Album Review: Gladiator - Made Of Pain

Gladiator - Made Of Pain

Skvrna Records - 1993

8/10

In the last decade of the 20th Century, Czechoslovakia would produce what I call a Sepultura clone to a tee. When I say Gladiator's debut Designation sounds like a replica, I mean I'm unsure I'd be able to tell them apart had I not known the Brazilian mold as well as I do. A year later, one country became two, and the now Slovak outfit would cough up record number two, containing the littlest bit of identity evolution. Don't misread me, as the debut was competent and strong, but it was tough to find anything worth distinguishing. That is not the case with Made Of Pain, the record I truly care about.

Retention of the death/thrash attitude under the slightest tweaking of atmosphere would make for a less noisy gradient in exchange for a mildly flatter delivery. Moreover, stepping only a year deeper into the '90s would reveal an ear for the so-called "groove metal" sound that was taking shape, also only to a tiny degree. Often times this may be a turnoff, but I saw this as giving Gladiator something that felt like a personality, as these tiny tweaks can produce a myriad of blends. With that, the more gruff attitude in vocals and tones shaped the muscular skeleton of the debut without feeling like tough-guy-core.

With this also came a tighter songwriting, which I noticed right away. "Sound Of Deep Silence" comes to mind, using a calmer pace to its advantage, working in groovy but advanced hooks with intricate drum kicks. Meanwhile "Warsouls" jumps all over the place, inserting softer licks and random melodies into a tune otherwise comprised of breakneck speed metal riffs and shifts in tempo. It could have come off very awkward, but it didn't. Hell, even the inclusion of a piano and string section in the beginning of "My World" flowed with this wonderfully, before it broke-down into a bass-heavy stomper; I swear these slower songs are the more interesting ones.

Perhaps it's nothing groundbreaking, but Made Of Pain is truly a well-written, well-crafted, and well-delivered slab of east European fury under a focused scope. They really capture the energy of war and misery that many of their death/thrash counterparts mastered while finding an identity on the second record. I'm truly thankful for having come across this outfit.

Album Review: Necromantia - Crossing The Fiery Path

Necromantia - Crossing The Fiery Path

Osmose Productions - 1993

8.5/10

If you know me by now, you know that Greek black metal is what I owe my final descent into the endless chasm that is the appreciation of the genre as a whole. Alongside their counterparts Rotting Christ, the equally evil and diabolical Necromantia was a proponent of pushing this forward. The Balkan peninsula had several responses to the freezing evolution that its Norwegian counterparts in the north had been popularizing, with equal emphasis on the dark atmosphere, but more on the rhythms. This clearer projection passed through the vampiric imagery of Crossing The Fiery Path seemed to scratch the itch perfectly.

However, I would take this a step further and say that Necromantia's debut album sidestepped the new norm in other ways. If early Nile albums hold allure just from the sheer amount of pharaonic influences making their way into the death metal formula, then some of the allure here is in its darker, more sinister, demonic, and vampiric ingredients. You'll find no shortage of chants, howls, and synthesizer-laced bells and whistles meant to invoke a sense of standing naked in a forest surrounded by entities ready to summon the devil with your blood; except it's a warm summer night, so you won't freeze your ass off. The rough production and borderline hissing vocals pair wonderfully with this, and what's nice is that things always feel natural. Competent leads tend to poke their ugly heads when you least expect them, and often the more gimmicky sections either bridge two tracks, or they act as an intermission inside of a longer track, creating a record working as if it were one massive song.

What isn't nice about this is that I need to set aside this allure and acknowledge the fact that the gimmick is overdone just a little bit at times. When a record clocking in at over forty-five minutes spends nearly twenty of them on these tangents, it feels somewhat unfinished in the editing department, and the unrefined element may be its only weakness. But overlooking this slight complaint, when the music hits, it hits hard. "Unchaining The Wolf (At War)" might be the most in-your-face approach with its rumbling speeds that break the uneven surface with sudden stomps backed by a tympany. However, the monstrous epic "The Warlock" captures everything wonderful about this entire record, shattering any sense of safety with choppy rhythms that carry a horrid tone as if the life (blood?) was sucked out of them and reborn in an undead, demented zombie form. Its coarse and ugly vocals match the energy, somehow feeling comprehensible in their poetic delivery of evil sorcery, and this will always be my favorite part of the record.

From there, Crossing The Fiery Path becomes a game of letting its nuances consume you. Again, I often find myself wishing they had let up on the chants and effects just a little bit, however I'd never deny their charm. "Les Litanies De Satan" is an entire blackened/doom trudge that would have sounded so much meaner with more hideous hissing vocals, and to their credit, we do get that in the end to lead us to a fuming solo. However the bulk of it opts for chanted vocals that can feel unnerving but are equally corny. On the other hand, the bold move of an entire bass-lead track in "The Last Song For Valdezie" was placed wonderfully, furthering a feeling of isolation in the presence of something vile.

It may sound like a did a bit of complaining, but I truly love this record. Its flaws give it charm, and its strengths are extra strong, much like Black Sabbath's Born Again. Maybe it wouldn't be the best pick to start one's journey into the hot and sweaty camp that is Hellenic black metal, but after acquainting oneself to its nuances and seemingly sporadic nature, it becomes very easy to appreciate. If nothing else, it might be one of the most evil sounding efforts in my entire library of music, a sheer upheaval of anything holy or pure.

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.