Harm’s Way – Posthuman (Metal Blade Records, 2018)

I wasn’t terribly familiar with Harm’s Way prior to getting the promo for Posthuman, but I was somewhat aware of the buzz their previous album Rust had garnered, so I decided to give them a try.  I was pleasantly surprised to find that Posthuman is a burly-as-fuck collection of non-stop mosh riffs mixed with electronic elements that wouldn’t be out of place on a late-nineties Godflesh record.  It’s an odd combination to be sure, but I’ll be damned if Harm’s Way doesn’t make it work.

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Morbid Philosophy: A Nuclear War Now! Productions Roundup

It’s only February, which means most labels are just starting to trickle out what will eventually become an unstoppable avalanche of new releases.  Not so for Nuclear War Now! Productions; the California-based label is in the process of unleashing a fifty megaton payload of heavy hitters that are poised to set the bar for underground black and death metal for the remainder of 2018.  Read on for THKD’s breakdown of this quartet of poser-slaughtering platters…

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The Contraption (1977)

I first watched The Contraption late one night on the USA Network as a child and it has haunted the hell out of me ever since.  After many years of its twisted imagery rattling around in the back of my brain I finally found it on YouTube, and even though writing about films isn’t really my forte, I couldn’t help but share this psychological horror masterpiece with all of you.

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Summoning – With Doom We Come (Napalm Records, 2018)

Back in my high school days, I ran a Dungeons & Dragons campaign for a small group of friends (because being obsessed with heavy metal, pro wrestling and Star Wars just wasn’t quite nerdy enough).  I wish I had known about legendary Austrian black metal duo Summoning back then, because they would’ve made one hell of a soundtrack for those late night RPG sessions.  Listening to their latest album, With Doom We Come, takes me back to those days of planning out adventures for those intrepid make believe heroes, filled as they were with orcs, kobolds and of course the occasional dragon.

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Watain – Trident Wolf Eclipse (Century Media, 2018)

When Watain dropped the The Wild Hunt back in 2013, I initially praised the band for their willingness to take chances with their sound.  But truth be told, I haven’t felt much of an urge to revisit the album since that time, opting instead to reach for their more immediate, visceral works, such as Casus Luciferi and Sworn to the Dark.  In retrospect, The Wild Hunt was a good album and an interesting change of pace, but it lacked the sense of urgency and hunger that characterized the band’s finest work, ultimately making it the weakest entry in their storied catalog.

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