In an effort to look beyond the digital promo pile, I recently put out a call on social media for any bands or labels that were interested in coverage to get in touch. I mostly heard crickets, but I was also lucky enough to hear from Whammer, a new “blackened crust grind” band from Colorado, who sound lean, mean and pissed the fuck off on the demo tracks they graciously sent me to check out.
Has it really only been a month and a half since I last posted one of these? That’s got to be a new record. Whatever the case, we’ve got a lot of crucial slamz and mandatory brutality to cover this time around, from the nearby Bay Area all the way to the Land Down Under, so without further ado, let’s dig in…
Good melodic death metal is in painfully short supply these days. Sure, there are a small handful of stalwart bands that continue to soldier on, but to say that the subgenre could stand to be infused with some fresh blood is an understatement. Fortunately, Ye Goat-Herd Gods have emerged from the frozen Canadian wastes to rescue us from the dearth of new and interesting melodeath sounds with their mighty second album, Ashes Shall Be Made of Them.
Hailing from Edmonton Alberta, Canada, The Black Sorcery play a pummeling brand of bestial black death metal that keeps with their home country’s unrivaled tradition of bringing the pain when it comes to the style (see also: Blasphemy, Revenge, Conqueror, etc), yet they also do a great deal to differentiate themselves from the hordes of bands that owe their careers to the seemingly bottomless well of inspiration that is Fallen Angel of Doom.
I’m sure some of you have noticed that I’ve been doing less writing of late and focusing more on making YouTube videos. I’ll get back to writing eventually, but I’ve decided that I need to challenge myself with a new medium, as well as expand the THKD empire beyond blogging. It’s been a fun, refreshing change of pace and I hope you’ll come along on this journey with me while I try something new for a while.
Where has this album been all my life? It isn’t every day that you find a record that seems to have been tailor made to satisfy your personal listening palette, but on Future Cult, St. Louis-based trio The Lion’s Daughter have managed to successfully combine a few of my most favorite things, namely pulverizing extreme metal and creepy, John Carpenter-esque synthesizers. I’m not quite sure yet if it’s as delightful a combination as chocolate and peanut butter, but they’re definitely two great tastes that taste great together.
It’s hard to believe that Marduk have been at it for close to thirty years now, harder still to believe that the Swedish black metal stalwarts have maintained such a consistent level of quality over the years with regard to their recorded output. Case in point, Viktoria is the band’s fourteenth album and it picks up right where 2015’s excellent Frontschwein left off, pulverizing listeners with yet another blasphemous blitzkrieg of World War II-themed black metal.