Sacred Reich – Awakening

Awakening Cover

Sacred Reich – Awakening
Metal Blade Records
Release Date: 23/08/2019
Running Time: 31:23
Review by ‘Dark Juan’
10/10

You know, dear friends, acolytes, neophytes and zelators, we never sit here and discuss our feelings. Us Metal fans, we are the outsiders, the alternative and one big, drunken happy family united by our love of music and drinking stupendous amounts of alcohol. We should be more aware of ourselves and more especially of others. Make friends and love each other, boys and girls. Love is the law. Love under will. I’m saying this stuff and being serious because recently, as I’m sure you are all aware, it was the recent anniversary of the horrific murder of Sophie Lancaster, one of our own. This has got me thinking about how we all need to watch out for each other. If you’re in a pit and you see someone going down, lift them up. If someone is passing out or throwing up because of too many party treats or too much booze, be the one that calls the fucking ambulance and gets them seen to. There’s enough shit and bias against us tattooed, pierced and Metal/ Goth/ Industrial loving folks without us not looking after each other. Dark Juan loves you all. Rest In Peace, Sophie. You were a friend lots of us never got to meet and that still hurts, so many years after the event.

So endeth the sermon, and I have therefore picked up my glass of wine and I have slapped a new platter on by my favourite thrash band of all time, Sacred Reich (which, due to slight inebriation, I’m having trouble spelling…). For those of you who have been living under some kind of anti-metal rock, Sacred Reich were formed in 1985 and are an Arizona band who should have been absolutely colossal on the scale of Slayer, Metallica, Megadeth and Anthrax and always had a very polished, Bay Area thrash sound. Think the clean, arctic purity of Metallica’s Ride The Lightning with added bass (because Lars isn’t there to fuck up the production like normal) mixed with Bonded With Blood era Exodus. THAT’S the Sacred Reich sound. Their record “The American Way” is an absolute thrash classic and you should be hitting Amazon right about now to buy it. I’ll wait…
“Awakening” is the fifth album by these grizzled thrash stalwarts. What do you get? You get ultra-classic thrash that takes me instantly back to dying of alcohol poisoning with my friends in a tent in the middle of a field or a beach with a ghetto blaster and a shitload of tape cassettes. This is not a bad thing because thrash always had the perfect mix between power, aggression, musicianship and melody and it was my full on gateway drug into all other known metal. So, we have a classic band utilising a classic style with a classic sound. Have we a new Sacred Reich classic album here?

The answer, dear friends and defilers of the Whorehouse of Christ The Deceiver, is very fucking nearly. Sacred Reich have released a gem of a heavy metal record. It is pretty damned fine. Their sound has evolved too, incorporating elements of southern blues and full on groove metal into that classic US thrash blueprint and creating a new kind of warbeast, a chimerical quadruped cyborg armed with heavy machine guns and a really shitty temper. The groovy, updated sound undoubtedly benefits from the recent joining of Dave McClain, after his split with Machine Head and the infusion of young blood into the band in the form of Joey Radziwill on guitar. Sacred Reich, however, have never been afraid of leaning left of the centre with their music (anyone remember the truly execrable, but fantastically well-meaning ‘31 Flavors’ from “The American Way”? For those of you that don’t, allow me to enlighten you – Thrash metal band are quite possibly massively stoned or utterly fucked up beyond all known levels of sanity on god knows what substance and decide it would be a terrific idea to play a funk song. Oh. My. God. It is hilarious for all the wrong reasons. There’s shocking sequenced brass bits, lyrics of questionable taste and it is possibly the most uncomfortable piece of guitar playing I have ever heard in my life. Saying that, the message is an inspiring one…) what with them breaking into the Batman theme tune in the middle eight of ‘Surf Nicaragua’, but there’s not many shenanigans on offer with this record. This is a band who have rediscovered the love of their music and have decided that they are going to violently kill everyone with it.

What there is, though, is a level of comfort and satisfaction that is seldom achieved in metal. This is a band thoroughly comfortable with themselves, their music and the kind of record they wanted to make. Another one of the manifold reasons I love Sacred Reich so much is the fact that Phil Heal is a magnificently accomplished bassist, far in advance of his contemporaries. It lends the Sacred Reich sound that extra edge that, for this thrash loving Hellpriest, set them apart from the rest of the American thrash bands. He’s also a much better singer than most thrash frontmen as well.

I’m fucking loving this. It proves that thrash is still relevant and is not just some young bands having discovered Dad’s Kreator records and being achingly cool and replicating the sound of them for a modern and young audience who have never heard Sodom’s “Agent Orange” or Coroner’s “No More Color”.

Stand out track on this album for me is the simply jaw dropping ‘Divide And Conquer’. It’s an agglomeration of Slayer style verse and riffage, segueing into a classic Metallica sounding chorus. If there was ever a song this distilled the very essence of the sheer brilliance of thrash metal, THIS IS IT! Who cares that Phil struggles a little bit when he hits the higher notes. The middle eight of ‘Salvation’ also deserves note because of the simply sublime bass and guitar interplay that has caused me to soil myself in sheer excitement and caused me to thank my friend Marion in Laniscat for selling me a wipe clean sofa. Once again it comes in for some abuse, does my sofa when I’m writing for Ever-Metal.com. And serious, strenuous efforts at cleaning too!

I really don’t have the words to tell you how much fun this record is. Mrs. Dark Juan has been throwing things at me for the past hour because I’m A) Not making tea like I promised I would, B) flailing around like an animate, demented windmill, C) Howling like a tone deaf werewolf in mating season along to the album, D) Upsetting the hellhounds, and E) Accidentally breaking every ornament we own. See B) for more information.

To return to an earlier question: Is “Awakening” by Sacred Reich a classic record? I wish to qualify the opinion I gave you earlier. Yes, it fucking is. Ultra-precise, razor sharp classic thrash from the finest band ever to play it, with an engaging sense of fun, and for this record, a serious an uncompromising sense of who they are and where they want to be. Dave McClain was wasted in Machine Head. Sacred Reich is where he belongs. May Phil and Wiley and the new guys live forever. And more importantly, keep giving me records like this because I’m a dripping, spent mess of metal pleasure right now.
I think I’ll leave you with that mental image.

The Patented Dark Juan Blood Splat Rating System has regressed instantly back to teenage years, and is busily chasing goth girls (and failing miserably at catching them), pouring insane quantities of beer down it’s throat and acquiring new and exciting neck and brain damage from headbanging so hard. 10/10 because it is fucking amazing! Thank fuck that Sacred Reich gave me this record, rather than Rock Goddess levels of disappointment.

To return to seriousness for a brief moment, if I may. Please, PLEASE, everyone support S.O.P.H.I.E. because we NEED to make the loss of one of our own in such a senseless and disgusting fashion MEAN SOMETHING. It is important, no, it is IMPERATIVE that our metal and alternative family love each other as hard as we can. We are the outsiders. We NEED each other. If you don’t yet support S.O.P.H.I.E. please just even buy a wristband and you’re doing your bit.

Thank you. I love you all.

TRACKLISTING:
01. Awakening
02. Divide And Conquer
03. Salvation
04. Manifest Reality
05. Killing Machine
06. Death Valley
07. Revolution
08. Something To Believe

LINE-UP:
Phil Heal – bass and vocals
Dave McClain – Drums
Wiley Arnett – Guitar
Joey Radziwill – Guitar

LINKS:
https://www.facebook.com/sacredreichofficial/

https://www.instagram.com/sacredreichofficial/
https://sacredreichofficial.bandcamp.com/

https://www.youtube.com/channel/UC6iXZvQxkiWKbEaTX704z1g
And for the Sophie Lancaster Foundation (S.O.P.H.I.E.)
https://www.sophielancasterfoundation.com/

 

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Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

 

Whitechapel – The Valley

The Valley Cover

Whitechapel – The Valley
Metal Blade Records
Release Date: 29/03/2019
Running Time: 40:29
Review by ‘Dark Juan’
9/10

Greetings and salutations, my hordes of evil, nefariousness and downright mischief! I am Dark Juan, hopefully you have deflowered virgins of all faiths according to my word and you will all worship at my anointed feet because I have a massive and overweening sense of my own self-importance. In other news, there are no snacks in the house besides crisps and considering I work in the factory that makes them I’m sick of the fucking sight of potato based snacks and therefore I am consumed with righteous rage and furious anger because all I fucking want is cake. There is no cake in the house. WHAT MOTHERFUCKING KIND OF HOUSEHOLD DO I LIVE IN WHEN THERE IS NO AVAILABLE CAKE?

Pardon my outburst, please. It is probably because I am listening to one of the angriest records I think I have ever heard, being Whitechapel’s “The Valley”. This music is visceral, vein bulging fury of the kind that is seen shortly before it has launched itself teeth first at its hated enemy and buried said dentistry in the carotid artery and is busily masticating its way through flesh, tendon and muscle. To say this record is angry is to say that Lewis Hamilton can drive very, very fast and is also boring as fuck as an interviewee. However, Whitechapel are not boring as fuck. Far from it..!

“The Valley” is written from the perspective of vocalist Phil Bozeman looking back at his childhood and the struggles his mother suffered with mental health and other issues. This immediately gives the record a personal, intimate feeling, whereas some metal by its very nature is almost… aloof from the listener. Arch Enemy are a good case to cite to prove that theory – technically super competent, entertaining, but somehow cold and distant. Whitechapel are the wide eyed, staring, drooling madman screaming incoherently at you an inch away from your face, blasting you with spittle and bad breath. You cannot hide from Whitechapel and this album lays feelings and dreams skinned, bare and raw. It is NOT a comfortable listen for me because I suffer from certain difficulties with my mental health and there are certain parallels with my own childhood (hard to believe, I know, what with my jocularity and everything) and this record is the musical equivalent of setting a razor to my vein and slashing the fuck away. I’m literally looking into the soul of a damaged man who has decided to come out fighting everyone and everything forever. Phil’s voice is the sound of a man who has spent most of his life staring into an inky black abyss containing…. something. Something that has tested his sanity, and it’s hanging by a thread and he’s carrying a loaded shotgun. And he’s just caught you shagging his 17 year old daughter…

There are a couple of occasions where Phil sings in a clean style on the record – ‘Hickory Creek’ being the notable example of this. It lends the Whitechapel sound a valuable extra dimension beyond the sheer, uncompromising, crushing rage they normally display. Phil’s vulnerable, wounded side comes out and although not the most accomplished singer in the world, the pathos and raw emotion in his voice makes the whole song… complicated. You don’t want to say you like something that someone is clearly bleeding their soul out on, but I like it. You know what I mean. However, Phil normally employs a method of vocalisation that is akin to flicking the love spuds of a large predatory animal until it is enraged and staying there to be mortally savaged with tooth and claw. It is primal roaring of the highest order, and again, much like Nathanael Underwood of Damim’s vocals, entirely clean in diction rather than an incomprehensible hurricane approximation of words. I can hear what he’s singing about and this is a very good thing indeed.

So, as intimate as you can get then! No mean feat for a band whose sheer brutality normally means they stand apart from the mainstream, and from the affections of some metal fans. Every song on this record is excellent for different reasons. My brain is now liquid. It has been absolutely beaten to a pulp. There’s nothing like music with emotion and soul, and “The Valley” is the epitome of it.

The guitar work of Ben “Perfectly Named” Savage, Zach “Not Quite As Perfectly Named As Ben” Householder and Alex “My Name Is Not Relevant To This Joke” Wade is magnificent, downtuned, semi-djent ultraviolence of considerable class, and the drumming of Ben Harclerode the sound of a man determined to kill everyone in a four mile radius with the power of percussion. The bass is a solid rumble that shakes organs loose and causes internal bleeding. There’s some standout songs in what is an utterly magnificent record – the previously mentioned ‘Hickory Creek’, ‘Third Depth’ (almost Tool-esque in parts!) and the huge and rabid beast that is ‘Forgiveness Is Weakness’. This is one of the most dense listening experiences I have ever heard, running OHHMS’ last record a close second. Extraordinary. Truly a one of a kind album!

Yet again, another metal band proves the naysayers wrong. Metal has never been in such rude health as it is now, and the amount of superb records acquiring my attention has never been higher.

Brothers and Sisters of the One True Faith, buy this record. Buy it now. I command you.
The Patented Dark Juan Blood Splat Rating System awards “The Valley” by Whitechapel 9/10 for an emotional journey (for me personally, at least) that’s ended up covered in blood and viscera. An incredible record of power, depth, complexity and raw fucking emotion!

TRACKLISTING:
01. When A Demon Defiles A Witch
02. Forgiveness Is Weakness
03. Brimstone
04. Hickory Creek
05. Black Bear
06. We Are One
07. The Other Side
08. Third Depth
09. Lovelace
10. Doom Woods
11. Sea Of Trees

LINE-UP:
Phil Bozeman – Vocals
Ben Savage – Guitar
Zach Householder – Guitar
Alex Wade – Guitar
Ben Harclerode – Drums
Gabe Crisp – Bass

LINKS:
https://www.whitechapelband.com/
https://www.facebook.com/whitechapelband/

https://www.instagram.com/whitechapelband/

https://www.youtube.com/user/WhitechapelTV

 

Whitechapel Promo Pic

 

Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Amon Amarth – Berserker

Beserker Cover

Amon Amarth – Berserker
Metal Blade Records (North America)/Sony Music (International)
Release Date: 03/05/2019
Running Time: 56:35
Review by Tsarina Wilson
9/10

Amon Amarth’s eleventh full-length “Berserker” is a non-stop beast of an album with killer riffs, growling vocals and more energy than ten well known energy drinks and if you’re not headbanging by the end, I think you need to look into your choice of musical taste!

The band, which consists of Johan Hegg on vocals, Ted Lundstrom on bass, Johan Soderberg on guitar, Olavi Mikkonen also on guitar and Jocke Wallgren on Drums definitely knows how to pack a punch into an album.

Each track is its own mini story with awesome drumming and guitar riffs. Hegg’s gravel voice is epic, yet, unlike a lot of bands of this genre, you can still understand him which is a blessing as the power that goes into all the tracks would be lost and that would be a shame. These fast and heavy songs have brutal melodies whilst not missing a beat and go into some of the craziest riffs I have heard in a while.

The Swedish band recorded the album in Los Angeles with renowned studio guru Jay Ruston (Anthrax/Stone Sour) manning the controls and it was after recording several rounds for the new songs (initially with fellow Swedish metal icon Peter Tagtgren and later with Ruston himself) the band crossed the Atlantic to make the final recording in LA.

The track “The Berserker At Stamford Bridge” is a visceral but vivid historical tale, recounting the Vikings last stand against the English army in 1066 and with epic lyrics such as “Englishmen, I am waiting here, in my heart I know not one ounce of fear”, it conjures images in your head of a Viking stood tall and strong, wielding a axe not scared of death one bit.

Johan Hegg says that this is Amon Amarth 2.0 and I must agree. This album is so intense and powerful. Why would a band want to just keep going over and over the same things? Fans would soon wander off, so the fact they plan to explore themselves musically is only going to benefit us fans and they certainly are a band who wants to please the fans as well as themselves.

Hegg admits he has (and I quote) “the best fucking job in the word” and you can tell this by the album. They are not a band who just put lyrics to music and bang out album after album. There is a definite vibe in the album, a passion, a dynamic which has the hairs on the back of your neck on edge. It’s like listening to a metal story book and you need to keep listening to find out the next chapter.

Amon Amarth give it 100% and it shows, even the album cover is epic.

What can I say? Impressed? Yes! Love it? Hell yes! These guys give it hell.

TRACKLISTING:
01. Fafner’s Gold
02. Crack The Sky
03. Mjolner, Hammer Of Thor
04. Shield Wall
05. Valkyria
06. Ravens Flight
07. Ironside
08. The Berserker At Stamford Bridge
09. When Once Again We Can Set Our Sails
10. Skoll ans Hati
11. Wings Of Eagles
12. Into The Darkness

LINKS:
https://www.amonamarth.com/
http://www.facebook.com/AmonAmarth

https://www.instagram.com/amonamarth/
https://youtube.com/AmonAmarthOffical

 

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Disclaimer: This review is solely the property of Tsarina Wilson and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Satan – Cruel Magic

 

cruel magic cover

Satan – Cruel Magic
Metal Blade Records
Release Date: 07/09/2018
Running Time: 49:42
Review by Chris Galea
10/10

With a debut album released back in 1983, it was only after Satan’s 2011 reunion that the quintet started becoming relatively prolific as a recording band. Truth be told, Satan have been fairly consistent in the quality of their material, a fact complemented by a reputation for impressive live shows. With this “Cruel Magic”, the band notches 5 albums and therein lies the band’s dilemma: how do they retain the style that has gained them fame and admiration while not stagnating?

For a start the band has gone for a rawer, more ‘live’ sound. Regarding this aspiration, I read somewhere that in the recording studio they tried to resist the temptation to make too many takes, even if that meant leaving individual mistakes in the final product. And I have to say that’s certainly the impression I got from listening to the album. Rather than put me off, this approach was a masterstroke – it somehow gives the songs more appeal, makes them feel more genuine, more intuitive.

But the biggest achievement of “Cruel Magic” is that none of the songs feel boring and yet you know that they can only come from Satan. This is all down to the excellence of the songwriting. The riffs and vocals phrasings of ‘Into The Mouth of Eternity’ remind us that Metallica were one of the many bands influenced by Satan. ‘Ophidian’ is destined to be a classic in Satan’s repertoire. Besides having some blistering guitar solos ‘Legions Hellbound’ is notable for the smooth way the songs shifts from/to mellow and heavy parts.

I loved the guitar harmonies of ‘The Doomsday Clock’, a song about impending doom. ‘Ghosts Of Monongah’ is about the West Virginia mining tragedy of 1907 while in ‘Who Among Us’ Satan rise to the defence of Jesus Christ’s messages. You can see that even thematically, “Cruel Magic” is diverse, even though the songs seem to have a common thread of a foreboding doom. Suitably enough, the album ends with ‘Mortality’, a song where Satan play around with atmospheres and guitar sounds with interesting results.

Spot-on drumming, great melodies, inspired guitar solos, excellent songwriting….what more can one hope for? This is an album that I am liking more and more with each listen.

I’m generally hesitant to give full marks ratings but “Cruel Magic” is the archetype of all that is great about Heavy Metal.

TRACKLISTING:
1. Into The Mouth of Eternity
2. Cruel Magic
3. The Doomsday Clock
4. Legions Hellbound
5. Ophidian
6. My Prophetic Soul
7. Death Knell For A King
8. Who Among Us
9. Ghosts Of Monongah
10. Mortality

LINE-UP:
Brian Ross – vocals
Russ Tippins – guitars
Steve Ramsey – guitars
Graeme English – bass
Sean Taylor – drums

LINKS:
http://www.satanmusic.com/
https://www.facebook.com/officialsatanpage

https://satanuk.bandcamp.com
https://www.youtube.com/watch?v=UuLTFfi-peM ‘The Doomsday Clock’ (Official Video)

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Disclaimer: This review is solely the property of Chris Galea and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Visigoth – Conqueror’s Oath

Conqueror_s Oath Cover

Visigoth – Conqueror’s Oath
Metal Blade Records
Release Date: 09/02/2018
Running Time:
Review by Dawn “The Metal Priestess” King
8/10

As many of you who have read my previous reviews will know, there are two genres of metal that I am particularly fond of. One is thrash, and the other is power metal, and Visigoth fall into the second of the two.

Now, being a power metal fan, I personally believe there are two distinct types of power metal, the first being the Hammerfall / Blind Guardian / Iron Saviour-esque metal that the Europeans and Scandinavians are so good at producing. The second could only be described as the cheesier type of power metal, you know, the kind that Manowar make…. hail to the king and all that?!

Well, Visigoth fall somewhere in between the two!

Formed in Salt Lake City, Utah in January 2010, they released their debut album “The Revenant King” in 2015 and earned themselves an underground following worldwide with their impassioned and electric live shows, performing at the highly esteemed Keep It True, Frost and Fire and Pounding Metal festivals, sharing the stage with Metal Blade legacy acts and inspirations Cirith Ungol and Omen.

In the words of their own press release, they have dedicated themselves to “worshipping at the ageless altars of heavy metal with a singular focus on writing music inspired by their favourite records,” and because of this, they wear their influences proudly on their sleeves.

Music to me is all about making the listener feel something and if an album can make you envisage a scene or storyline in your head, just like reading a book can, then the music makers have done their job.

This album is a typical “steel and glory” offering, the kind that conjures up images of hammers, axes and swords, of burnt and pillaged towns and of screaming and crying women and children, with heroic themes of conquest and adventure.

The booming baritone of vocalist Jake Rogers is the driving force of the band and, alongside the consistent drums and duelling guitars, with their savoury harmonies and meaty riffs, brings a larger than life energy to the songs.

This is an album of “8 iron-forged anthems of pure metal magick, guaranteed to satiate the hunger of the rock ‘n’ roll hordes.”

It was recorded at the Boar’s Nest with engineer extraordinaire Andy Patterson (Subrosa, Deathblow, Dreadnought) and mixed by Dave Otero of Flatline Audio (Satan’s Host, Nightbringer, Khemmis) The breath-taking cover artwork was designed by underground album art legend Kris Verwimp, whose work has also graced the covers of records by Absu, Bewitched, Desaster, Horna, Moonsorrow, Skullview, Arkona and many more.

This is a good, old-fashioned album full of solid heavy metal, from the slow and triumphant anthems such as Steel and Silver, the faster paced tracks like Warrior Queen. The band sound like they were formed decades ago, despite being a newish band, and although this album brings nothing new to the table, if you want to stick an album on and reminisce about the simpler times of heavy metal, then this is the album for you.

It is a juggernaut of pure American true metal done right. The only thing that really lets this album down is the track “Salt City.” Not because it is a bad song, I actually quite like it, but it doesn’t seem to fit in with things and it distracts you from the unstoppable march that has been the rest of the album.

This doesn’t, however, mean that you shouldn’t give this album a listen, because, if you are a power metal fan of any sort, you definitely should.

A mix of Manowar and Hammerfall with a hint of NWOBHM and traditional heavy metal can’t be all that bad now can it?

TRACK LISTING
01. Steel and Silver
02. Warrior Queen
03. Outlive Them All
04. Hammerforged
05. Traitor’s Gate
06. Salt City
07. Blades in The Night
08. The Conqueror’s Oath

SOCIAL MEDIA
https://en-gb.facebook.com/visigothofficial/
https://twitter.com/visigothslc?lang=en
https://visigothofficial.bandcamp.com/
https://instagram.com/visigothslc

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Disclaimer: This review is solely the property of Dawn “The Metal Priestess” King and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Execration – Return To The Void

Execration return to the void cover

Execration – Return To The Void

Running Time 42:11

Released on 14-07-2017 via Metal Blade Records

6/10 – Review by Lee Preston

The fourth album from Norwegian death metallers, Execration has finally arrived. Clocking in at a concise 42 minutes, its short run time shouldn’t over stay its welcome. Unfortunately for every good thing there is something to annoy; it’s a shame as there are some great ideas which, when realised to their full potential, have some moments of brilliance, the case in point being the third track ‘Nekrocosm’ and fourth track ‘Cephalic Transmissions’.  Eerie guitar soundscapes give an uneasy oppressive vibe before the black metal influenced riffs kick in.

Unfortunately the rest of the album isn’t as convincing, the changing moods from quiet to loud don’t last long enough to make an impression and ideas seem unfinished and rushed without going anywhere. The vocals are the same, some varied styles from Chuck Schuldiner-esque growls and some black metal influenced screaming are functionary and get the job done.

Production-wise the bass has a great full, warm sound and is prominent in the mix without being overpowering, the guitars have a nice caustic cold tone similar to a lot of blackened thrash bands such as Aura Noir and Destroyer 666 and the drums are clear, albeit a bit thin and tinny sounding when things get a bit hectic on the faster material.

Overall, three great tracks, four potentially good tracks and two interludes. If you enjoy eclectic albums with a bit of prog, death metal and some black metal there is a lot to enjoy, if you want a straight head banging, aggressive release you’d be best looking elsewhere.

Execration promo pic

Track List –

  • Eternal Recurrence
  • Hammers Of Vulcan
  • Nekrocosm
  • Cephalic Transmissions
  • Blood Moon Eclipse
  • Unicursal Horrorscope
  • Through The Oculus
  • Return To The Void
  • Det Uransakelige Dyp

Links –

 

Disclaimer:  This review is the sole property of Lee Preston and Ever Metal.  It is strictly forbidden to reproduce any part of this review, unless you have the explicit permission of both parties; failure to comply will be treated as plagiarism and reported to the relevant authorities.