Posts Tagged ‘Thrash’

Old Corpse Road / Miško Boba / Evil Dungeon Crawler / Aubzagl – The Fulford Arms, York, 5th July 2026

Posted: 6 July 2026 in Live, Reviews
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Christopher Nosnibor

Like many places, York may have lost a fair few venues through the years, but its live music scene is positively buzzing right now – especially when it comes to alternative music. And so it is that today sees day three of the tenth annual Swinefest – ostensibly a punk festival, but a broad church which offers a celebration of all kinds of weird, even down to The Masochists playing a set of covers of Rudimentary Peni songs – on Millennium Fields in the afternoon, while in the evening The Fulford Arms promises a smorgasbord of the darkest, most extreme metal. My daughter and I swing by the Fields for a bit in the afternoon, passing The Dark Horse coffee shop which has a (very loud) acoustic performer playing outside on the way, and catch The Sex Cripples’ set before hayfever drives us home. And then the evening, once the pollen has descended, I’m able to venture out safely without wanting to tear my eyes from their sockets. It’s bliss. Entering the dark venue, already murky with smoke, I find myself immediately at ease, and a pint of Vocation Heart & Soul is a winner.

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The Sex Cripples (Because I have to document every act I see, regardless)

I’m here first and foremost for Miško Boba, a band so powerful live they’re probably addictive, but The Fully has a record of hosting some quality metal gigs, and this one, curated by Steelheart Promotions, proves to be one of them.

Oftentimes, black metal can be a bit hit and miss, and in particular the openers can be a bit rough and ready, but while Leeds’ Aubzagl – purveyors of ‘antifascist blackened metal’ may not quite have their image down, but their sound is definitely there, with their twin vocals –guttural growling from the guy who also plays keyboards, a higher, screaming howl from the flame-haired, mask-wearing bassist/lead vocal who’s centre stage, and quite a presence. One of the guitarists is wearing a PWEI T-shirt, which seems a bit incongruous, but apart from the aforementioned bassist, they’re all in shorts and T-shirts and thrash hard. It’s a meaty racket alright. There’s a cover towards the end of the set which they say is a 90s song that influenced them, and it takes me a bit to recognise that it’s an adaptation of Nirvana’s ‘Tourettes’. They play hard, and fast. Very fast, and have songs about killing nazis and hating billionaires. Easy targets, but YES! With 5-string bass and 7-string guitar, they’ve got density. They call up their former bassist, Luke, whose birthday it is (he’s defected to Miško Boba, but all seems amicable) , to join them, and as a 6-piece they’re absolutely phenomenal as they bring the set to a ferocious finale.

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Aubzagl

Evil Dungeon Crawler is a name that sounds like it came from a black metal band name generator, but what does it matter when the logo is a classic spiky pile of sticks? They’re committed to the look alright, with all the hair, spikes and the most elaborate face paint, but how to they sound? Dark and deranged, and as if dragged from flaming purgatorial pits. Their set is a brutal, fierce, and relentlessly hellish half hour, delivered with captivating showmanship, through a whorl or twirling hair. So much hair… Would see again.

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Evil Dungeon Crawler

There’s perhaps a bit much bass and not quite enough guitar to begin with, but Miško Boba are as fierce as ever. And as the set progressed, so the sound improved, and the detail of the interplay between the two guitars and the folkier aspects of their compositions came through. The atmospheric, melodic passages render the returning riffs even more powerful. And perhaps around halfway through he set, I realise just how devastatingly loud they are. And I say that having seen Sunn O))) earlier in the week. It’s a different kind of volume intensity, of course, and with more treble, but in a low-ceilinged small venue, their sonic impact is significant.

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Miško Boba

There’s something ancient and earthy ingrained within their sound which sets them apart. It’s as though the black metal ferocity systems from prehistory, something primal, and every song manifests as a purging from the pain of past lives. They close the set with a new song about a massacre which took place outside Lithuanian capital. It’s the heaviest thing yet. Holy shit. If it’s in any way representative of the forthcoming album, then their best is very much yet to come.

Old Corpse Road boast two guitarists, one of whom looks like Uncle Fester exhumed, a bassist who resembles Giant Haystacks – also exhumed – and a hooded singer who doesn’t look too menacing despite the corpse paint. But shit, they’re heavy from the first bar. Sonically, it doesn’t get much darker or more black metal than this.

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OId Corpse Road

Theirs it truly the sound of souls shrieking as they incinerate in hell. It hurts. The droning, sepulchral synths add layers of menace to a sonic assault which is relentless in its punishing ferocity. My notes are scant because I’m completely enthralled. When done half-arsed, black metal can be lame cosplay, but at its best, it’s nothing short of terrifying and utterly ruinous. Old Corpse Road are firmly in the latter category, and tonight’s set is gloriously brutal.

Watch: ‘The Blackest of Days’ by Since The Death

Posted: 7 April 2026 in Recommended Streams and Videos, Singles and EPs
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Swedish extreme metal project Since The Death have unveiled a brand new video for ‘The Blackest of Days’, taken from their upcoming album Entangled, due out on April 24 via Nordic Mission.

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Founded in 2016 in Linköping by multi-instrumentalist Oscar Rask, Since The Death has operated as a singular studio vision, blending the ferocity of death, thrash, and black metal into a sound that is both razor-sharp and overwhelming.

With Entangled, the project reaches a new level of intensity and precision, pushing its fusion of extreme genres into darker, more intricate territory. ‘The Blackest of Days’ offers another glimpse into this evolution, relentless, aggressive, and tightly controlled, while still carrying a strong sense of atmosphere and tension.

The upcoming release also marks a new chapter for Since The Death, as the project prepares to step out of the studio and onto the stage for the first time, with a full live lineup and a confirmed appearance at Light The Dark.

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Listen: ‘Skull Smasher Psychic’ by Cult Member

Posted: 28 August 2025 in Recommended Streams and Videos, Singles and EPs
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Three years after releasing their 2022 debut Infinite Death, an album that earned them a Spellemann nomination (Norway’s answer to the Grammys), Norwegian crossover outfit Cult Member are back from the frozen north with another hard-hitting ear-bleeder titled GORE.

A tongue-in-cheek strike at social unrest, draped in blood-soaked ’80s slasher imagery, GORE rips forward with the fastest, sharpest riffs in thrash, powered by the relentless fury of a true hardcore D-beat backbone.

Recorded by Ruben Willem, GORE is set for release on September 19 via Loyal Blood Records, and it’s blistering slab of thrash/hardcore sure to ignite fans of Cro-Mags, Power Trip, Slayer, and D.R.I.

‘Skull Smasher Psychic’ is the first single. Hear it here:

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Why Patterns – Screamers

Posted: 17 June 2025 in Albums, Reviews
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Human Worth – 11th July 2025

Why Patterns’ latest offering marks something of a shift from Regurgitorium, released back in 2022. I say ‘back’ in 2022 because it feels like a lifetime ago. Some of that is, admittedly, due to personal circumstance, but for most, 2022 was a very different time. We still weren’t all that long out of lockdown, for a start. We were still coming up for air, and finding our way – and likely crawling our way back to the office, while a lot of shops still had their Perspex screens in place. I remember in the checkout queue in Aldi just willing these weird cunts who had seemingly either forgotten the preceding year and a bit, or had lost all sense of how to engage, by looming and leaning over and pressing too close would fuck off. I revisit the context of the last album because it somehow managed to capture the mood in some obtuse way, and when I wrote ‘It’s fucked up. It’s deranged. It hurts,’ I could as easily have been referring to life itself at that point in time.

Screamers is different again. Or, if not so much, different, compressed, compacted, distilled, the intensity amplified by the concision of the tracks.

The crunchy, gnarly bass still dominates, and it’s snarling away and tearing strips straight out of the traps on the frenzied ‘After the Bullfight’. Clocking in at a mere minute and forty-seven seconds, it’s noise rock smooshed down to the tight parameters of grindcore, and with insane amounts of reverb, the stuttering, stammering vocal yelps from Doug Norton, the man behind the ‘Mouth Sounds’ owe an equal debt to Suicide and The Cramps, and this may be the spawning of industrial psychobilly as a new genre. Everything is overloading, the speakers are crackling with megawattage overload, and when ‘Clown in a Housefire’ blasts in, you actually begin to wonder if it’s supposed to sound like this of it your gear’s fucked.

One may cling in references to the Jesus Lizard and all the rest, but really, this sounds like a psychotic reimagining of early Blacklisters – specifically early because of THAT bass racket. But whereas Blacklisters were, and remain, quite song-orientated, at least structurally, Screamers sees Why Patterns take their template and smash the living fuck out of it by throwing it against a brick wall and stomping on it until there is nothing but splattered pulp. None of the songs – I mean, they’re not really songs, more demented blasts of discord played at three hundred miles an hour, all of the instruments playing at angles against and across, rather than with one another, the vocals the sound of a breakdown in real time. And listening to this as bombs and missiles are going off everywhere and no-one knows what is going on anywhere, I fin myself listening to this tumultuous mayhem and thinking ‘yep, they’ve done it again. This is the closest I’ve heard anyone articulate this moment.’ I mean, they don’t really ‘articulate’: as the title suggests, Screamers is a raw, primal scream. It’s a frenzied, lurching, gut-punching racket that rattles the bibs and kicks the balls, hard. Pleasant, it is not. Especially that grungy bass that churns the stomach.

There aren’t really any riffs: it’s just a relentless assault of jarring noise. ‘Nervous Laughter’ brings hints of the latest mclusky album, but does so with menace, malice, and a hint of the unhinged, and following on ‘Wind Up Chattering teeth’ is a minute and six seconds of rabid raving. It’s almost enough to make you want to puke.

Then there’s ‘Club Foot By Kasabian by Blacklisters’. It extends the joke of the original – since the Blacklisters song, ‘Club Foot By Kasabian’ wasn’t a cover, and had nothing to do with Kasabian, and so it is that ‘Club Foot By Kasabian by Blacklisters’ is a minute and a half of squalling, brawling, guitar-led abrasion. It’s somewhat reminiscent of Castrovalva in its deranged intensity, and frenzied, squawking disregard for decency. The title track is fifty-two seconds long. It’s rabid. It has to be heard to be comprehended.

The last track, ‘Buffoons and Barel Organs’ is both the longest and most structurally coherent. ‘Why do I cross the road? Why do I cross the road? Because I’m a fucking chicken!’ Norton hollers amidst a raging tempest of bass and drums.

Screamers is certainly appropriately titled. Every song is a brief but blistering assault. It’s full-on, and will melt your face, and as such, I wholeheartedly recommend it, unless you’re a wuss.

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Rip Space – Thank These People EP

Posted: 2 September 2024 in Reviews, Singles and EPs
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28th June 2024

Christopher Nosnibor

There are many reasons I’ve long been drawn to the obscure, the underground, the DIY – and many of those same reasons are why I try, wherever possible, to use my platform to champion those acts who fall within these broad brackets. And another thing I endeavour to use my platform for is the broader topics which relate to the releases – because during my life, I’ve become acutely aware of just how personal a thing music is, both to artist and listeners.

I suppose I first really tuned into this when I was around the age of fifteen: I’d started getting into goth and alternative stuff when I was twelve or thirteen – back when the weekly singles charts and Top of the Pops rules, and the likes of Killing Joke and The Sisters of Mercy and The Mission would make incursions into these realms – and was getting into live music. None of my mates were into the same stuff, so my choices were, go on my own, or don’t go. I decided I didn’t need my mates, but I did need to see the bands. This essentially set the template for my life, taking a position of a willing outsider.

Not everyone gets to be so willing in the place they find themselves, and while Rip Space’s biographical info is sparse, there’s a clear sense that they’re here as much out of compulsion as choice, describing themselves as an ‘anonymous autistic Scottish multi instrumentalist’. They outline how ‘Thank These People is an EP inspired by the catharsis of overcoming otherisation, public humiliation and otherwise targeted acts of evil that resulted ultimately, in official diagnosis in 2021… So this EP is called Thank These People. We make lemonade from the lemons life gives us. And in ways, we can decide to be thankful for the lemons.’

It’s hard not to find this apparent level of positivity and optimism quite staggering and more than a little overwhelming, as I fight the personal urge not to frame my own experiences as, rather than ‘thank these people’, but ‘fuck these cunts’. Ripspace has already demonstrated that they’re a better, less bitter human being than I before I’ve even heard a note… And then I heard a note, and I love Ripspace all the more. Amidst a roaring blast of lurching, distorted black metal guitars and crashing percussion there’s that anguished vocal howl. This… this is the sound of rage, of fury. Thanks? Yeah, right. This is a throbbing middle finger. This is what you’re thinking, what you want to say but muzzle because you don’t want to rile your boss. Because your boss is a twat.

Thank These People contains just three songs, and has a running time of under ten minutes – meaning it would fit comfortably on a 7” in old currency (when a 7” cost a couple of quid, although I’m not about to embark on a nostalgia trip, not now of all times, when nostalgia for the time of £1 pints costs £350 a ticket).

‘The Green Ripper’ really captures the vibe of Touch & Go and Am Rep in the 90s, but with a keenly Scottish lilt, and transitions from spoken word to full metal fury in a blink. And you feel the fury as it seethes and rages and roars, a pure, splenetic outpouring. ‘Welcome to Mother Earth’ is a noise-rock math-mash thrash-frenzy, Metallica in a three-way high-speed collision with Shellac and And So I Watch You From Afar. Thank These People spits, roars, foams, burns. And I have to agree when they add that ‘also, the music video is really good.’

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Resin Tomb – Cerebral Purgatory

Posted: 26 January 2024 in Albums, Reviews
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Transcending Obscurity Records – 19th January 2024

Christopher Nosnibor

Every day, every week, the world descends further into a pit of shit of human making. I feel as if I’m continually circling back to this same premise to frame almost every discussion, not just when writing about music, but any conversation I have about pretty much anything. The sad fact is that there is simply no escaping the fact that it’s not just me personally, but the whole of our existence which hangs under a cloud of gloom.

Only this afternoon, my mother texted me in her usual cack-handed typo-filled fashion bemoaning the succession of storms which has battered the country this week, commenting on how she can’t get over it and asking what we’ve done to deserve such crap weather. I simply couldn’t face pointing out that things have been heading in a bad direction since the industrial revolution and that we’re pretty much driven off a cliff at full speed in the last fifty years thanks to capitalism, and what we’ve done to deserve is fucked the planet with greed. She probably wasn’t really looking for an explanation, and likely wouldn’t have appreciated or even understood if I’d given one. Meanwhile, wars are raging around the globe, and escalating on a daily basis. And because we don’t have quite enough death and destruction, the state of Alabama has seen fit to pilot slow and painful executions by nitrogen gas. What the fuck is wrong with the world? And is it any wonder we’re experiencing a massive mental health crisis?

In the face of all of this, you do what you can to get by, and while many will advocate meditation and calming music as an alternative, or supplement, to medication, catharsis can also provide a much-needed means of release. And after releasing a couple of well-received EPs, Australian band Resin Tomb have dropped their debut album, Cerebral Purgatory. It’s a title which pretty much encapsulates the condition of living under the conditions I’ve outlined above – and purgatory is the word, because there is no escape and it feels neverending. The first track, ‘Dysphoria’ perfectly articulates the existential anguish of life in these troubled times. Again, the title is spot on: I frequently see – and have likely made my own – mentions of how we are seemingly living in an amalgamation of every dystopia ever imagined. But what is the psychological response to this? Dysphoria: ‘a profound state of unease or dissatisfaction’, the antonym of euphoria. Much as I do sometimes feel like cheering humanity to the finish line in the race toward self-extinction, for the most part, I feel not simply gloomy or pessimistic, but a deep sense of anguish and anxiety, not to mention powerlessness. And I am by no means alone – although it’s more apparent from time spent on line than conversations with friends, family, or colleagues, perhaps because people tend to shy away from heavy topics for the most part, and instead prefer to shoot the breeze about the weather. But ‘Dysphoria’ is a brief, brutal blast, gnarly mess of difficult emotions articulated through the medium of full-throttle guitar noise and vocals spat venomously in a powerful purge.

As their bio puts it, ‘They’ve forged their own sound which is a remarkably cohesive mix of dissonant death metal, gravelly grind and somehow even thick, blackened sludge.’ And yes, yes they have. And it’s a dense, powerful, racket they blast out. There’s little point in drawing on references or comparisons: there are simply too many, and they all tumble over one another in this cacophony of monstrous metal noise, a flaming tempest of gut-ripping heaviosity.

‘Flesh Brock’ packs tempo changes and transitions galore, packing more into three minutes and eight seconds than seems feasible. And in packing it all in, the density reaches a critical mass which hits with the force of an atomic blast.

Four minutes and twenty seems to be Resin Tomb’s sweet spot, with four of the album’s eight tracks clocking in at precisely that. And when they do condense so much energy and weight into every second, four minutes and twenty seconds affords a lot of room.

The title track comes on with hunts of Melvins, a mess of overloading guitars and a bass so fucking nasty and so forceful it could shatter bones, melding to deliver a colossal bastard of a riff. ‘Human Confetti’ comes on heavier still, pounding away with a pulverising force and playing with elements of discord and dissonance in the picked guitar line – and while the lyrics may be indecipherable, the title alone conjures a gruesome image.

If ‘Purge Fluid’ and ‘Concrete Crypt’ again convey their fundamental essences in the titles alone – and these are absolutely brutal, punishing pieces – the album’s final track, ‘Putrefaction’ absolutely towers over the murky swamp of black metal and grindcore with a dramatic, nagging picked guitar and a cranium-crushing wall of noise. Holy fuck. It hurts. And good. Angry is good, and better to channel that anger into art than knifing people in town on a Friday night. That’s one for another time, perhaps. At this particular moment, we have this – an album so heavy, so violent, it’s an exorcism.

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Tyrannus / Magicide – Tory Punching Music

Posted: 16 December 2023 in Reviews, Singles and EPs
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Fiadh Productions – 15th December 2023

Christopher Nosnibor

My love of a good split release is something I’ve effused about variously here and elsewhere, and in a way, the contents of this particular split is pretty much secondary to the sentiment. The last thirteen years in the UK have been absolutely fucking shit. That’s not an opinion, it’s a fact. We can’t blame the government for the pandemic, but everything was shit a long time before that, and besides, we can blame them for the shitshow handling of everything, and for the way these disaster capitalist cunts milked every last penny of profit from it for their mates and their vested interests, their undisclosed shareholdings and all the rest.

And I’d keep hearing people defending Johnson, saying ‘he’s doing his best’. Only, he wasn’t. The dishevelled cretin would roll out of bed, half-cocked and probably half-cut after one of the lockdown parties he claims he didn’t know about, babbling bollocks, his only interest being self-interest. And the worst of it is that he wasn’t even the worst. And yet still people defend them, still people vote for them.

I remember watching the news after the last election, and a woman in her 70s appeared being interviewed on a street in Peterborough. She went on about how she was ‘thrilled to bits’ to have the Conservatives back and to have a Conservative MP: she ‘turned out in the pouring rain’ to put her ‘little cross’, and tells why she voted conservative, and how pleased she is that they got in:

“Well it’s the education system really. Oh, and the homeless. So many homeless people here, I’ve never seen it like this.”

And why’s that then? After years and years of Conservative government, you actually buy the line that they’re the part of change? When you say ‘the homeless’, what do you expect this government to do about them? Hire 20,000 more street cleaners by actually retaining 10,000 existing street cleaners and hiring 10,000 more over the next 40 years to come and toss them into refuse trucks? Or round them up into camps and line them up for euthanisation? I’m guessing she meant clean up the streets rather than help them, because well, where’s the fiscal value in that? Anyway, good luck with recruiting minimum wagers to dispose of the bodies once you’ve closed the door to all the Poles and other EU nationals who are currently propping the country up by doing the jobs no-one else wants.

I feel the rage. Every single day. And I feel the urge to punch Tories, and their voters, every single day, too. The current crop of Tories are fucking fascists, and anyone who supports them is complicit.

This EP’s three tracks are a head-shredding blast. Tyrannus bring us ‘Bricks And Flesh, Ashes And Iron’, five minutes of blastbeat-driven snarling black metal that’s both fast and furious, not to mention utterly relentless. It gets the pulse racing alright,and as dark and gnarly as it is, it’s pure, it’s raw, it’s exhilarating, and the guitar solo is absolutely wild.

Magicide give us two tracks, each a minute and thirty-nine seconds long. The contrast is the perfect reminder of the joy of the split release: their offerings bring a different shade of brutality, of pulverising pace. It’s a new hybrid, too, combining frenetic drum ‘n’ bass beats and an industrial edge which calls to mind turn of the millennium Pitch Shifter when they moved away from guttural industrial to create a beat-heavy, post-Prodigy Nu-metal hybrid. Black metal with tripping, stuttering rapidfire drumming, this is simply eye-popping. Thick, trudging riffs growl against grinding percussion and explosive breakbeats. There’s a load of shouting and growling, but the only audible lyric comes when everything pauses for a split second, and the line ‘this is Tory punching music’ rings out crisp and clear, in a strong Scottish accent.

And it is. The EP is full-throttle, an adrenaline rush that really gets you pumped. The message is clear and hard to disagree with for anyone with a brain or a soul. Whether you’re on board with new new labour or not, fuck the Tories. And feel the rage through this EP.

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Watch: ‘Restos’ by Karnak Seti

Posted: 7 December 2023 in Recommended Streams and Videos
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Two years following the release of their Dead End EP, Portuguese melodic death-metal group KARNAK SETI are ready to drop a new EP titled Restos on January 12th.

Throughout four new tracks, the four-piece now comprised of António Jesus on guitars, Cláudio Aguiar on bass, Luís Erre on vocals and Luís Freitas on drums, continue to churn out a powerful and melodic combination of thrash and death metal elements.

Listen to leading single and title track ‘Restos’ here:

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Since 2001, Karnak Seti have consistently blended all the very best elements of thrash and melodic  metal, having released three demos, four studio albums and their latest EP Dead End, proving they’re one of most resilient and determined coming from the Portuguese island of Madeira.

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Watch: ‘Nausea’ by Farsot

Posted: 23 November 2023 in Recommended Streams and Videos
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Avantgarde black metal outfit FARSOT unveil the first disturbing video single ‘Nausea’ taken from the Germans’ forthcoming fourth album Life Promised Death, which is scheduled for release on February 16, 2024.

Watch the video here:

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FARSOT comment: “The first video single, ‘Nausea’, which is taken from our forthcoming new album Life Promised Death deals with the radical realisation of nothingness”, vocalist X.XIX writes. “Within the absurdity of life we are like numbers without any deeper meaning. We are stuck in our roles and alienated from ourselves, which makes life feel surreal and sickening.”

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Listen: ‘The Primitive Covenant’ by Cirkeln

Posted: 14 October 2023 in Recommended Streams and Videos
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Cirkeln, the black-metal project of the Stockholm-based underground musician known as Våndarr recently unveiled another from track his third album The Primitive Covenant, which is set to be released on November 3rd via True Cult Records.

“Writing this song was probably the most fun I’ve ever had writing for Cirkeln”, says Våndarr. “Usually, the process is quite laborious and takes a long time. There´s rarely a spark of inspiration that then flow naturally into the recording process. But, with the Witch Bell I knew I wanted to take a rawer approach to writing and recording. At that point I knew the mission of the record was to strip away and get down to the basics. I set up the recording as close to a live scenario as I possibly could in my living room-based studio. This meant that the drums were laid down first and then I tracked all the guitars and all the bass in one take for each instrument. There was no editing or refining of the recordings after the fact. There were rarely even second takes. I think this gives the song a sense of unapologetic ugliness and momentum. There was no click track, so the pace of the instruments is entirely dictated by listening to the drums. It’s not the tightest Cirkeln track – but to me it’s the one that sounds the most alive. I also wanted to experiment with incorporating a different vocal technique and style on this album – and the Witch Bell is one of the best examples of this. To me, this is the point where Cirkeln doesn´t allow itself to be confined by one idea of what Black Metal is. There’s more than one shade to darkness.”

On the follow-up to his critically second album A Song To Sorrow, Våndarr is once paying homage to the forefathers of black-metal, yet this time The Primitive Covenant sees the Swedish musician incorporating more elements of old-school thrash-metal, primeval death-metal and even punk.

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