Irillion – Fatanyu (Self-released, 2019)

Ostensibly positioning themselves somewhere between the exalted primitivism of Demoncy and the “flowing” school of Eastern European black metal, Irillion emerged as one of the more promising black metal-acts of recent years with 2016’s Egledhron. Not so much for their choice of style, but for displaying courage to move beyond established forms in intuitive pursuit of the most effective and far-reaching mode of expression. This recently released second EP entitled Fatanyu retains the sonic signature and raw, essentialist approach evident on the debut, but trumps the debut in terms of composition and stylistic refinement.

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Original Mercyful Fate Bassist Timi Hansen Dead At Age 61

Timi Hansen who played on the classic Mercyful Fate records and the first few King Diamond albums has been confirmed dead by King Diamond himself. Timi had gone public with his diagnosis on early August while announcing that he would not be able to play on the Mercyful Fate reunion tour and that Armored saint bassist Joey Vera would be taking over. He passed on the 4th of November barely a week after his 61st birthday. King Diamond left the following message.

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Feral Viscera – The Nuclear Death Cult

Phil from Nuclear Death returns with his new project Feral Viscera which continues on the path originally set out by the band but without the influence of the other members. The Nuclear Death Cult consists of eleven rerecorded Nuclear Death songs and two brand new songs. Songs remain the same in regards to composition but are produced in a much more modern manner. Gone are the demented screams of Lori Bravo, now replaced with a cold heavily distorted growl. The guitars are much louder and though are just unpolished are easier to make out due to the overly compressed nature of the music.

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Blitzkrieg – Demo Tape

Blitzkrieg’s three song demo, released during the height of the NWOBHM era and showing a harder side to the genre slowly edging towards full on Speed metal. Though known mainly due to Metallica’s cover and its influence on the American Speed metal bands. Blitzkrieg offer a combination of the triumphant riffing found on Stained Class and the theatrics of Focus’ Moving Waves.

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Sadistic Metal Reviews: Atavism Records and the Art of Failure

Hailing from the depths of rural France and founded by a desperate middle aged obese stalker, Atavism records are a label specialized in some of the worst metal available to man. While most labels have rosters full of a variety of half baked bands with maybe one or two interesting works. Atavism records take a prideful stance in facilitating anything that sounds like angry underground metal with no quality control. Atavism records have proven to being the worst label in recent years while pushing impressionable young working class teenagers to part with their hard earned cash on this path towards involuntary celibacy, health complications and a complete lack of understanding on what makes good metal.

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Blood Incantation Hidden History Of The Human Race

Blood Incantation return after the heavily flawed but full of potential “Starspawn” that showed songs with a well defined direction lose focus and meander aimlessly. Here the band have devolved into Timeghoul worship for Indie kids and tek-deaf fans who need constant riff changes. The titles are taken from the pseudo-historical documentaries that detail drug addled stories of humans being assisted by aliens throughout time. An obvious sign that something is deeply wrong with both the music and the musicians responsible for this.

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Fester – Silence (Lethal, 1994)

Back in the day, this Norwegian band was derogatorily referred to as a “life metal”-band by scenesters. Especially their sophomore effort Silence suffered a reputation of being an exceptionally weak, pretentious and – above all – boring release. Although recent years have given rise to sporadic reevaluations of the band’s work, Fester remains largely neglected to this day (and some would say deservedly so).

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Sarcasm – Esoteric Tales of the Unserene (Chaos, 2019)

One of many promising acts who fell by the wayside in the early 1990, Swedish melodic death/black band Sarcasm made a somewhat unexpected return in 2015 with the long overdue release of their 1994 debut full-length Burial Dimensions. Then in 2017 came their return proper with Within in the Sphere of Ethereal Minds, an aesthetically pleasing marred by haphazard assembly. With Esoteric Tales of the Unserene (2019), Sarcasm return to previously explored territories; maybe in the hope of striking a better equilibrium between the style’s main constituents: black-, death- and heavy metal.

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