Album Review: Nile - Amongst The Catacombs Of Nephren-Ka

Nile - Amongst The Catacombs Of Nephren-Ka

Relapse Records - 1998

8.5/10

As the first wave of death metal bands that took the entire community by storm began to wane, so emerged a style derived from the likes of Atheist and Suffocation that aimed to evolve the genre into its brutal and/or technical subparts. South Carolina's Nile would come in right about here, working all of this into its identity as early as their first couple of demos. It would become quite obvious that they'd bake this emerging style into Egyptian and general African/West-Asian history/mythology, evolving in its own right throughout the band's career. While I may prefer several albums that would come within the next decade or so, I truly think Nile's debut Amongst The Catacombs Of Nephren-Ka retains an immaculate feel that they've never quite duplicated.

And that's a good thing, as ultimately this serves as a rough and crushing template that tightens up the demos but doesn't feel quite as technical as the band would become. Airing more on the brutal side, this ferocious debut is covered in some of the most coarse and incomprehensible gutturals that front-man Karl Sanders has ever served up, almost honing into a drone that might be off-putting if not for the sweeping riff-style and ancient Egyptian toppings that help it fit. "Barra Edinazzu" is one of the finest examples of this early on, hitting like a ton of bricks as it showers the listener with borderline machine-like drum pummels and explosive leads. Others take this in a more literal sense, looping that brutality and disgusting delivery with sound effects and vocal howls, like that brooding "The Howling Of The Jinn." Hell, "Stones Of Sorrow" borders on doom/death territory for much of its crawl, before unleashing chant-screams to work as a bridge into the rare melodic lick.

This is just looking at the areas that mesh so much together at once. Some of the magic is also found in the tunes that project one clear idea. "Ramses Bringer Of War" is a classic, being the record's longest tune with its chopping up of a ceremonious and pharaonic intro into a more concise bulk with tighter leads, feeling like one of the most technical tunes. Opener "Smashing The Antiu" on the other hand is a sharp and brutal blast that steps on the gas immediately, honing in on a monotone and straightforward swing without needing those intricacies. A similar approach hits in "Pestilence And Iniquity," focusing more on the incredible drum work that bounces around what nears slam territory. There's even a song that cuts out any sense of death metal in exchange for a full chant-driven ritualistic number in "Die Rache Krieg Lied der Assyriche," somewhat acting as an interlude that if nothing else adds to the ancient and rustic feel that this debut has. My younger self never could have appreciated the significance of such a move.

Don't read me wrong, Nile would take this raw but concise approach and create some of the best music in the death metal genre, but Amongst The Catacombs Of Nephren-Ka holds a feeling unmatched by the others. Listening to this captures the closest idea of what I imagine ancient Egypt would have been like in heavy metal form, long before the Arab Conquest. It may feel monotonous at times, and the transitions a bit rocky here and there, but its shorter runtime (a theme that wasn't to remain for long) and unique toppings make this all too easy to overlook.

Album Review: Whipstriker - Cry Of Extinction

Whipstriker - Cry Of Extinction

Hell's Headbangers - 2025

8.5/10

As it turns out, Brazil's Whipstriker have been around for nearly two decades, with most of the original band members still intact. Yet, they wouldn't come across my radar until the year of our lord 2025, with the release of their fifth full-length, Cry Of Extinction. Perhaps it has something to do with a large gap between releases, as the most recent one dropped in 2018, having consistent releases up until that point. Their career seems to have been largely defined by speed and heavy metal assaults airing on the more brash end of things, with the latest outing stressing greater emphasis on that latter point.

In fact, my first spin of this record gave me feelings teetering in the black metal camp, less in line with the shrieking pummels of late in exchange for a modernized first-wave coating. While an emphasis on equal parts speed and melody remain apparent, an uptick in harsh ferocity is found in the vocals, paired with an even meaner tone and an atmosphere dirtier than your divorced uncle's magazine collection. Perhaps that's not the most original approach these days, but it all boils down to making it sound like a brand of your own. This is achieved by avoiding breakneck speeds to carry everything in favor of the aforementioned elements, with perhaps just the right amount of vocal sleaze.

Essentially, Cry Of Extinction finds its strength in the songs that lean in the opposite direction of aimless speed. "Six-Eyes Crow Division" was an instant favorite, as it retains every bit of this angst and harsh belts while delivering a stomp that holds loads of rhythm, and even some cleaner leads that rise above the mix. "WWVI" hones in on a similar note, adding extra flavors to the bounce that could come close to a filthy doom tune. Closer "Military Scum" however is probably the more obvious standout, being a fuming monster of an epic coming in at ten minutes to see us off; maybe it's a bit clunky at times, though one could argue that it adds to the charm in this context. Cracks are filled in with the less intricate speed bangers that Whipstriker have crafted themselves around, found in the likes of "Heartrippers" and "Rush Of Fury," satisfying the urge to fly down the proverbial fretboard highway. Hell, the former even taps into its inner Bathory for an extra reverb as a topping.

Though it isn't anything groundbreaking, Cry Of Extinction was the first album of the year to truly capture my attention and force my ear into repeat listens. There's a fantastic balance found in the rawness and recklessness that still hides stability at least somewhere, usually in plain sight. Tunes that dial back speed in exchange for heat are my favorites. Fans of Venom, Negative Plane, or The Gauntlet will feel right at home here.

Album Review: Saxon - Destiny

Saxon - Destiny

EMI - 1988

8/10

To think, Saxon's first "shark-jump" album Crusader got chastised for being a "pop record," which is as hilarious as it is incorrect. All it would take is a few more releases to get to their true pop endeavor, which gets exactly the response from the online-metalloid crowd that you'd expect. It was not uncommon for early heavy metal acts to take the synth-glazed, or otherwise glam/radio approach in the late '80s, but even I can admit that Saxon took that to another level. To nobody's surprise, I still have a throbbing, veiny, soft-spot for Destiny, one that despite its general reception at least offered something different, just before their career would see three decades of the same record made over and over again.

Granted, it was a hell of a ballsy move to open things with a Christopher Cross cover, that being "Ride Like The Wind," but I find it to be a rather compelling start in its crystal-clear yet weighty delivery. Don't get too used to that; if you don't know this record, by this point you've probably gathered that much of Destiny is smooth-surfaced radio rock ranging from steady gang-chorus numbers to full-on emotional ballads. Regardless of one's taste, I have to hand it credit for maintaining a consistent feeling throughout the disc, with each track feeling like it belongs. You've still got your solos, riffs are written nice and tight, and Biff still holds all the power from before in his voice. It just comes across in a watered-down fashion, aligning with the likes of Def Leppard's Hysteria only a year prior (and I'd personally take this one over that).

I won't pretend things here are untouchably immaculate, but the hard rock tunes still maintain some of the band's personality if you can just get over the colorful atmosphere. An obvious example is "Calm Before The Storm," breaking through with loads of harmony over steady riffing and some synth-leads in the chorus for good measure. Following that, "S.O.S." even dips into the minor tones and creates a suspenseful crawl to a longer Dokken-esque tune, which I think was built in wonderfully. For the side that looks inward to the Englander's more familiar themes, you may find some solace in the likes of "Jericho Siren" because of its harder drive and historical digs. Or, perhaps check the speedy momentum of "For Whom The Bell Tolls," easily being the only song that you could safely call metal.

On the other hand, being the sucker for an '80s ballad that I am, I adore the true softees that are laid down beautifully. "I Can't Wait Anymore" is carried by a slower bass rumble with clean guitar licks, and a build-up to a chanted, emotionally powerful chorus, glittered with pretty keyboard toppings. Say what you will about that type of song, I know it's not a go-to for many a metalhead, but the execution of it is still done in a flattering way. Honestly, even these types still have a fairly booming foundation with harder drum hits to add some personality, despite being anything but heavy. Picture a spruced-up Don Henley tune, which is a good way to describe "Song For Emma" as well, acting as a part-two to the former. However, to hold myself accountable, this one is definitely less memorable. 

Is Destiny anything worth halting what you're doing over? Nah. Am I a little heavy handed here? Probably, but would you have me any other way? An album being different is never an excuse for praising bad music, but I simply don't think the music is bad. Despite the different directions we see, it at least all feels like it fits, regardless of some obvious cheese-filling. Saxon went out of their lane here, but they cooked-up an interesting derivative, and for that their final album worth hearing (save for Lionheart, that one smacks hard) will always hold a space in my heart.

Album Review: Challenger - Force Of Nature

Challenger - Force Of Nature

Dying Victims Productions - 2024

9/10

Ah, two of my favorite things in one place; heavy metal, and the Balkans. The Slovenian outfit Challenger are not only a nostalgic act jumping on the traditional metal revival train, but they throw in some nifty curveballs, which always enhances the experience. Until this year, they had only an EP to their name since formation nearly a decade ago. Thus, it becomes even more impressive that their debut full-length Force Of Nature lands in such a neat way so quickly.

At first glance, you'll simply find a decently polished dose of metal on the speed-oriented side of things that avoids any power metal frills but still opts for advanced layering. The placement of the lead guitars pairs beautifully with popping bass rhythms, holding the same momentum as the faster chugs, all tied together with swift solos. Melody is the name of the game in all departments, with a strong ear for vocal clarity that hints at an epic delivery method without really embracing it too much. The finished product makes for a throwback disc in the NWOBHM vein under a cleaner scope and an identity that feels unique.

But even with this beefy foundation, Challenger manages to sneak in a few other tricks. The most obvious would be the fact that it utilizes harsh vocals when you'd least expect it, a very strange tactic for this style. Yet, it flows very nicely, showcased wonderfully in the likes of "Under The Skin," with the rumbling bass passages transitioning the tune into a darker, doomier direction. To the opposing end, "Exhausted Earth" utilizes acoustic guitars and soft projection to invoke an emotional opposite that matches the song's subject matter. The title track gives a similar aura but projects its emotion through steady stomps under the same clarity rather than going for the softer twist.

Much of the magic in Force Of Nature also simply lies in the drawn out tunes that cool things down in exchange for the aforementioned intricate construction. "Victims Of War" coming in at nearly seven minutes is one of my favorites, working as a slow burn with a long intro that leads to some fantastic chops. Hell, the drum eruptions and isolated vocal wails alone on this track are impressive, which is a nice constant on the whole album. "Recurrent Universe" takes a more accessible step as an instrumental that sticks to power-stance riffs as its main driver, adding some of the strongest drum patterns on the whole album.

It doesn't take much for traditional metal acts to sell me, so long as it has just the littlest bit of uniqueness (and we all know a decent number of them do not). Challenger not only accept the challenge (haha), they exceed the expectation and crank out something memorable and exceptional. For how early in the game they are, I'm not only impressed, but eager to see what the future will hold. Fans of anything around the non-extreme sides of metal should find something worth walking away with here.

Album Review: Ossuary - Addicted To Human Flesh

Ossuary - Addicted To Human Flesh

Awakening Records - 2021

6.5/10

For how much time I've spent on old Latin American extreme metal, it's interesting to take a look at something a little more modern. Colombia's Ossuary are a rather prolific death metal act that have been around for a while, putting out five full-lengths in just an eight year span. While they never did much to take the scene by storm, one album made it to my collection a few years ago on a label binge. The third effort titled Addicted To Human Flesh is the name of said album, residing on the cleaner side of the death metal genre.

While nothing is annoyingly polished or anything, I had to emphasize this aspect of the band's sound because of how sharply everything jumps out with such a loud cadence. Tough, chunky riffs make-up much of the foundation, doing little to hold back in terms of speed or strength. Additionally, the bass passages have a strong rumble that nearly creeps up to the forefront, giving this a boost in the rhythmic bottom. Of course, you can expect your guttural vocals to carry a lot of the songwriting, but because of how loud the production is, even those struggle to retain the forefront for much of the record's duration, feeling somewhat one-dimensional even for this style. All of this coming at you at once makes for a clear but overwhelming listen.

With that in mind, it's understandably tough to find parts of Addicted To Human Flesh that really stand out. It doesn't help that lyrically and image wise, it completes a bit of a "by-the-numbers" circle. What's distinct is definitely solid, but much of the songs run together, not uncommon for a typical death metal approach that avoids a lot of flare. But, I won't pretend that this is anything unpleasant if you look past these errors. "The Earth Regurgitates" is a nice slab of explosive passages, utilizing pinch-harmonics rather nicely, and I also dig the bouncy center of "Blinded Fornicator." Otherwise, you basically have to look close to find something that jumps out, maybe a solo here or a riff there. 

As a whole, Ossuary are definitely good at their craft, being an obvious shot at the gore and filth side of the genre, but they could certainly use a little boost to help their identity. Usually I prefer this angle to be a little dirtier, noisier, or cavernous, and all of this might have even come in the newer releases (I have yet to hear those). Every instrument comes through with such clarity that one's volume almost fights with another's, creating a bit of a paradox. Perhaps this is part of why it stagnates quickly, but at least it sits on the shorter end. Nothing truly bad exists here, and it's worth at least one listen to any death metal fanatic, just keep the expectations at bay.

Album Review: Sign Of The Jackal - Heavy Metal Survivors

Sign Of The Jackal - Heavy Metal Survivors

Dying Victims Productions - 2024

8.5/10

Since the band's inception over fifteen years ago, Sign Of The Jackal have built a career around on-the-nose heavy/speed metal coated in horror themes and silly metal tropes. It may be easy to explain them away as "just another one," but their latest record did catch my attention with the help of a label I love. Titled Heavy Metal Survivors, this outing still definitely fits that musical description in one sentence. Thankfully, they leave an impression just a tad bit deeper than that.

For one, you can gather a blend of speed metal attitude, glam metal sleaze, and NWOBHM structure to work as something that's a very obvious attempt at throwing back to the '80s as a whole. Hell, the spoken-word intro "Eulogy Of The Survivors" sounds like a direct ode to Motley Crue's "In The Beginning," but that's far from the only dark-glam connection. Vocally, the higher falsettos, gang-chants in the choruses, and soft-finished melodies fit right in with that scene. Underneath this is anything ranging from breakneck guitar passages that fly right into your face to loud and screeching solos. Some have a clear focus on that melodic aspect, while others are just trying to pound hard with chunky rhythms before making a swift exit.

It may sound a little all over the place, and at times it definitely is, but I think Heavy Metal Survivors is a self-aware enough release with a chaotic angle that helps sell this as part of its charm. "Pedal To The Metal" and "Buio Omega (Beyond The Darkness)" have some of the nicest "big-hair" chorus's matching rough but righteous melodies; this would fit real snug with the Keel and Motley Crue types. Yet, if you prefer steady but heavy straightforward numbers, have a seat next to the mean snarls of "Nightmare City" or the power-stance kicks of "Shocker," which cuts loose some seriously mean but digestible rhythms. Tunes like the ferocious "Watch Out" or "Slaves Of Hell" remind you that they're not afraid of a little bite to their spice, adding in some Exciter nods and harsh speeds the formula. Some of this likely comes down to the fact that nothing feels forced, but rather works as a band doing whatever comes to them under a horror-drenched aura. The instrumental "Phantasm 6" truly fastens this entire umbrella of influence in tight, topped off with a spooky synth-passage.

Sign Of The Jackal seems like a cornball throwback on paper, but the Italians really knew how to craft something that not only gives that lots of flavor, but makes me want to return to it. Much like the Italian horror genre, this horror-drenched outfit gives something that lets one appreciate the campiness of it, enhancing a solid foundation rather than tarnishing it, complete with catchy hooks. It works well with speed metal, it works well with traditional metal, and it works well with glam metal. Regardless of which one you prefer, you're in for a ride not often pulled-off well by modern bands forcing these directions.

Album Review: Raptore - Renaissance

Raptore - Renaissance

Dying Victims Productions - 2024

8.5/10

The Argentinian outfit (now residing in Spain) Raptore snuck its way into my top ten back in 2022 with their sophomore album Blackfire, so you can imagine my excitement upon seeing them come back with a third effort this year. For the most part, the band sticks to traditional heavy metal, using the accessible angle rather than focusing on speed and aggression. This was fairly streamlined for a very tight sound before, feeling consistent despite the nuances, and in some ways album number three titled Renaissance continues this trend. The only difference would be that I think this one branches out a little bit further in terms of song makeup.

On the surface, this may be harder to tell. Much of the record still traverses the path that aims for melody and tightness, with a similar cadence of cleaner production that doesn't feel too polished. But the smallest look inward reveals hints towards power metal oriented structure, while utilizing what might pass for glam metal tactics. Harmony-laced choruses and gang-shout eruptions are everywhere, an extension of what we got before. Neither influence is overly in your face, but sometimes this subtle hint is precisely what we really need.

All this really means is that Raptore is choosing to add epic layers to their foundation with prettier flares to their atmosphere. "Satana" reveals this pretty quickly, throwing in neat sound effects, pummeling drums, and driving bridges while coating on a sugary chorus. Others tracks will throw more emphasis on one side than the other. A favorite of mine is definitely "Requiescat In Pace" as it uses softer licks with incredible vocal clarity for a bright delivery not unlike what you'd find on a Lillian Axe disc. Yet, you get songs filled to the brim with power, such as "Kingdom Come," and I'd even argue that it's one of their heaviest tunes; the doom-ridden intro just adds even more personality. To the opposite end, "Imperium" flips this into a full-on speed metal track. That traditional metal root never gets lost in any of this, and the likes of "Abaddon" hone in on a more straightforward sound in line with what we got on the previous record.

In terms of variance, Renaissance shows a leap upwards in terms of construction and identity. However, the prior record felt just the slightest bit more focused, and if the ideas here are passed through that channel, we could have ourselves something better than anything the band has done yet. What's present is still incredible, and anyone into the aforementioned styles should absolutely dive into this record (or the previous one). For only having three albums, there's obvious growth between outings.