The unholy trinity of extreme metal returns with a vengeance in this sprawling three-disc monument to darkness. Venom's Blackened Priests looks to serve as both historical document and testament to the band's resilience during their most turbulent period—the post-Cronos era that saw Tony 'The Demolition Man' Dolan step into the considerable boots of the departed frontman.
This comprehensive collection spans three full-length studio albums recorded during Dolan's tenure, presenting a fascinating glimpse into an alternate timeline where Venom's satanic assault continued without their original unholy trinity intact. The question looming over this release is not whether it is essential—it is whether it proves that Venom could maintain their ferocious identity without the snarling presence of Conrad Lant.
From the opening salvos, Dolan brought his own brand of malevolence to the proceedings. His vocals, while lacking Cronos' distinctive rasp, possess a more traditionally metal approach that surprisingly complements the band's established sound. The guitar work remains characteristically raw and uncompromising, with Mantas delivering riffs that feel forged in hell's fires themselves. The rhythm section, anchored by Dolan's bass work, provides necessary foundation for the band's sonic assault while maintaining the loose, almost chaotic energy that defined their classic material.
What strikes most about these recordings is how they capture Venom at a crossroads. The band was clearly attempting to modernize their sound while retaining the primitive fury that made them black metal pioneers. Some tracks succeed brilliantly in this balance, offering glimpses of what might have been had this lineup continued. Others feel like experiments that do not land, though even the lesser moments possess undeniable energy.
The second disc ventures deeper into the band's exploration of their expanded sonic palette. Here, Venom experiments with longer compositions and more complex arrangements without sacrificing fundamental aggression. Dolan's vocal performance becomes more confident, and his interplay with instrumental arrangements suggests a band finding its footing in unfamiliar territory. The production benefits from improved studio techniques, though purists might argue that cleaner sound dilutes some of the band's primitive appeal.
By the third disc, the evolution is complete. These final recordings represent the most cohesive work of the Dolan era, with the band having fully integrated their new vocalist into their established framework. The songwriting shows increased sophistication while maintaining trademark intensity. Standout tracks demonstrate that Venom, even without Cronos, remained capable of delivering the unholy anthems that helped define extreme metal.
The remastering also deserves praise. Cherry Red Records has presented these recordings in their best light, with improved clarity that does not sacrifice the raw power of original performances of this often-overlooked chapter in Venom's history.
What makes Blackened Priests particularly valuable is its role as historical document. These recordings capture a band in transition, struggling to maintain identity while adapting to new circumstances. That they succeeded speaks to the strength of Venom's core vision and the quality of material they were working with during this period.
For longtime fans, Blackened Priests offers a chance to reassess a period often dismissed during the band's initial run. The passage of time has been kind to these recordings, and they stand as more than mere curiosities.
This collection succeeds as both comprehensive overview of an underappreciated era and compelling listen, proving that Venom's dark magic was not entirely dependent on any single member. 6.66/10
Hibernaut - Obsidian Eye (Olde Magick Records) [Joe Guatieri]
Hibernaut are an American Stoner Metal band from Salt Lake City, Utah, that formed in 2020. They put out their debut in 2023 to good reception, establishing a loyal fan base for themselves. 2025 sees them return with their second effort, Obsidian Eye.
Opening the record we have Engorge Behemoth, an appropriately massive groove fest. From the get-go my ears are sent fluttering by thick bass and wah worshipping guitar. Every element of this track works so well together, like a well oiled machine with a bridge that I love and find hilarious. It’s nothing but pounding hard for mercy and why the fuck not when you’ve got a track this good, definitely my favourite on the album.
The next two tracks, Venatic Rite and Pestiferous, I’m tying together as I find them to be very similar. They both go hard on Progressive Metal stylings which I find to be Mastodon-esque, finding more comfort in speed than attack. It feels natural to the band as they are all evidently great players but I can’t find a steady hand to guide me through these pastures. Even when there are changes, it reverts back to the same riffing as before.
Venatic Rite is the song which I take more interest in for it has an introduction that is over a minute long with this sick slow Doom inspired riff. The problem is that the song unfortunately doesn’t make a callback to it so it feels like that there is a substantial piece of the puzzle that is missing.
Later on we go into the closer with Beset, which is a weird slow dance of a track, painting a picture of a last minute night out. Gleefully checking out pubs that you always walk past but have never been inside before, these surprises are always so much more alluring at night. The song is smooth yet heavy handed with a whole lot of style, truly an outlier on Obsidian Eye. With a dash of Eyehategod influence, it’s a more psychedelic take on Sludge Metal.
Overall, Hibernaut have constructed a solid album with Obsidian Eye but it felt too short, I wanted more of it to see what they could do. When the feeling of déjà vu strikes songs that feel unresolved, you get a track like the self-titled effort, track four in there. It improves upon that notion with its use of dynamics and new features like a deep synthesiser which is a great thing to bounce ideas off. This goes to prove that the band has the ability to keep you engaged, showing a lot of potential in the process. I’m looking forward to seeing what Hibernaut comes up with next. 7/10
Why Patterns – Screamers (Human Worth) [Spike]
Sixteen minutes. Ten tracks. Zero compromise. Screamers is a fast, feral punch to the skull from UK collective Why Patterns, a band clearly raised on chaos and sharpened by sheer bloody-mindedness. If you like structure, melody, or even basic comfort in your listening, you’re in the wrong gallery.
Hibernaut are an American Stoner Metal band from Salt Lake City, Utah, that formed in 2020. They put out their debut in 2023 to good reception, establishing a loyal fan base for themselves. 2025 sees them return with their second effort, Obsidian Eye.
Opening the record we have Engorge Behemoth, an appropriately massive groove fest. From the get-go my ears are sent fluttering by thick bass and wah worshipping guitar. Every element of this track works so well together, like a well oiled machine with a bridge that I love and find hilarious. It’s nothing but pounding hard for mercy and why the fuck not when you’ve got a track this good, definitely my favourite on the album.
The next two tracks, Venatic Rite and Pestiferous, I’m tying together as I find them to be very similar. They both go hard on Progressive Metal stylings which I find to be Mastodon-esque, finding more comfort in speed than attack. It feels natural to the band as they are all evidently great players but I can’t find a steady hand to guide me through these pastures. Even when there are changes, it reverts back to the same riffing as before.
Venatic Rite is the song which I take more interest in for it has an introduction that is over a minute long with this sick slow Doom inspired riff. The problem is that the song unfortunately doesn’t make a callback to it so it feels like that there is a substantial piece of the puzzle that is missing.
Later on we go into the closer with Beset, which is a weird slow dance of a track, painting a picture of a last minute night out. Gleefully checking out pubs that you always walk past but have never been inside before, these surprises are always so much more alluring at night. The song is smooth yet heavy handed with a whole lot of style, truly an outlier on Obsidian Eye. With a dash of Eyehategod influence, it’s a more psychedelic take on Sludge Metal.
Overall, Hibernaut have constructed a solid album with Obsidian Eye but it felt too short, I wanted more of it to see what they could do. When the feeling of déjà vu strikes songs that feel unresolved, you get a track like the self-titled effort, track four in there. It improves upon that notion with its use of dynamics and new features like a deep synthesiser which is a great thing to bounce ideas off. This goes to prove that the band has the ability to keep you engaged, showing a lot of potential in the process. I’m looking forward to seeing what Hibernaut comes up with next. 7/10
Why Patterns – Screamers (Human Worth) [Spike]
Sixteen minutes. Ten tracks. Zero compromise. Screamers is a fast, feral punch to the skull from UK collective Why Patterns, a band clearly raised on chaos and sharpened by sheer bloody-mindedness. If you like structure, melody, or even basic comfort in your listening, you’re in the wrong gallery.
At its core, this is grind-inflected hardcore punk with the DNA of power violence and noise rock smeared through it like blood on a gig flyer. Clown In A Housefire and Self-Defeating Trebuchet sound exactly as unhinged as their titles suggest, full of jarring stop-starts, guitar stabs like cattle prods, and vocals that seem physically painful to deliver. Yet there's a sense of art-damage too, the ghost of no-wave and industrial howling underneath the squalor.
The title track Screamers is the band’s manifesto in 52 seconds: jagged, explosive, incoherent in the best way. Imagine Lightning Bolt trying to cover Pig Destroyer while being electrocuted. It’s gone before you can process it but it leaves a mark. Elsewhere, Clubfoot By Kasabian By Blacklisters is exactly the kind of warped satire this band thrives on, bludgeoning irony with a brick of distortion. Even the quieter moments, if you can call the weird liminal panic of Soire Bleu or Upside Down Mondrian quiet, are steeped in discomfort.
There’s nothing easy here. It’s abrasive, twitchy, and actively hostile to traditional songcraft. But if your taste leans toward the anxious, the fractured, and the gloriously unhinged, Screamers might just be your new favourite migraine. 9/10
Starlit Pyre - Veins Of Sulfur (Self-Release) [Mark Young]
Starlit Pyre - Veins Of Sulfur (Self-Release) [Mark Young]
I love EP’s, especially when it’s warm and sticky (the weather, not the EP) as basically it is the band putting their best foot forward with what they consider their most accomplished material, whether it is a debut or fill in from an outfit that has been going for a while. In the case of Starlit Pyre, it is their debut release but with the added bonus that each of its constituent parts have cut their teeth in a number of bands – Temnein, Theorem and Bloody Rabbeat to name three.
When you read that a lot of their influence lies with Gothenburg whilst looking to the later bands such as Orbit Culture, at least for me a little sigh escapes because how can you top the greats? It’s a mistake that a number of bands commit but here the 5 piece have been able to navigate those tricky waters and delivered a storming collection of songs that don’t represent anything new (bear with me) but are at least injected with a sense of their own vision and presented with a touch of panache.
One of things about this is the speed at which the whole thing unfolds, its really quite the rapid experience as each of them zip by. Empire’s Downfall starts off like its running for its life and doesn’t stop. This is what I class as being Gothenburg 101 if it was being taught in school – rapid drums, riffs leading into a slower, technical section that then boots back up to full speed.
One of things about this is the speed at which the whole thing unfolds, its really quite the rapid experience as each of them zip by. Empire’s Downfall starts off like its running for its life and doesn’t stop. This is what I class as being Gothenburg 101 if it was being taught in school – rapid drums, riffs leading into a slower, technical section that then boots back up to full speed.
There is nothing wrong with it all, it does what you want it to especially if you are a fan of that scene. The arrangement concentrates on getting the right bits right and keeps it coming, wave after wave of razor-sharp riffs and machine gun double bass.
Again, you will have heard something like this before but it’s the last minute or so where they put their own stamp on it with a simple guitar line that does a lot. It’s a great payoff and excellent way to close this out. As opening tracks go this is refreshing as they hit the ground running and don’t stop. It’s a theme that repeats over the following songs: Solar Rays (with a guest spot from Arbaud Cumunel from Theorem) sees them slow down a little with a meatier riff pack.
They imbue it with a little melody here and there and again its sees them moving into their own way of doing things. Even the lead break stays within the grounds of good taste whilst bringing enough technical skill into it. It’s those little touches that makes this a decent listen instead of it being a tiresome re-tread of everybody else.
Veins Of Sulfur is a straight up belter with a wicked central guitar line. It’s one of those that gives the song an incredible sense of momentum, even in the slower sections it never stops moving. They manage to throw in one of those ‘foot on the monitor’ moments with the lead break at the end of it and do it without sounding cringe in any way.
Suddenly we are on the last song, On My Own and whilst its good there is a sense of familiarity with this one. In some respects, it must be unavoidable but at least they blast through it with style. It’s almost as though it was written with the finish line in sight as it has a feeling of reaching the end of an arduous race.
Suddenly we are on the last song, On My Own and whilst its good there is a sense of familiarity with this one. In some respects, it must be unavoidable but at least they blast through it with style. It’s almost as though it was written with the finish line in sight as it has a feeling of reaching the end of an arduous race.
Ultimately what you have are 4 strong tracks that go a long way that melodic death metal still has a lot to give. As I’ve said the EP allows them to put their best songs forward and in that it’s a complete success. The real test would be to see if they can repeat this over ten or eleven songs and still keep that level of quality in place. 7/10
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