Enthroned have been absolutely smashing faces in the underground since 1993, and with Ashspawn, they've delivered what might just be their most ferocious statement yet.
Enthroned have long been standard-bearers for the Belgian black metal scene, standing proudly alongside the likes of Ancient Rites and Emptiness. While their Scandinavian counterparts often get the lion's share of attention, Belgium's contribution to the genre has been consistently overlooked, which is criminal when you've got bands like this churning out absolute bangers year after year.
Ashspawn arrives with the kind of violent intent that immediately sets it apart and from the moment the opening track detonates, you're thrust into a maelstrom of blast beats, serrated riffing, and vocals that sound like they're being torn from the depths of some unholy abyss. This is black metal played with conviction and malice, the way it bloody well should be.
Producer Phorgath has done an outstanding job capturing the band's live energy while maintaining that essential underground aesthetic which is heavy as hell. The man's range is genuinely impressive, shifting from guttural growls to piercing shrieks with the kind of ease that only comes from decades of experience. There is a theatricality to his delivery that never tips into parody, which is a fine line to walk in this genre. When he unleashes those tortured screams, you absolutely believe every syllable.
The riffing across Ashspawn is where Enthroned truly flex their muscles. These aren't your standard tremolo-picked affairs, though there's plenty of that when needed. No, Enthroned have always had a knack for injecting genuine groove into their blackened assault, and that skill is on full display here. There are moments where the guitars lock into these absolutely devastating mid-paced sections that will have you wind milling like a teenager at their first metal show. Then, without warning, they will launch into full-throttle blasting that threatens to peel the skin from your skull.
The middle section of the album is particularly strong. Without descending into specific track-by-track analysis I'll say that the flow from track four through seven is absolutely seamless. The band demonstrate remarkable restraint in places, allowing certain passages to simmer before bringing the hammer down.
The atmospheric elements deserve recognition as well. While Enthroned have never been ones for lengthy ambient interludes or orchestral bombast, there are subtle layers throughout Ashspawn that add genuine depth. Whether it's a dissonant guitar line lurking beneath the chaos or the occasional eerie sample, these touches enhance the album's dark atmosphere without ever overwhelming the core sound.
Drummer Menthor (yes, they all have pseudonyms, because this is black metal and that's just how we roll) puts in an absolutely stellar performance. The man's a machine, churning out blast beats with the precision of a Swiss watch manufacturer, yet he's got the chops to throw in creative fills and tempo changes that keep things interesting. The drum sound itself is gloriously organic – real skins being properly battered, not some triggered nonsense that sounds like a drum machine having a seizure.
The bass work from Neraath provides a solid foundation throughout, and crucially, you can actually hear it in the mix. Too many metal albums relegate the bass to an afterthought, but here it adds genuine heft to the proceedings.
Lyrically, Enthroned continue to explore the darker aspects of existence with the kind of poetic intensity you would expect from a band of their pedigree. Without reproducing specific lines, I can say the themes revolve around spiritual corruption, existential darkness, and the usual occult subject matter, all delivered with genuine conviction rather than teenager-in-their-bedroom shock value. This is philosophical darkness rendered through a black metal lens, and it works brilliantly.
The album's pacing is near-perfect across its runtime. At no point does it drag or feel padded, and by the time the final track fades out, you're left genuinely satisfied yet immediately wanting to hit play again that's the mark of quality songwriting – creating something that feels complete while simultaneously leaving you hungry for more.
Ashspawn is a triumph. It's raw, brutal, and remarkably well-crafted. Enthroned have proven once again why they're one of the genre's most reliable and devastating acts. This is top-tier black metal executed by masters of the craft, and it deserves every bit of praise coming its way.
A Masterclass in Belgian Black Metal Savagery. 7/10
Blood Red Throne - Siltskin (Soulseller Records) [Matt Bladen]
With almost 30 years of noise behind them Blood Red Throne have have been flying the flag for Norwegian death metal for a long time now. In a country where black metal is probably the genre you think about, the band are a bludgeoning death metal machine and show no signs of slowing down.
If anything Siltskin is their fastest, heaviest record yet with more focus on the melodic side as well to counteract the mechanical battery shown by tracks such as Husk In The Grain which just pulverizes. On These Bones meanwhile is more like the BRT of old as Marrow Of The Earth builds the atmosphere with an intro that slowly but surely unleashes hell in that OSDM way of being a brutal crush.
Despite being relatively new to the band vocalist Sindre Wathne Johnsen really brings a broad style to things with bowel shaking growls and black metal screams, however it's not just him that makes this record grab you by the throat from the first track, it's the whole package, that Blood Red Throne off here. From the leads/solos and riffs still sculpted by founding member Daniel Olaisen alongside Ivan Gujic, to the inhuman drumming of Freddy Bolsø and the technically bass from Stian Gundersen who adds those finger style flourishes to increase the prog quota.
Siltskin is an album you would want from these veterans, vicious and raw but with the experience and technical skills of decades. 8/10
Kakihara – Love Songs Part II (Ripcord Records) [Cherie Curtis]
Don’t be fooled by the album name, this one isn’t as sweet as it sounds. Its deafening, abrasive and disorganized which is more of a whirlwind than messy- It’s the equivalent of being doused with cold water on a hot day. This one is short, only five tracks running for around 2 minutes each and it offers a spectacular amount of high energy, originality and good old fashioned moshpit fuel.
For people like myself who are unfamiliar with Kakihara, I feel like it gives us the cliff notes of who they are as a band. They don’t show this by providing range which a lot of EPs tend to do, all five tracks are consistently stuffed with aptitude as well as containing a multitude of sludgy distorted bass and drums which is promptly taken in nicely by an almost prickly sounding and crisp lead guitar. The metal vocals are extremely harsh and each track has their own consciousness which doesn’t build but throws us into a sickening breakdown.
Love Songs Part II is pure fun, I didn’t know much about Kakihara but now I know they have a wicked sense for what we need from metallic hardcore. The overall music composition was not only stylistically interesting but simple and articulate as well as keeping the tone of their specific genre. I know that current fans of the band will really enjoy this one and provide something neck breaking and fresh for new listeners. 8/10
BILA – Beżżalart (Go Down Records/Kewn Records) [Spike]
This is not a pleasant vacation postcard from the Mediterranean. This is the purest expression of Maltese rage. BILA doesn't play Hardcore Punk; they deliver a visceral, bone-crunching sonic reaction to the real estate developer hell-scapes that neoliberal gargoyle governments conjure up. Their debut, Beżżalart, is a high-octane assault against urban decay, fuelled by bilingual venom and angular, weapons-grade riffage.
The band's genius is in its caustic efficiency. This trio, guitar/vocals, bass/vocals, and drums creates a massive, unruly sound that manages to be bone-crushingly heavy while retaining the frenetic energy of the punk scene. Produced by Wayne Adams (Petbrick, Big Lad), the sound is raw, loud, and apparently captures the energy of their bustling live sets.
The whole album is steeped in a dark, local folklore, turning social critique into something mythic and furious. The journey starts with the lead single, A Thousand Wolves, which immediately launches into a hooky, rage-fuelled groove. This is followed by Drowner, where the chaotic energy is focused into pure Noise Rock friction.
The heart of Beżżalart is its uncompromising groove and lyrical venom. Tracks like Ħabbagozz and Brain Cake showcase their distinct, angular approach, blending Post-Punk atmospheric dread with moments of sharp, shouting aggression. They are masters of the high-octane burst, delivering fury that owes as much to Trash Talk as it does to the uncompromising churn of The Melvins.
The title track, Beżżalart, serves as the album’s chaotic centrepiece, summarizing their aesthetic: socially charged bursts of energy delivered with a twisted sense of humour. The final act, closing with Bla Buzz and Sin Eaters, ensures the record ends in relentless destruction, leaving you battered by the sonic toll of eleven tracks. This album is a testament to the power of localized rage given a global, uncompromising voice. 8/10
Kakihara – Love Songs Part II (Ripcord Records) [Cherie Curtis]
Don’t be fooled by the album name, this one isn’t as sweet as it sounds. Its deafening, abrasive and disorganized which is more of a whirlwind than messy- It’s the equivalent of being doused with cold water on a hot day. This one is short, only five tracks running for around 2 minutes each and it offers a spectacular amount of high energy, originality and good old fashioned moshpit fuel.
For people like myself who are unfamiliar with Kakihara, I feel like it gives us the cliff notes of who they are as a band. They don’t show this by providing range which a lot of EPs tend to do, all five tracks are consistently stuffed with aptitude as well as containing a multitude of sludgy distorted bass and drums which is promptly taken in nicely by an almost prickly sounding and crisp lead guitar. The metal vocals are extremely harsh and each track has their own consciousness which doesn’t build but throws us into a sickening breakdown.
Love Songs Part II is pure fun, I didn’t know much about Kakihara but now I know they have a wicked sense for what we need from metallic hardcore. The overall music composition was not only stylistically interesting but simple and articulate as well as keeping the tone of their specific genre. I know that current fans of the band will really enjoy this one and provide something neck breaking and fresh for new listeners. 8/10
BILA – Beżżalart (Go Down Records/Kewn Records) [Spike]
This is not a pleasant vacation postcard from the Mediterranean. This is the purest expression of Maltese rage. BILA doesn't play Hardcore Punk; they deliver a visceral, bone-crunching sonic reaction to the real estate developer hell-scapes that neoliberal gargoyle governments conjure up. Their debut, Beżżalart, is a high-octane assault against urban decay, fuelled by bilingual venom and angular, weapons-grade riffage.
The band's genius is in its caustic efficiency. This trio, guitar/vocals, bass/vocals, and drums creates a massive, unruly sound that manages to be bone-crushingly heavy while retaining the frenetic energy of the punk scene. Produced by Wayne Adams (Petbrick, Big Lad), the sound is raw, loud, and apparently captures the energy of their bustling live sets.
The whole album is steeped in a dark, local folklore, turning social critique into something mythic and furious. The journey starts with the lead single, A Thousand Wolves, which immediately launches into a hooky, rage-fuelled groove. This is followed by Drowner, where the chaotic energy is focused into pure Noise Rock friction.
The heart of Beżżalart is its uncompromising groove and lyrical venom. Tracks like Ħabbagozz and Brain Cake showcase their distinct, angular approach, blending Post-Punk atmospheric dread with moments of sharp, shouting aggression. They are masters of the high-octane burst, delivering fury that owes as much to Trash Talk as it does to the uncompromising churn of The Melvins.
The title track, Beżżalart, serves as the album’s chaotic centrepiece, summarizing their aesthetic: socially charged bursts of energy delivered with a twisted sense of humour. The final act, closing with Bla Buzz and Sin Eaters, ensures the record ends in relentless destruction, leaving you battered by the sonic toll of eleven tracks. This album is a testament to the power of localized rage given a global, uncompromising voice. 8/10
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