Album Review: Phobophilic - Enveloping Absurdity

Phobophilic - Enveloping Absurdity

Prosthetic Records - 2022

9.5/10

As I approach the day that I will get to see North Dakota's Phobophilic live, their one and only full-length has been a heavy part of my recent rotation. In their near decade of existence, they've made a small name for themselves with demos and EPs, before said album realized the greater picture in the form of one of my favorite styles of death metal. Enveloping Absurdity is as meek and malicious as its album art suggests, one aiming to capture a feeling more than craft straightforward chops despite having so many that stick out. Thus, this disc is perfect for complete submersion with little distraction.

Hitting this style isn't anything overly original these days, but I really find solace in any band's ability to strike that narrow chord right between doom/death and the old school Florida sound. Phobophilic are masters of this out of the gate, being crafted around advanced riffing that's easy enough to move to while hinting at more intricacy. At the same time, the murky and filthy delivery of the deep gutturals pair with a very thick atmosphere aided by tough basslines to coat the incredible rhythms with a mucky overlay. When it all comes together, a feeling of cavernous terror and oozy surroundings envelopes (pun intended) the sharp contrast of the rhythms in a way that has such a strong identity.

All of that is great on its own, but Enveloping Absurdity sells the schtick even more by fastening its horrific exterior with a skeleton founded in beefy chops. On one hand, you get a taste of explosive and rumbly roars on doom oriented tracks like the longer title track, leaning far into the terror. Instrumental "Individuation" is like an extra topping, utilizing a droning plane with soft leads and acoustics to establish suspense, working nicely as an eerie break. Other times, songs like "Those Which Stare Back" emphasize not only technical prowess on their rhythms but strong, wailing solos; that bassline right after the repetitive bridge was a neat touch. Even if that's not your thing, "Cathedrals Of Blood (Twilight Of The Idols)" lends us borderline catchy leads, opening with such a fun drum ditty, and the same could be said about sudden and fast swings in "The Illusion Of Self." 

Truly this outfit has absolutely mastered that nearly Lovecraftian approach (as if their lyrical themes weren't enough) that depicts monstrous surroundings while leaving room for accessible tactics. Nothing ever feels overzealous, avoiding pretentious pitfalls that many a tech-death band finds themselves in, nor relying too much on the cavernous echoes. Instead, things are molded with machine precision in a way that's swift, impactful, intriguing, and most importantly, consistent. Anybody with interest landing on the death metal spectrum should give this a shot.

Album Review: Dokken - Tooth And Nail

Dokken - Tooth And Nail

Elektra Records - 1984

10/10

The Los Angeles outfit Dokken would spend all of the early '80s hinting at fitting into the rising glam metal movement, with a mildly limp albeit sturdy start. Only a year following their true debut album's reworking, Lynch and co. would return to leave a far greater impact with Tooth And Nail (ah, the thing I named this blog after). Not only would they rig up a far heavier swing to their formula, but along came greater nuance to the songwriting itself, packaged into an aggressive yet accessible elaboration of what I believe was aimed at before. No hate to Breaking The Chains, but a good idea morphing into a great idea is what truly sells me on a band.

On the note of heaviness, this is concocted on several fronts in the form of a far more boisterous bass kick, confident delivery of Don Dokken's vocal chords, harder drive in George Lynch's riffs, and a production that lets all of this realize its full potential. Again, all of the signs of heavier licks and catchy foundations were present before, but an obvious ceiling prevented the band from spreading its wings the way they did on album number two. Further came varied tactic in writing, letting acoustic guitars miraculously add to the muscular energy rather than taking away from it. Borrowing some of the gang vocals and keen ear for melody established prior was the last method for sharpening the hooks, making for what I can confidently call an unstoppable record.

This newfound energy is evident right away with the title track and "Just Got Lucky" acting as a one-two punch following a little "Without Warning" intro. "Tooth And Nail" holds absolutely nothing back, fitting decently inside a speed metal playlist, while "Just Got Lucky" emphasizes the melodic angle with bright leads that don't soften at all. Similarly, speed works into other numbers like "Don't Close Your Eyes," striking that balance between melody and aggression, backed by pummeling drums and falsettos a la Judas Priest the same year. To the opposite end, "When Heaven Comes Down" rakes in this same fury with a slower march commanded by thick rhythms and powerful vocals.

Looking a little deeper, the acoustic guitar adds fuel to the ever crawling flame, most notably with "Into The Fire," easily my favorite track on the record. The gang chants swinging from the best solo on Tooth And Nail's momentum feels like a release of suspense paired with the acoustics-into-metal riff that carries the entire track. "Alone Again" falls closer to power ballad territory, yet it avoids anything overly sugary or sweet, leaving just enough room for yet another hefty solo. The general atmosphere of it doesn't let it stand out from the rest, and it giving way to closer "Turn On The Action" contrasts its speeds to send us off quite nicely. If there's any filler to be found, you could make a case for "Heartless Heart" and "Bullets To Spare," but both are still very enjoyable, crafted with the same level of care to the point that I couldn't picture listening to this disc without them.

These days, Dokken is somewhat overlooked by the larger metal community due to their heavy association with the glam metal movement. Nonetheless, their sophomore record made a profound impact at the time, helping forge the genre's defining characteristics beside their NWOBHM and US sleaze rock counterparts. A more accessible but heavy-hitting formula where emotions meet aggression bridged the gap between emerging speed and glam metal movements respectively, and for that I'll always love this. Everything falling into place so naturally despite the different directions was simply a bonus to what was already promising.

Pokolgép - Pokoli színjáték

Pokolgép - Pokoli színjáték

Start - 1987

9/10

Despite popular belief, there’s a decent amount of heavy metal that came out of the former eastern bloc that likely never picked up steam due to language barrier and/or cold war semantics. Though a concept not foreign to me, the band Pokolgép of the Hungarian People’s Republic really snagged my interest faster than any other. If the cheesy ‘80s artwork is anything to go by, you can expect a pretty standard heavy/speed metal sound of the time to be the bread and butter of Pokoli színjáték, the band’s second record. However, the variance of direction taken mixed with such smooth delivery and catchier toppings makes it stand out.

Pokoli színjáték is patched together wonderfully with a clear yet blatantly raw finish in a way that lets everything pop clearly without anything competing for attention. Nothing comes off grainy or degraded in the vein of a demo, but there’s a very present amateur feel that enhances rather than retracts from the competent clarity. On that note, the delivery itself is fantastic, with crystal clear vocals, sturdy riffs, and hooky solos coming in beautifully without sacrificing any tougher edge. Thus, it should be no surprise that several different influences of the time are showcased without feeling awkward.

In other words, one should expect equal flavors of glam metal and to-the-point speed oriented rippers. The title track may be the best representation of anything due to its crunchy tones meeting a steady drive, however the ones that take the melody to a higher degree sit better with me. “Halálra szeretlek” absolutely nails the chanted-chorus and big solo combo that could come right out of L.A. instead of Budapest, and “Ítélet helyett” has a softer nature that nearly touches power ballad territory. On the flipside, opener “Tökfej” presents a meaner snarl that deals in heavier speeds to land a tougher impression from the start. Other tracks like “666“ also take this route, littered with pummeling drums as an appeasement of those who sneer at more accessible sounds, and I love the power-stance/pinch harmonic drive and falsettos of "Éjféli harang.”

My inability to understand the voice of the Magyar may leave out some desired context, but the general makeup, vibe, and execution of their sophomore release truly make Pokolgép an absolute beast to be reckoned with. One may complain about some of the inconsistencies from track to track, but considering how straightforward the overall picture is, I think it flowed amazingly. Maybe not groundbreaking, but absolutely impressive in every way. Fans who dig a range of Dokken, Saxon, Steeler, and earlier Pantera should scoop this up.

EP Review: Grim Discipline - Pennsylvanian Thirst

Grim Discipline - Pennsylvanian Thirst

Self-Released - 2025

8/10

One of my favorite genres is starting to become "things that are too silly to take seriously" that end up being pretty good anyway. Learning that Grim Discipline is fronted by a dude from Alms and Witch Hazel sort of adds up, but this new project is based about twenty minutes from my own city, being what I can assume is a hilarious play on Transylvanian Hunger (except this is something I actually want to listen to). Pennsylvanian Thirst is the sole EP by this one-man outfit, staying in the blackened speed/heavy metal lane for everything while surprisingly having nuance for its short run. With how competent it is, it's almost hard to just dismiss it as "fun".

All four tracks on Pennsylvanian Thirst mold together by maintaining a gritty overcast from harsh blackened shrieks and a slightly dirty production. Yet, nothing gets compromised in lieu of that, even allowing some bass to rumble into the brook. Opener "Tormentorer" is pretty black/speed by the numbers, but from there everything slows into the traditional backbone with more melody and identity. "Haunt My Dreams" cools things into this, striking with the best solo. "Night Lord" adds a little more of a steady stomp to the stream, utilizing that clear basswork with higher leads to its advantage, before "Financialized" closes us out with Maideny licks breaking back into a speed metal frenzy.

Clearly there isn't a whole lot going on here, but for an EP that came out of nowhere with such weird song titles and an even funnier album title, Grim Discipline is at least onto something. One part of me can't wait to see if it grows into something more, another part hopes this is a one-off little side project that makes a joke and leaves. Maybe the kid that asked me "Is Pennsylvania the Transylvania of the USA" when I went to Romania was onto something.

Album Review: Dokken - Breaking The Chains

Dokken - Breaking The Chains

Elektra Records - 1983

8/10

Some argue that Dokken's first record dropped two years prior, but in the same way that Slipknot's Mate. Feed. Kill. Repeat. went from debut to demo, it's more or less easier to just regard Breakin' The Chains as a second demo beside Back In The Streets; the G makes all the difference, right? Properly, Breaking The Chains in 1983 would represent a far clearer idea not only of what was attempted the first time around, but would set a strong foundation of what Don Dokken and George Lynch would run with for the rest of the '80s. Moreover, it's one of those odd instances of something where I like every release in the "classic" era better, yet I find myself returning to it just as often.

We'll chalk this up to the fact that it's such an easy listen, bringing me to the overall point that it's about as "safe" as a metal album can be. Dokken would evolve into something more intricate with far more distinct nuances, but in a vacuum, Breaking The Chains simply fell into the sleazy pre-glam sound that dominated the scene in the early '80s (a great friend of mine calls this "VHS metal"). The general formula follows straightforward riffing with typical themes around partying, love, and life, topped off with warm clarity. Occasional falsetto belts and a beefy riff here and there add a dash of flavor, and the meat & potatoes approach lets things move together quite nicely, at least avoiding anything I'd call awkward.

Fortunately, a lot of the songs worked as what we'll call happy accidents. The opening title track may be the grand exception, as the ripping solo, catchy layered chorus, and ascending verses are pumped full of energy with more purpose than anything else on the album. Anything more that I love about this just happened to work nicely. "Nightrider" is the go-to example, driving with a stern rhythm that never lets up despite its less-than-exciting layout. Closer "Paris Is Burning" has loads of energy, utilizing drum kicks and healthier speeds meeting the gang chorus halfway, and "Seven Thunders" is a catchy pop-metal banger that I get stuck in my head quite regularly. Hell, I'll even throw some props towards "Stick To Your Guns" because of its bassy bridge and decent harmonies.

On the other hand, for every tune I'll hype up, there's one that could be skipped. I won't pretend "Felony" doesn't also get stuck in my head with its start/stop structure, but it's a on-the-nose nature and poorly aged lyrics don't help, which also goes for "Young Girls." Similarly, "I Can't See You" is held up structurally thanks to being an earworm, but there's almost no foundation beneath the surface. Others don't even get that much acknowledgement, as "In The Middle" is about as boring as it gets, and "Live To Rock (Rock To Live)" is a supreme let-down despite it's muscular charge.

If the previous paragraph is anything to go by, it may sound like I dislike Breaking The Chains, but despite its one-sidedness, I manage to find plenty of charm. It's a swift listen, showcasing promising foundation of what's to come, and not a single song is overtly bad. Some are just by-the-numbers sleaze-metal of the time that's serviceable enough, but can't distract from the obvious filler element. Similar to Halloween 4: The Return Of Michael Myers, the quirks and chuckles keep me coming back, making it a record that's here to stay.

Album Review: GraveRipper - Seasons Dreaming Death

Graveripper - Seasons Dreaming Death
Wise Blood Records - 2023 8/10

With the new release hitting the scene, I felt it necessary to first revisit GraveRipper’s debut full-length record. Having followed the Indianapolis outfit since its earliest inception, it was neat to watch the demo years evolve into fruition. Therefore, it should be no surprise that Seasons Dreaming Death realizes the general vibe put forth before in a more complete format. No-nonsense thrash with a blackened veneer is what it's still about.

Interestingly, for a genre that typically favors the rough and gruff on its surface, GraveRipper have chosen a clearer direction. Cory's harsh vocals never glean clean for even a minute, yet almost all of them come through as crisp and comprehensible as possible. Complementing this are the same riff-salads that defined their sound on the demos, sticking to a pretty basic formula that's admittedly not unique but is equally difficult to mess up. Thankfully, a nice swift runtime allows this beast to start and end without overdoing anything, making its statement quite digestible.

Considering the bare-bones nature, Seasons Dreaming Death is better understood as a single-purpose approach that still has neat little nuances from time to time. "Divine Incantations" might be a favorite, as the bass ups its ante and the blackened overlay is more ferocious thanks to its blast beat-tremolo combo before returning to the thrash metal roots. The final two tracks "And I Curse Reality" and "Only Coldness" really lean hard into the blackmosphere, caking on even more of this for the majority of their runtimes. On the other hand, there's some fun to the direct but effective method. A slower lead with chugging rhythms running to the solo in "Red Skies" comes in nice and hot, and I love the straightforward nature of the monotoned punch in "Premeditated."

A word I'd use to describe the general idea here is "safe." It would be dishonest to treat this outfit's first record as groundbreaking in any way, but its also exactly what I look for in a black/thrash debut. They're very clearly onto something by this point, the songwriting is competent and clear, and there's a desire to perhaps pack in darker artillery if the closing songs are anything to go by. Anybody looking for the fast and furious attitude under a grainy blanket should seek this out.

Album Review: Vindicator - The Antique Witcheries

Vindicator - The Antique Witcheries

Heavy Artillery Records - 2010

9/10

Two years following Vindicator's thrashy, trashy, but impressively catchy debut album titled There Will Be Blood, the Ohio outfit returned for a follow-up in the same vein showcasing early evolution. No hard deviations from the rough and gruff thrash under a youthful scope were present, but an obvious reigning-in of the chaos and tightening-down of the writing was present. Thus, The Antique Witcheries strikes the iron at that sweet spot where production has that organic grit with song structures that aren't quite as simplistic. I may be a fan of the latter fun, but that direction has a shelf life about as long as milk.

Such a description might make someone predict something leaning into over-sophistication, but Vindicator's attitude dodges that and continues aiming for a no-bullshit punch. As controversial as it sounds, this is Marshall Law's best vocal performance to date, trading some of the harsher shrieks and blitzing energy for a raspy but concise flow, touching the right amount of melody. Moreover, rhythmic integrity takes a step up in the riff department, mixing more intricate breaks into otherwise straightforward structures, and the solos are in no short supply either. Even the drums have an echoed tint that add a little personality, but not overdone to the point that it sounds like it belongs on a demo.

And as immaculately as The Antique Witcheries is pulled off as a complete package, I really appreciate the amount of nuances found from song to song. "Sewn To The Flesh" is a bass-heavy banger that utilizes steady power-stance bridges under vocals that use monotone to their advantage, while opener "Beneath The Guillotine" reveals the band's ability to morph their violent nature into something catchy from start to finish. "Raze The Dead" showcases strengths in obvious zombified themes under a suspenseful scope that bakes crushing riffs and crawling bass lines into the formula. I may even point out some hardcore influences in its little breakdown that precedes some of Vic Stown's strongest leads seeing us out.

Even the speed-heavy blazers leave a sharp impression, like the explosive "Fearmonger" that still packs in layer after layer of aggression. You'll get whiffs of the hectic fun from before in the form of "Quarry Rats," a goofy but impressionable number, and the title track's gang chants following several directions fit all of this very nicely. Hell, there are even early signs of the political and reality struggles that would come with Vindicator's evolution in the likes of "Communal Decay," which doesn't feel out of place with the slime and grime. It's like a reminder that the energy of the first round isn't gone, but simply evolved to fit into a new mold. What matters most is that nothing feels forced, and the different nuances in the band's evolution mesh together with the established attitude, avoiding awkward transition. 

Given my direct insight on the band's history, I find it insane that Mr. Law doesn't particularly care for his performance on this. Maybe it's a happy accident, maybe it's another one of my personal sympathies a la Exodus's Force Of Habit, but I find the sophomore record to be their most essential work. No shade at the other albums, as it's all got its own charm, but it's tough for a throwback thrash act to really feel unique. If they nailed a distinct identity on any record, this is the one.