“Ripening Life” has a sinister thread running through it, and it has a rustic, country feel to part of the playing (the good, old-time country, not the modern pop bullshit). The latter half of the song just soars, with guitars setting fire to everything, and the vocals a deafening roar. “The Perennial Link” devastates for sure, but there also are plenty of mind-bending things going on here, with keyboard trickling, clean guitar work adding texture, and animalistic shrieks hammering home their message. “Solace” is an instrumental that has a late-hours, nightmarish feel to it, and it leads into “Beyond Life’s Sealed Abode,” that has guitar work that reminds a bit of Blue Oyster Cult, some classically-flavored, but buzzing guitar work, stunning musical interplay among the band, and Andersson imaging what it’ll be like “to take the final leap.” Closer “Terminus” is one last gasp of stardust, an instrumental that let’s you take a final adventure with the band into the universe, with strange, sci-fi-colored guitar work, spacious atmosphere, and a deep sense of exploration that might cause you to need shaken vigorously when the record ends to break from your daydream. Can’t think of a better way to end this album.

Morbus Chron always had it in them to come up with a classic, and they delivered on record two. That’s just astonishing to think how quickly they have come into their own and developed a sound that’s unique, refreshing, and mind blowing. “Sweven” is one of the best metal records I’ve heard so far this year, one that has fully captured my imagination, and an album that I’ve been listening to non-stop since the promo arrived weeks ago. This is the right way to push your boundaries and create something new, and Morbus Chron already have positioned themselves as one of death metal’s most creative bands.

For more on the band, go here: https://www.facebook.com/morbuschron

To buy the album, go here: http://www.cmdistro.com/

For more on the label, go here: http://centurymedia.com/

Crossing Over is our monthly look at music that isn’t metal but might appeal to our readership, who we have learned have pretty diverse tastes. Just like ours. We’re crossing over into other forms of music.

You don’t have to be metal to be dark, intense, and imposing. Words matter, as does the way artists approach their music, and when those things work together, they can create chills in a way that few others can.

Marissa Nadler always has had the gift to enrapture with her music. At the beginning of her career, she often sounded like a ghost lost in the woods, trying to find meaning of existence and where she belongs, and over time, she has morphed to let us know about herself as she started to take a more human form. From the very start of her career, it was clear she was a special artist whose growth would be something to watch very closely, and she has rewarded that attention over the years with records that grow in scope and body, demonstrating just how strong a musician and storyteller she is. In fact, while her music can sound utterly beautiful much of the time, there often is darkness lurking below that can trip you up and cause you to gasp on shadows. So yes, metal she is not, but incredibly moving and very dark she often is.

Yet, Nadler has some ties to the metal scene. She contributed vocals to Xasthur’s swansong album, 2010’s “Portal of Sorrow,” and on her incredible new record “July,” she recorded with doom lord Randall Dunn, who is responsible for working with bands such as Sunn 0))) and Wolves in the Throne Room, whose heaviness can rip worlds apart, and Earth, whose later run of music is actually more in line with Nadler’s art. But working with Dunn doesn’t mean Nadler now will be headlining Maryland Deathfest or anything, but he does bring out some dronier, murkier moments from Nadler’s sixth album, one of the most honest, raw, painful records of her career. There are moments of pure hurt, disillusionment, pain, and sadness, and if you put yourself in Nadler’s shoes, you might find your heart aching along with hers.

This great record opens with “Drive,” a haunting track that reminds a bit of Mazzy Star, with raw acoustic guitars, some syrupy slide toward the end of the song, and Nadler noting, “You’re never coming back.” Then it’s into “1923,” a track that’s heavy on noir, with quietly plucked guitars and strings, with Nadler reaching across time with, “I called you from another century to see if the world has been kind and sweet.” There’s both a feeling of grief and hope in those words, as she tries to find a glimmer of light. “Firecrackers” is just a crusher, a song that has Nadler thinking back to an emotionally scarring time when she recalls, “July 4th of last year, we spilled all the blood.” It’s only violent from a personal standpoint, not a physical one, and this tender cut can hit home with anyone who has been in a fragile situation where relationships fall to ashes. “We Are Coming Back” is quiet and dark, letting you have a little bit of a comedown from the previous track, and it leads into “Dead City Emily.” This song opens mildly, with her noting, “Oh, I saw the light today,” and as the song grows, more layers of sound settle in, and the final moments even take off from this Earth and into the cosmos, a place Nadler hasn’t visited often before.

“Was It a Dream” is another highlight track, opening with strummed acoustics before electric guitars ramble in, setting up Southern rock-style burning that suits this song really well. The cut is steely and effective, and as usual, Nadler’s voice sounds otherworldly. “I’ve Got Your Number” brings back more pain to the forefront, with echoey, layered sounds, Nadler harmonizing with herself, and her driving and feeling her heart smash as she drives down snowy roads in the dark winter. “Desire” also could leave you scarred, as Nadler kicks into dusty folk melodies that feel like they’re as world weary as she is in the song, and she deals with realizing the desire she thought another felt for her was not genuine. “I had it all wrong,” she realizes, dripping her blood all over this thing for the world to see. “Anyone Else” sounds a little more defiant than the rest, especially when Nadler notes, “I hardly think about you anymore,” as she continue to weave her darkness, eventually poking, “What a lie you are living out,” as she lets some noisy drone take the song to its finish. “Holiday in” also sounds like she’s smarting from pain, singing about how she longs to lie in a hotel watching watching crime shows, and eventually she lays it out straight for her subject by observing, “Your fantasies go on forever,” seemingly indicating she’s not willing to go along with someone else’s make-believe any longer. Closer “Nothing In My Heart” is the perfect ending, with Nadler revealing she doesn’t have love inside of her for someone that she thought she did, and she delivers the crushing message with lush vocals and music that’s far more delicate than what she’s saying here. It’s one of those disarming moments where Nadler is so effective, seemingly painting you a lovely, overcast picture when she’s really unloading her pain and disappointment in a way that could hit you from behind if you’re not paying full attention.

Nadler continues to get better as she goes on, and “July” is evidence of that. It’s very much a Nadler record, yet it sounds like nothing else in her catalog. That’s because she has such a unique, alluring voice and a strong way of getting her musical and lyrical messages across that you cannot help but know it’s her. Yet she always finds a way to slightly reinvent herself so every record stands on its own. “July” is her finest work to date, a record that stands above a rock-solid catalog that doesn’t have a weak spot.

For more on Nadler, go here: http://www.marissanadler.com/

To buy the album, go here: http://www.sacredbonesrecords.com/releases/sbr103/

For more on the label go here: http://www.sacredbonesrecords.com/

Other releases in February we really loved:

BLACK MARE, “Field of the Host” (Human Jigsaw) — The most metal we’re going to get with this month’s Crossing Over is Black Mare, the new solo project from Sera Timms, bassist/vocalist for bands such as Ides of Gemini and the sadly defunct Black Math Horseman (whose only record “Wyllt” was a damn-near spiritual experience). Black Mare’s music delves in ambient drone, doom, post-punk, and other sounds, with Simms’ voice floating in the ether at times, taking more command at others. In fact, if you’re a fan of Simms’ voice, this is a must-buy, because it feels like she transcends the human plane more often than not on these songs, peaking on tracks such as the shadow-filled “Tearer,” that pushes into deathrock territory; nightmarish, entrancing “Saturn’s Grave”; and the sleep-inducing, disarming “ISA” that is ghostly but emotional. It’s great to have a new project from Simms, who I could hear sing forever.

To buy the album, go here: http://www.humanjigsaw.com/

ANGEL OLSEN, “Burn Your Fire for No Witness” (Jagjaguwar) — Olsen has a voice that, if you hear it one time, you never will forget it. She has the power to silence a room with her singing, which I saw her do here late last year when she played the Andy Warhol Museum, where she even played a few of the songs we’d here on her incredible second full-length record “Burn Your Fire for No Witness.” Not since Neko Case came along has an artist packed this much emotional power and musical weight into her art, and every song on this great record could stop you dead in your tracks, from the quiet opener “Unfucktheworld,” where she quiety admits, “I have to save my life”; to “Forgiven/Forgotten,” the first of a few tracks that rock harder than usual; the excellent 7-minute “White Fire”; and heart-stopping “Stars,” where she tries to “scream it all back to nothingness.” This is an early album-of-the-year candidate from an artist whose brilliance is only now coming to be recognized. She’s going to be huge.

To buy the album, go here: http://www.scdistribution.com/music-shop.html?class=label&label=Jagjaguwar

PHANTOGRAM, “Voices” (Republic/Universal) — I just now realized we’re touching on almost all female artists in this installment, and that’s totally by accident. Anyway, Phantogram’s jump to the majors made a lot of sense. The duo of singer/keyboardist Sarah Barthel and guitarist/singer Josh Carter sound way more than prepared for the larger audience they are likely to meet with their great second record “Voices.” It has big-time pop sensibilities that easily should make a major impact at mainstream radio but enough quirks to keep their indie following more than satisfied. Seriously, listen to the song “Fall in Love.” It’s playing all over satellite radio now, and I’ve spun it a million times. It should be a huge smash for them. Such a great mix of zappy pop, infectious hooks, and seduction. That’s just one track in a collection of awesome electro-powered crushers that should make Phantogram a very deserved huge band.

To buy the album, go here: http://www.myplaydirect.com/phantogram

Metal is there to make you feel many of the feelings, be that power, anger, energy, or even sadness. There are plenty of bands you can lump into any emotional category, enough that you can carve out an entire collection and adhere only to that music, which speaks even more highly of the varied approaches one can take to making this kind of music.

Depressive metal is pretty self-explanatory. There is sadness and darkness imbedded in the music, and you’re not really supposed to come away feeling good about yourself or your surroundings. It’s depressing, after all, and if you need a place to wallow and immerse yourself in negativity and tears, this is a great place to do it. I guess you can make a link to artists more on the suicidal bend of metal such as Xasthur and Lifelover if you will, but the intent isn’t necessarily to wallow in ending it all. It’s more to align with your own darkness and express it. Get it out. Maybe understand yourself more and feel a little better for the bloodletting.

One band that’s done an amazing job of this is Australian black metal band Woods of Desolation, a group that really hasn’t gotten it’s due yet in North America but really could with their stunning new record “As the Stars.” This thing could unite fans of Alcest who wish the band still worked more in metal than shoegaze and those looking for something to go next to their Deafheaven records, as this thing easily should please both camps. That also marks a bit of an alteration for Woods of Desolation, because their music generally sounded very gritty, washed out, and completely murky, with the vocals buried deep in the mix. But on this one, I even have to wonder how depressive most people are going to find the album because it feels so utterly bathed in light. It feels like an album that’ll work perfectly with the coming days of spring, as we in the States crawl out of our frozen death and into new possibilities. I say all of this very positively, by the way, because I think the record is an absolute stunner. This is the best thing Woods of Desolation ever released, and even if it isn’t meant to feel brighter than their previous work, you can’t avoid that sentiment. It’s one hell of a great twist to the band.

Woods of Desolation is the brainchild of D, the guitarist and visionary for this project, who has led this project since its beginnings in 2005 and has surrounded himself with various musicians to help him achieve his visions. On this record, he is joined by vocalist Old (Drohtnung, Wardaemon), bassist Luke Mills (Drowning the Light, Nazgul), and drummer Vlad (Drudkh), who play their parts excellently. Specifically, Old really brings personality and passion to his vocal work (not a surprise, by the way) and is the ideal mouthpiece for what’s going on here.

The record begins with “Like Falling Leaves,” a melodic, surging track that up front emotionally and is a really great composition. This can make your heart flutter as it hits glorious highs and dark lows, and some of the vocals sound like they’re emerging from a thick mist, trying to lure you to somewhere mysterious. “Unfold” has a clean trickling intro that eventually lets blinding sun burst through and drench you. The vocals are a bit washed out, to give you a sense of detachment, the melodies and heartfelt and true, and the end gets a little mean with some gruff vocals that aim for clean but feel gritty. “And If All the Stars Faded Away” opens melancholic and tender before it ignites into metallic power, with thick, shrieky vocals, wholly emotional playing, and a finish that practically gushes colors of all sorts.

“This Autumn Light” opens with dark, clean guitars, gnashing vocals that go for the throat, drums that crush and bruise your body, and guitars that glow and blind you with beams of light and energy. “Anamnesis” is an instrumental that has a strong post-rock feel to it, an inviting tone that might embrace people beyond metal’s reach, synth that bleeds into the track, and plenty of ever-changing, evolving melodies. “Withering Field” has sing-songy growls, demonstrating Old’s ability to reach for approachability, and the guitar work just envelops and enraptures, showing both D’s creative imagination and penchant for bearing his soul with his playing. Closer “Ad Infinitum” begins with a poppy bend to it, with brighter shades and accessibility, and there is a large shoegaze influence to this track. Guitars surge once again, gleaming beams of power illuminate everything, and the track has an uplifting feel to it once it fades off into night. Maybe that’s not its intent, but that’s what I get out of it. I don’t have access to the lyrics, so it could be a total misread, but I know how the music makes me feel.

Woods of Desolation have another great album on their hands, but this one has a wider reach and could find the project swelling its audience if the music can reach enough people. This also is the tightest lineup the band has had, and it would be great to hear these same people make the next Woods of Desolation album. “As the Stars” is a record you should go out of your way to hear, and even if it is darkness you seek, you might find that a little light is good for the soul.

For more on the band, go here: https://www.facebook.com/woodsofdesolationofficial

Northern Silence has a few more black metal-oriented releases out now, alongside of this killer Woods record. Here’s a quick capsule of each album, all of which are worth checking out.

Swedish band Nasheim finally are getting to us with their debut record, the wonderful “Solens vemod,” an album you might not understand lyrically since it’s all sung in their native tongue. But the music should have no problem penetrating. They offer up four tracks on this album that are all epic in length but make enough twists and turns to keep things interesting and compelling. There are elements of doom and post-rock included as well, and the vocals delivered by Erik Grahn are full of passion and anguish. Murky melodies, destructive songs, and a sense of dread and sorrow are there in full, making this one black, compelling listen.

For more on the band, go here: http://nasheim.bandcamp.com/album/solens-vemod

Ered Wethrin (named after the Mountains of Shadows in Middle-Earth) might sound like a strange beast out of a strange forest in some undiscovered land, but they’re actually from Salt Lake City, Utah, a place that has exploded in the past few years as far as metal is concerned. Their new “Tides of War” is full of Tolkien-worshipping fantasy, melody, and wonder, with the raw, creaky vocals of sole member Sven Smith making it sound like Gollum is going to climb out of your headphones and onto your chest. These songs span the 10-year life of this project and waste no time capturing your imagination. There’s a symphonic element to what this group does, but it’s far more in the Summoning sense than, say, Dimmu Borgir Disneyland weirdness. It was worth the wait finally getting a record from this project, and hopefully there’s a lot more from this folklore-inspired artist in the future.

For more on the band, go here: https://www.facebook.com/eredwethrinofficial

In the same vein as Ered Wethrin come Emyn Muil (named after the rocky hills near Rohan), a one-man black metal force from Italy that actually manages to take the Summoning thing a little further and delve fully into what I lovingly call Zelda metal (just because I can imagine hearing this while being killed over and over again as Link). There are keyboards galore, plenty of fantasy influences all around, and vocals that can sound almost chant-like at times. Northern Silence is reissuing the band’s 2013 effort “Turin Turambar Dagnir Glaurunga” so that more people can revel in this Tolkien-heavy, epic wonder, and yeah, it might sound a little cheeky to those who need their black metal all serious and sinister. But if you like a sense of adventure in your music and don’t mind feeling like you’re about to soar on the wings of a dragon, you will find a lot to like about this band and this record.

For more on the band, go here: https://www.facebook.com/EmynMuil

To buy any of these records, go here: http://shop.northern-silence.de/

For more on the label, go here: http://www.northern-silence.de/

To carve out a long, meaningful career in thrash metal, one has to be a survivor. Think about some of the thrash bands out there that have been toiling in hardship, covering their elbows in grease, and pounding the pavement just to get their band and their music out to the people. Unless you’re Metallica, Anthrax, or Slayer, that’s not easy task.

But there have been some great underground thrash bands that have had their levels of success but aren’t household names like the ones mentioned above. I’m talking about groups like Destruction, Exodus, Overkill, Forbidden, and Onslaught that refused to give up on their dreams and their passion for playing thrash metal, and they helped lay the foundation for the newer bands out there who are trying to live up to their histories. Another band you can add to that list is California thrashers Hirax, whose frontman Katon W. De Pena is the dictionary definition as a survivor in this form of music, and who keep going strong three decades after formation.

Hirax’s run also has been one that’s had its ups and downs, with a long layoff that essentially took them out of the 1990s (which really wasn’t a thrash golden era anyway), and they only have five full-length records on their resume. Hirax got started in 1982, with their first record “Raging Violence” arriving three years later by way of Metal Blade. They followed up with a 16-minute sophomore effort “Hate, Fear, and Power” in 1986, and only a few years later, they would go on hiatus. The band was revived in 2000, with two EPs leading up to their third full-length “The New Age of Terror,” with the irreplaceable De Pena remaining as the only member from the band’s first era, but that certainly didn’t do anything to curb the band’s intensity. A few more EPs followed, then in 2009, we got their fourth full-length “El Rostro de la Muerte.” The band kept rolling live, building up their audience, pushing out the thrash goodness, and offering up a rock-solid compilation “Noise Chaos War,” a series of splits and singles, and now finally their fifth LP “Immortal Legacy” that should only solidify their standing.

If you’ve been into Hirax during their entire run, this new record will be right up your alley. De Pena sounds as awesome and in command as ever before, with his unique vocals that pay homage to both thrash and power metal, and having him in front of this band is all that matters. But that’s not to take away from his bandmates, who certainly bring it hard on this record, including guitarists Lance Harrison and Mike Guerrero (who joined the fold in 2011), bassist Steve Harrison, and drummer Jorge Iacobellis. They’ve also been working hard and non-stop to bring Hirax to more people, and to enhance the band’s efforts on this record, they brought in noted axe men Rocky George (Suicidal Tendencies, Fishbone), Juan Garcia (Agent Steel, Abattoir), and Jim Durkin (Dark Angel, Dreams of Damnation) to add their expert lead work and make “Immortal Legacy” an even stronger record. As a longtime devotee to the thrash era of the 1980s, in which I grew up, this record is a total blast of fun and puts a giant smile on my face.

“Black Smoke” begins with a tape speeding up, bombs detonating, and the band kicking you right in the ass with their power. The chorus is a killer based on De Pena’s charisma and delivery, and the sirens that ring out make it sound like all hell is breaking loose. “Hellion Rising” begins with just singing that leads into a massive thrash assault that absolutely trucks, visions of the coming apocalypse, and more rock-solid guitar work that is a staple of this record. “Victims of the Dead” has a massive tempo that positively kills, with De Pena howling, “Release the victims of the dead!” and more tremendous soloing, which isn’t exactly a surprise. “Thunder Roar, the Conquest, la Boca de la Bestia – The Mouth of the Beast” sure is a hell of a mouthful of a title, and it opens with some classic metallic guitar work before the thrash erupts. De Pena is awesome on this track, with him observing, “The overlord rises on wings of steel,” and the rest of the band just sets fire to everything and lets it burn gloriously. “Earthshaker” is a cool guitar-centric interlude that rolls into “Tied to the Gallows Pole,” where engines roar, melodies capture you, and De Pena singing about iron fists and beating back the opposition.

“Deceiver” has a riffy intro, total punishment, and screamier, more high-pitched vocals that is one of De Pena’s staples. Seriously, the guy has been at this so long, and his voice sounds as strong as ever before. The title track is a perfect anthem for the band at this point, and the vocals really sell the hell out of this thing. “S.O.W.” is a short interlude piece that feeds into “Violence of Action” that is fast and aggressive, with De Pena urging attack and “engage the enemy,” as the rest of the band fills the space with smoking chaos, great guitar work, and constant hammering. “Atlantis (Journey to Atlantis)” is a cool bass-led instrumental that gives way to the explosive finale “The World Will Burn,” with guitars erupting and surging brightly. De Pena gives his final calls, with the rest of the band shouting “Suffer the World!” over the tumultuous chorus. Now, if you get the vinyl or digital version of this record, you get another track. But my promo ends here, so that last one will remain a mystery for now. I’ll be seeking it out for sure.

Hirax always deserved to be mentioned in the same breath as bands like Testament, Nuclear Assault, Anthrax, and Megadeth, and it’s a tribute to their toughness, hearts, and desire to keep hammering audiences. And here they remain making great records in 2014. “Immortal Legacy” hopefully can be a literal thing for Hirax, a record that can get more people aware of what these guys do so well and more cognizant of their thunderous history. This band deserves to be in more homes, in more ears, and always be mentioned any time the great thrash bands of all time are discussed. Because they are one.

For more on the band, go here: http://www.blackdevilrecords.com/

To buy the album, go here: http://www.spv.de/_BRIDGE/products.php?product=265232

For more on the label, go here: http://www.spv.de/