The word ‘powerful’ is thrown around rather a lot… as is “awesome” (I, for one, am incredibly guilty of throwing that particular word around). However, I really can’t think of many other words to describe “Morok”. It is, quite literally, awe-inspiring. Perhaps in reading the press release beforehand, I allowed myself to go into this album with pre-conceived imagery – or maybe it’s just completely obvious – but Agruss have created a soundtrack to a world that is at odds with itself. The constant battle between the natural world and the industrial one rages throughout the music here.

The band comfortably switches gears between raw and powerful (I said that word again) Black Metal and violent unrelenting Death Metal. It’s a tumultuous and unforgiving ride, but at the same time it’s one that’s incredibly rewarding. No sooner have you reached the end of the album, but the little voice inside your head compels you to listen to it again… Just one more time… and another… and another.

In listening to “Morok”, it feels like you’re staring into the abyss. A man-made, polluted and sulphur-stenched abyss. We’ve reached the end of the line. The world is close to death and smoke gently, but purposefully climbs from ruined buildings. Anger rises up and fills the void and Agruss are here to give that anger a voice. The apocalypse is here and it sounds like “Morok”.

Rating: 96%

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My introduction to Graven Image came in the form of their “Death Metal Bastards” CD and, while that CD was a head pummeling blast of quality Death Metal, it somehow pales in comparison to the band’s latest effort. You see, “Return Fire” still offers up a fairly hefty dosage of Death Metal, but this time it feels more controlled. It has been executed flawlessly.

The band have said that one of the main influences for this mini-CD is World War II and, when listening to this CD, that influence is abundantly clear. These tracks make you feel like you can take on anything and ready you for your own personal war. However, at no point is the idea force fed to you. There are no speeches from Winston Churchill or sounds of the battlefield – the only thing we have here (apart from a short spoken section in “Forsaken”) has been created by Graven Image. This is their interpretation of war. And war is, quite clearly, Hell.

These guys have got it all: brutality, a fuck tonne of energy, high quality musicianship and – most importantly – the ability to pen an awesome song. The only issue I have with “Return Fire” is that it is a mini-CD. I need a full length.

Rating: 91%

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I think that the reason that “Ex Oriente Lux” didn’t strike a chord with me originally is because it’s rather off the wall. “Stairs to Nowhere” is also off the wall… but, I think that I’m getting weirder as I’m getting older as there’s an undeniable addictive quality to this album. There’s something terrifically unhinged about it. It shouldn’t make sense – and for the most part, it doesn’t – but it works fantastically well. It satisfies the part of me that yearns for the bizarre. It almost reminds me of Vulture Industries, but it sounds very different. Does that makes sense? Of course not… but it is in keeping with the weird theme! I guess what I’m trying to say is that both Asgaard and Vulture Industries play by their own rules and they’re both rather eccentric.

Asgaard describe their music (particularly on this album) as Transgressive Post-Metal and I’m not going to argue. However, I will add that it’s majestic, enthralling and completely unforgettable. This album will haunt you (in an entirely pleasant way, of course) long after you’ve finished listening to it. Songs like the title track, “God of the 3rd Millenium” and “Cry of Moribund Butterflies” have left me in a state of awe.

With the combination of vocal styles, tempo changes and the gothic atmosphere Asgaard have created a record that’s both sophisticated and unnerving. I’m so impressed with this album, that I’m going to have to check out the rest of their stuff – starting by reacquainting myself with “Ex Oriente Lux”.

“Stairs to Nowhere” will not appeal to everyone. It will leave some feeling bemused, but – for those of us with a taste for the odd – it will become a masterpiece.

Rating: 90%

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The EP opens with “Gnosis: The Dream Key”. It would be easy to think of this track as merely an introduction to the EP, but it holds a more important purpose: it sets the scene. In listening to “Gnosis” you are entering unknown territory – a mystical and mythical realm. It eases you in gently… then the band slam you in the face with “Hymns to the Eldest Ones”. This track is insane – an interesting combination of riffs reign supreme in a cacophony of organised chaos. Seal of Saturn are cooking up their own version of technical extreme metal… and it tastes good!

“Curse of the Revelations” reminds me a little bit of Solace of Requiem in places. I’m not sure if either band are aware of each other, but they’d certainly complement each other greatly on a tour. In spite of reminding me of SOR, there is something very different about this track. Seal of Saturn have definitely developed this sound and made it their own.

“Abyssum Invoco Luciferi” is a strange little track that seemed a little out of place on first listen (despite having been introduced to it on the demo). Several listens have since happened and it now fits right in – it bridges the gap between “Curse of the Revelations” and “The Ninth Gate” incredibly well. “The Ninth Gate” is a monster of a track and, for me, it feels like Seal of Saturn have saved the best for last. It’s just so POWERFUL!

As far as I’m aware, this is Seal of Saturn’s first release and this is incredibly impressive for a debut. In fact, it’s impressive for a 2nd, 3rd or 4th release.

Here’s that demo I mentioned at the start of the review:

Rating: 92%

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On “Seven Bells” Germany’s Secrets of the Moon have continued their dark, occult journey into the unknown. This is music created to be listened to in darkness (or perhaps by candlelight). It has a ceremonious feel to it – the atmosphere is electric. Charged. A feeling of suspense washes over you as you listen to it and await its dramatic climax. Are you raising the dead? Summoning the beast? Who knows? …but it’s seductive and addictive to the extreme.

One thing that draws me to Secrets of the Moon’s music like a moth to a particularly malevolent flame, is its ability to make you feel invinsible. Whenever I’m in one of those moments where I need to summon some inner strength, “Ordinance” (from the band’s 2006 album “Antithesis”) is my ‘go to’ song… well, it was – I have a feeling that something from this album may soon take its place. You see, Secrets of the Moon have this uncanny ability to make me feel at my absolute best. I said that this album had a ceremonious quality, it does… and, while at first you may be worshipping at the altar of SOTM, you soon find yourself looking within. You’re in charge. You’re the boss.

I realise that my words so far may seem terrifically over the top. Perhaps they are… but when an album invites this sort of reaction from someone then surely it deserves at least one listen? Just one taste…

I’ve realised that I’ve managed to write quite a bit without actually talking about the album itself. Sorry. My bad…

For those of you unfamiliar with Secrets of the Moon, they play a melodic form of Black Metal with Doomy flourishes. That’s basically their genre wrapped up in a nutshell, but – as you can tell by my words of absolute adoration above – they’re so much more than that.

Secrets of the Moon also know how to write a song – they are masters at composition. The tracks here appear to be perfect – everything is where it should be and nothing sounds out of place. It’s almost as if the band calculated the optimum moment for each note, riff, vocal and pause. With that said, it doesn’t feel forced. There’s a fluidity and natural order here.

There are no poor tracks on this album, so it’s hard to pick a favourite – especially when it still feels so new. However, if I had to pick two tracks to recommend, I’d point you in the direction of “Blood into Wine” and “Worship”.

Rating: 100% – I think we all knew that was coming.

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So, “Trist” is now here and I believe Hellsaw have achieved the impossible – they have successfully topped “Phantasm”. Yep, “Trist” is my new favourite Hellsaw album. It retains the much-loved Hellsaw sound that existing fans will no doubt be craving, while adding in other elements. The melodic Black Metal on this album is reminiscent of bands such as Naglfar and even Secrets of the Moon in small doses, but it is unmistakably Ares and co.

The album effortlessly weaves through passages of unrelenting full-on venom interspersed with calmer, yet chilling, moments (“Doom Pervades My Soul” is a fantastic example of this – and it’s one of my favourite tracks from the album). Hellsaw use melodies to tease and almost manipulate the listener – making you want more and more until you have successfully transformed into an addict. The cold and bitter elements of Black Metal may be the driving force behind Hellsaw’s music on this release, but it’s the melodies that really hook you in. I found that even on my first listen, the melodies had wormed their way into my soul and I was once again worshipping at Hellsaw’s dark and bloody altar.

I mentioned at the start of this review that “Trist” has, in my opinion, topped “Phantasm” and here’s my reasoning: “Phantasm” remained my favourite Hellsaw album for a long time due to the use of atmosphere that the band had implemented within it. It wasn’t just a Black Metal album, it also felt like a horror movie (and I’m a fan of both Black Metal and horror movies). It wasn’t an all-out gore extravaganza, it was more of a psychological thing. In my opinion, Hellsaw have re-created that feel on “Trist” (“Death Bells” being a terrific example), but they’ve turned it up a notch or two. Yes, it’s still creepy in places, but now it feels like the danger is very real. It’s beautiful, yet horrific.

A strong contender for album of the year!

Rating: 99%

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“Come Hither O Herald of Death” is not “Era of the Apostate”, nor is it “Atrocities That Birthed Abominations”. Those previous albums are behind the band and, had this album been a carbon copy of its predecessors, I would have been disappointed. Instead, with “Come Hither…” AOTS have become the Bionic Band. They’re better, faster (in places) and stronger than before. While both of AOTS’s previous albums show amazing musicianship and a talent for song writing, they are swamped by this album’s monolithic shadow.

There’s a lot going on with this album. In fact, that’s a bit of an understatement. Varying tempos, melodies and ideas flow freely through this genre-defying piece – Hell, there’s even a jazzy little bit of piano in “Enslave Fire”. Is it Death Metal? Is it Progressive Death Metal? Was that a Black Metally bit? Who cares!

Riffs and solos galore take centre stage and you can’t help but marvel at the way these guys play. Not only are they terrifically talented (and can play fast as hell – see “Oracle”), but they also know the importance of stepping back and letting the overall melody of the track take hold. Yes, these guys are heavy and yes, they can play solos fast enough to make your ears bleed (with joy – obviously), but the song itself is the priority here and AOTS know how to write a song. Even in the world of extreme metal, song structure is important (to me, at least).

Mike Priest’s vocals snarl and growl their way through the album, spitting venom where appropriate. You can’t help but want to join in with your own primal roar (except when your primal roar is as pathetic as my own).

The best thing about this album is that there’s SO much going on… but that it’s also the worst thing. AOTS’s urge to experiment and their flair for technicality may be their downfall. There’s a possibility that the album could be bit too much – perhaps overwhelming – during the first listen to someone who is unfamiliar with the band. However, I can assure you that repeated listens will pay off, as you begin to notice all of the unexpected little nuances that “Come Hither…” has to offer (the clean part in “Perpetual Decline” and, once again, the piano in “Enslave Fire” spring to mind).

Overall, this is an album designed to give you whiplash. Buy it.

Rating: 96%

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