Bitchhammer: Offenders Of The Faith (Iron Shield Records) [Paul H]
Leipzig’s Bitchhammer’s name could be seen as offensive by many and it strikes as a bit crass and typically old school. If you can get past that, what lurks underneath is a debut album of blackened thrash laced with demonic and Satanic themes. Formed in 2008, the band is a three-piece, playing under the ludicrous pseudonyms of I Basstard Priest, Jack Frost and Majesty Of Hell. Having already got two EPs under their belt, the most recent the 2015’s Raging Hell Rivers, the band already have some recording experience and it is demonstrated here with some quite blisteringly sharp blackened death metal. Lacerations run deep from the intense fire power the three Germans possess, with an underlying groove which gives the band momentum.
Tracks like Fear No Evil, the anthemic Satanica and the atmospheric build up to Bitchcraft hit the mark well. Bitchhammer aren’t going to win the muso prize of the year, but they do make one hell of a thrashing old school sound which snarls with aggression throughout, The production harks back to the old school as well, with a pleasing muddiness as the drum sound fights with a gnarly bass and down tuned guitar. Repetitive tremolo picking, crashing drums and vocals that spit forth their malice all work to create a piece of work ten years in the making. Overall, it’s probably worth the wait. 7/10
Dwarrowdelf: Of Dying Lights (Deavhronun) [Paul H]
Atmospheric epic metal from Southampton in the shape of Tom O’Dell’s one-man project. Based on the works of Tolkien’s Middle Earth, where the Dwarrowdelf is translated from Khazad-Dûm, the translation roughly meaning ‘dwarves delve’. The album loosely addressed the concept of light and darkness within the eras of Middle Earth and follows the well received debut release Sons Of Fëanor released in 2018. I often struggle with solo projects from multi-instrumentalists, my main reasons being a lack of cohesion and passion but O’Dell has overall managed to bypass that criticism with an album of some quality. With equal parts black metal tremolo riffing and gentle ethereal sections, there is plenty to enjoy.
Dwarrowdelf: Of Dying Lights (Deavhronun) [Paul H]
Atmospheric epic metal from Southampton in the shape of Tom O’Dell’s one-man project. Based on the works of Tolkien’s Middle Earth, where the Dwarrowdelf is translated from Khazad-Dûm, the translation roughly meaning ‘dwarves delve’. The album loosely addressed the concept of light and darkness within the eras of Middle Earth and follows the well received debut release Sons Of Fëanor released in 2018. I often struggle with solo projects from multi-instrumentalists, my main reasons being a lack of cohesion and passion but O’Dell has overall managed to bypass that criticism with an album of some quality. With equal parts black metal tremolo riffing and gentle ethereal sections, there is plenty to enjoy.
Opening track Arien [In Tolkien, the maiden who guides the vessels of the sun], one of four tracks to pass the eight-minute mark, embarks on a journey which involves a simple keyboard riff over heavy riffing and rich symphonic synths. Where Daylight Dies features an atmospheric keyboard opening which is soon joined by a repetitive riff and drumming, the haunting backing vocals of Sojurner’s Chloe Bray and O’Dell’s strong clean vocals. Melancholy also features with The Year of the Trees, a three-and-a-half-minute reflective instrumental which builds slowly, the strong use of keyboards evident. It’s not the strongest track on the release but allows a calm pause amongst the maelstrom around it.
The Line Of Thrór [Thorin Oakenshield’s father – King Under The Mountain] changes the tone completely, an undulating and rhythmic track which once more is fleshed out by deep synthesisers and an anthemic set of lyrics. Home Of The Dead closes the album, a dark and brooding piece which brings everything to a neat finish. There are still traces of the one-man project here, and there is an absence of depth at times but overall this is a solid and enjoyable release from an exceptionally talented individual. 7/10
Blind Monarch: What Is Imposed Must Be Endured (Black Bow Records) [Matt]
According to Blind Monarch’s bio/blub: “What Is Imposed Must Be Endured was recorded over 4 days in the cold darkness of the derelict Penny Red building, Hull, Northeast England, November 2017.” It has taken until 2019 for this throbbing, stark slab of extreme doom metal to bring terror to the listening public. At just four tracks long don’t expect an easy ride as this album is full of sparse drum hits, gargantuan guitar chords and snarled vocals that bring every track over the 10 minute mark, which helps you, feel that bleakness from the start surroundings that it was recorded in. Suffering Breathes My Name lumbers from from your speakers at 13 minutes in length before My Mother, My Cradle, My Tomb does the impossible and makes thing slower again with more ambience. It goes on like this one long drawn out track after another until you have to turn off due to the similarity of every song, there’ no variation at all and it’s a poorer release because of it. You certainly have to endure this record; it’s only for the hardcore. 5/10
Bewitcher: Under The Witching Crown (Shadow Kingdom Records) [Matt]
This is decidedly retro, speed metal, Satan worship, the second full length from Bewitcher could have easily been from the same period as Venom’s Black Metal or Celtic Frost’s Morbid Tales, it’s 33 minutes of light speed riffs, sleazy Satan worship and toilet bowl production, that the black metal elitists who only buy on cassette tape will go nuts over. It’s difficult to pinpoint anything particularly bad about this album just that it sounds dated, although that is deliberate I assume, it’s just a homage to the bands influences but at just over half an hour it gets your head banging and foot tapping with raging numbers like the drum propelled title track and the utter ragers that are Savage Lands Of Satan and Too Fast For The Flames¸ as In The Sign Of The Goat gives things a bounce, while Rome Is On Fire brings Motorhead snarl. If your bullet belt hasn’t dulled and your Baphomet still stands proudly then grab your leather finger-less gloves, turn up Under The Witching Crown and get lairy like it’s 1984. 7/10
Blind Monarch: What Is Imposed Must Be Endured (Black Bow Records) [Matt]
According to Blind Monarch’s bio/blub: “What Is Imposed Must Be Endured was recorded over 4 days in the cold darkness of the derelict Penny Red building, Hull, Northeast England, November 2017.” It has taken until 2019 for this throbbing, stark slab of extreme doom metal to bring terror to the listening public. At just four tracks long don’t expect an easy ride as this album is full of sparse drum hits, gargantuan guitar chords and snarled vocals that bring every track over the 10 minute mark, which helps you, feel that bleakness from the start surroundings that it was recorded in. Suffering Breathes My Name lumbers from from your speakers at 13 minutes in length before My Mother, My Cradle, My Tomb does the impossible and makes thing slower again with more ambience. It goes on like this one long drawn out track after another until you have to turn off due to the similarity of every song, there’ no variation at all and it’s a poorer release because of it. You certainly have to endure this record; it’s only for the hardcore. 5/10
Bewitcher: Under The Witching Crown (Shadow Kingdom Records) [Matt]
This is decidedly retro, speed metal, Satan worship, the second full length from Bewitcher could have easily been from the same period as Venom’s Black Metal or Celtic Frost’s Morbid Tales, it’s 33 minutes of light speed riffs, sleazy Satan worship and toilet bowl production, that the black metal elitists who only buy on cassette tape will go nuts over. It’s difficult to pinpoint anything particularly bad about this album just that it sounds dated, although that is deliberate I assume, it’s just a homage to the bands influences but at just over half an hour it gets your head banging and foot tapping with raging numbers like the drum propelled title track and the utter ragers that are Savage Lands Of Satan and Too Fast For The Flames¸ as In The Sign Of The Goat gives things a bounce, while Rome Is On Fire brings Motorhead snarl. If your bullet belt hasn’t dulled and your Baphomet still stands proudly then grab your leather finger-less gloves, turn up Under The Witching Crown and get lairy like it’s 1984. 7/10
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