Incantation – Onward to Golgotha [1992]

Incantation has been one of the most consistent long-running death metal bands, releasing killer material on almost every release they’ve put out since forming way back in 1989. Their debut full length “Onward to Golgotha” is one of my personal favourite death metal albums and a total classic of the genre.

Combining a crushing guitar tone and some truly sinister riffs, some of the most guttural vocals ever achieved, interesting drumming and an atmosphere blacker than the Guinness I’m drinking as I write this review, Incantation created a truly evil and cavernous sound that many have since tried to top. Only few bands have come close to achieving such a feat.

The writing on this album is absolutely top-notch. While the songs do follow a similar formula, each one still manages to have its own flavour and fair share of decent riffs. There are moments that will cause your head to bang uncontrollably and moments that will suffocate you in total darkness. Incantation’s formula has always been to suck you in with infectious riffs and then hammer your skull in with that bone crushing bottom end.

Songs like “Devoured Death”, “Unholy Massacre”, “Christening the Afterbirth” and “Profanation” will stick in your head and destroy you from the inside out. It’s a shame that this particular line-up never recorded another Incantation album, as what they achieved here was truly something special. Old-school death metal perfection, if you ask me.

Highlights: 

Devoured Death

Unholy Massacre

Christening the Afterbirth

Profanation

Final Rating: 10/10 Legendary

Conqueror - War. Cult. Supremacy. [1999]

Your old mate Vagabond has been a bit busy with actual real life recently, so I haven't had much time to contribute to Nightmare Reality. With that being said, I've decided to transfer over some of the reviews I wrote last year for my "Arisen From The Crypt" monthly special which I stopped doing once I started doing old-school reviews on here....

Conqueror formed way back in 1992 and featured J. Read (Blood Revolt, Revenge, Black Witchery, Axis of Advance, Cremation, Kerasphorus, Arkhon Infaustus) on drums and vocals and R. Förster (Blasphemy, Domini Inferi, Revenge, Godless North) on the axe.

They played the most unrelenting war metal ever recorded. Constant blast beats, insane vocals that make your average black metal vocalist sound like Madonna and extremely fast distorted riffs all over the place are what to expect here, although it’s best to go into a release like this with no expectations, because whatever you’re expecting will be wrong.

In all honesty, this is the most savage album I have ever laid ears on. Most people who listen to “War. Cult. Supremacy.” will hear nothing but mush and noise, but the ones who actually “get it” will hear complete, utter primitivism and barbarity. This release is an audio war against humanity. No one is safe.

I have no other words for this. Get your hands on this any way you can and prepare to have your perspective on “music” changed forever.

Highlights: 
The whole thing.

Final Rating: Legendary [10/10]

Demolition Hammer - Tortured Existence [1990]

Bands like Exodus and Slayer wish they had the intensity that Demolition Hammer had on this record. This band might not have been nearly as big as the aforementioned bands, but they didn't lack any of the catchiness or violent energy to be at the top of the thrash scene; they just showed up too late. Around the time "Tortured Existence" hit the metal underground, a lot of thrash bands were already fading out or completely changing their sounds to appeal to a wider mainstream audience (hopping on the groove metal train or even going nu-metal), but not Demolition Hammer. This group could have hopped on the death metal bandwagon of the early '90s, but instead released some of the most savage thrash ever, right up there with bands like Kreator, Morbid Saint, Dark Angel and Sadus. 

Listening to these 9 tracks will almost guarantee a headbanging marathon. From the insane opener ".44 Caliber Brain Surgery" to the closing monster "Cataclysm," there will be several moments throughout that will make you want to awaken your inner neanderthal and fuck everything in sight up. ".44 Caliber Brain Surgery" and "Crippling Velocity" are definitely the two most violent songs on "Tortured Existence," as they effortlessly blend ferocious thrash riffage that is beyond fast with heavy, crushing passages for maximum chaos to ensue. In addition to being speed freaks, the band also provides plenty of music that simply destroys. "Neanderthal" and "Gelid Remains" feature stomping riffs that could be rated on the richter scale. The guitarists for this album also like to duel each other when it comes to the solos. Every song has plenty of back and forth solos that range from shredders to complete whammyfests, and they add just a little more awesome to each track. 

In addition to being varied with their guitar aesthetics, Demolition Hammer is much more than just a brutal thrash act, because their music is entirely memorable. "Infectious Hospital Waste" just might be one of the catchiest thrash songs ever recorded, and the breakdown of the song sends chills down my spine every single time. There are terrific gang (riot) vocals throughout this album, and the listener can't help but shout along with them because they're that damn catchy. Vinny Daze's stellar performance behind the kit also propelled this record's music to another plateau, as the drumming pushed the riffage and tempo far and beyond at points. In addition to providing some decimating vocals, Steve Reynolds also brings some low-end heaviness with his bass playing. The bass tone is thick and monstrous, making its presence felt all the time; "Paracidal Epitaph" and "Cataclysm" both feature some great playing from the brilliant frontman. "Tortured Existence" is definitely one of the most violent thrash albums to ever be released and is a record that I can always come back to and enjoy time and time again. There aren't many thrash albums that I prefer to this one and very few top it, and surprisingly the band would top it with their next skull-fracturing release. 

Highlights

".44 Caliber Brain Surgery"

"Crippling Velocity"

"Infectious Hospital Waste"

Final Rating

Legendary [10/10]

Deathrow - Deception Ignored [1988]

I’m sure many who first encountered the infamous ‘’Raging Steel’’ will be in for quite a shock when they hear this, their third effort, ‘’Deception Ignored’’.  Deathrow started as a speed/thrash group, adventurous and dynamic, and keeping certain aesthetics of the early Germanic thrash metal sound, hinted in the sublime savagery, or the crude malevolence, but never has a band been through such an anomalous change. ‘’Deception Ignored’’ is not a step up from its predecessor, it’s not two steps up, not three. It’s a hundred steps ahead its previous version. Over only one year, Deathrow enlarged their arsenal to the size of a modern army, going through a most dramatic change from what used to be an army no more sophisticated than Neanderthals, sharpening their crude weapons. Don’t get me wrong, I quite enjoy ‘’Raging Steel’’ (although I can’t say the same thing about the debut album) in its ways of simplistic butchery and dissection, lashing forth primal Teutonic speed/thrash, but this is something else entirely.

The year is 1988 and there already a far more complex band on the run: Megadeth. Even though Deathrow came later than the US giants and released two records that  were easily outshined by its peers, ‘’Deception Ignored’’ is a massive ‘’Fuck You’’ in the face of Dave Mustaine, making his skill with the guitar look like a chimp toying with a harp. It’s still very early, considering that the major influences that pioneered technical metal in general rose not until the early/mid 90’s. Deathrow manage to even surpass those guitar freaks at their own game. ‘’Deception Ignored’’ is an endless, prolific gate of riffs, keeping you busy for every second that passes, with any sort of trick, technique or strategy that you can think of. I’m flabbergast each time I hear the riffs, and I’m more amazed that they’re fabricated purely out of raw material and technical prowess, no pedals, no machines whatsoever; only savvy musicianship.

The riffs that ‘’Deception Ignored’’ spews are absolutely arduous brain bogglers. Each riff, each note is static flash of super-vigorousness, progressing simultaneously and incessantly, while both torturing your brain muscles and ripping, shredding through heaps and heaps of flesh, robotically slashing and trimming its way into who knows what. As fantastic as each riff is, they’re also enveloping and totally captivating, precise and decisive, and ridiculously melodious. ‘’Deception Ignored’’ houses many thundering powerhouses of crushing, vivacious thrash, but it’s the subtle fluctuations that go on in and above the strident bolts that bedeck the compositions. Each song is an even more tiresome composition yet it’s also one that’s even more entertaining, and the songs follow each other with no breaks (expect for the one minute piano intro on ‘’Tricton’’), keeping busy with rapid incursions all the time. ‘’Deception Ignored’’ is excessively decisive and direct yet at the same time it’s exceedingly tricky and deluding.

The melodious side of ‘’Deception Ignored’’ offer both the possibly most technical side of thrash metal as well as representing complex classical music. Many of the melodies that flow with the stream of chugs are classical music notes played on guitar, and they sound especially clever with the thin, metallic surface engulfing the tone. A hint weaker, and the record might not have given off the anger properly and consistently, and a bit more distortion only meant that the notes would have all tangled and drowned amongst themselves. The vocal work on ‘’Deception Ignored’’ is just as schizophrenic as the wonderful guitar patterns that adorn it. They’re vicious but at the same time high-pitched and passionate when need be and despite appearing at seldom amongst the current of compositions, they make the best of it. With the songs following each other consistently, and each song consisting of near a thousand notes(or even more maybe), it is naturally hard to carve out the distinguished features of each track, and I still have some trouble with it, but once you get to know the songs, you’ll see each has its own character, and each one is a different excursion of the many-faced apparition that is Deception Ignored.

‘’Events In Concealment’’ introduces a mere eighth of what ‘’Deception Ignored’’ has in store for the listener, channelling between verse and bridge structures with ease while formulating riffs that both reek of Slayer, Exodus, Metallica and Deathrow’s own traits, semi-technical barrages of strident lashes. ‘’The Deathwish’’ is all about sudden strokes and lighting crashes that come and go like a tide sweeping across a try beach – only much faster. ‘’Triocton’’ is the second opus of the album along with ‘’Narcotic’’, gnawing the listener’s mind with visceral technicality and superior rays of chaotic thrash melodies, with certain angular sections that highlight the drums, and their accent giving beats. ‘’N.L.H.M’’ is relatively concise and it fits harmonious, almost sombre melodies into the stubborn thrash texture, bringing us both day and night within just three minutes, and ‘’Machinery’’ is callous incursion of dynamic, exciting thrash madness, queer and jumpy rather than completely tangled, but the brain suffers yet another exercise with ‘’Narcotic’’ as it’s dominated with rhythmic stomps, bobbing you up and down, featuring almost bluesy guitar riffs. The fun parade is concluded with ‘’Bureaucrazy’’ yet another slab of brisk zig-zags and pulls, and with it, the hardest mind exercise you ever had ends.

‘’Deception Ignored’’ is musically supreme to any of its peers, and slam in the face of any who imagine they can make it more complex. It’s the highest calibre of technical metal, and even its fellow countrymen eluded it during the time it was released, it still reigns supreme, at least for me. Despite the fact that I love it, and cherish it, it’s still one test that I don’t frequently take, due it’s particularly tiresome nature, and its sweltering spasm of riffs. ‘’Deception Ignored’’ is absolutelt brilliant, flawless, overwhelming and inaccessible for those who are not esoteric or zealous about its way. It’s peerless, but in a far more brain tangling way than you think.

Highlights

''Events In Concealment''

''Triocton''

''Narcotic''

''Machinery''

''Bureaucrazy''

Final Rating

Legendary [10/10]

Artillery - By Inheritance [1990]

Technical music has never been my favorite cup of tea. Anytime there is a technical (or progressive as both are pretty interchangeable) tag added to a type of music it automatically turns me off from checking out the music, but there are quite a few bands out there who have done it right. Coroner, Demilich, Deathrow, Gorguts, Heathen and few other notable names are ones that I've come to love because of their ability to create memorable music that isn't just a bunch of guitar tech-wankery, but none of those bands created the kind of sound that Artillery did on "By Inheritance." In fact, no other band could hold a candle to the Danish masters' gift of blending technical magnificence with melody, thrashing riffs, insane vocals, clean and acoustic guitar passages and everything else that makes this record the flawless masterpiece that it is. 

The main reason for the absolute brilliance of "By Inheritance" stems from the impeccable guitar duo of the Stutzer brothers. Saying that every song on here has great riffs would be a massive understatement, because there are riffs on every track that are to die for. The intro riff to "Khomaniac" is fucking legendary and highly memorable, plus the riffs later on in the song are just as tremendous (one of the reasons why this is one of my favorite thrash tunes of all time). "Beneath the Clay (RIP)" features stellar riffs that rival those created by the man himself, Megadave, as the guitars' rhythms blaze by with a rapid fury of ever-changing notes and frets. But it isn't just the thrashing riffs, it's also the Stutzers' ability to weave clean guitar melodies and passages in and out of the thrashing mayhem effortlessly, creating an opera of incredible metal music that seemingly never ceases. The title track is the perfect example of Artillery's signature sound and the remarkable chorus is an essential for any metalhead. "Don't Believe" is another track that captures the beauty of the acoustic sections and the frenzy of the distorted guitars nicely for another classic, though that shouldn't surprise anyone by now. 

Seriously, this record could have been an instant classic due to the riffs and other guitar parts alone, but Flemming Ronsdorf and the rest of the band stepped their game up just as much. The drumming isn't amazing in every song, but the intro to "Beneath the Clay (RIP)" is unforgettable and the fills on "Life in Bondage" are worthy of some praise as well. Thorslund's performance on the bass isn't mindblowing like the Stutzers', but there aren't any negatives to his playing either. Ronsdorf's vocals are almost as much of a highlight reel as the guitars, as he can do it all. He was found clean singing (and quite well) on "Don't Believe," hitting high falsettos on "Beneath the Clay (RIP)" and shouting his fucking lungs out on "Bombfood," which is one of the key reasons as to why that song has arguably one of the catchiest choruses ever heard. "By Inheritance" is basically the answer to the question "What more do I need in life?" Because you're not really living until you've heard this record. 

Highlights

"Khomaniac"

"By Inheritance"

"Bomb Food"

Final Rating

Legendary and Beyond [10/10]

Iron Maiden - Powerslave [1984]

There's not a single metalhead out there that hasn't heard of Maiden and at least a few of their most essential songs, if not whole albums. Going strong and growing stronger with each release, Maiden forged an unbreakable barricade of classic albums, consecutively releasing five albums within just five years, starting from 1980's infamous ''Killers'', to this, their eternal and timeless classic, ''Powerslave'', an album so majestic that it's condemned to stay a virgin for infinity. Maiden already found the sound that would use for the next 9-10 years with ''The Number Of The Beast'', but on Powerslave, everything is established perfectly and every single detail is worked out masterfully; from Steve Harris's bumping, groovy bass line, to Nicko's simple yet balanced drumming, to the beautifully worked out harmonies and eccentric leads and melodies, to Bruce's dominating voice that soars over everything.

The songs are nothing extremely intricate really, but they're displayed so extravagantly that's its hard to omit them. The clean, warm atmosphere and production quality provides viability for the riffs and renders them clean, and melodies sound sharp and vigorous as they're calm and melodious, beautiful. Most verse sections of the songs are driven with power chords and typical NWOBH gallops and chugs, but an occasional narrating melody also seems to be prominent during certain passages. The luminous effect of the melodies is what makes this album so special, but the delivery is also fantastic as the songs never lack life energy or any sort of garnishment to improve themselves. The music is as soft as it can get, so there's really no need to add anything decorative into the mix, and as mellow tides of harmonious melodies effortlessly, swiftly roll into a catchy little gallop, you'll be too concerned with the efficiency of the music to give a fuck.

As important as encompassing aspects are, it's obvious that its the real musicianship here that makes the music special and the perfect adjustment of the delivery that disables any nitpicking. Seriously, how can a band be so effectively balanced and coordinated... and Maiden aren't even trying to be pretentious here. It's hooks are gripping yet so polite that you'll basically allow them attach themselves to your flesh, doubtless just another piece of meat out of many, many others who have fallen into the hooks of ''Powerslave''. The epic side of Maiden kicks in substantial amounts of time on this album, which is another difference from all the other albums, because on ''Powerslave'', copious amounts of riffs are choruses are driven into epic territory, and we have Bruce's amazing vocal work to thank for that. Take the chorus on the title track for example. A  canorous quartet of back up vocalists murmuring, while Bruce's voice soars on top of the main material, which is basically three durable power chords. Three fucking power chords, two back up vocalists and one, ear piercing tone soaring with resonance. Three fucking chords, people! It's absolutely perfect yet so simple, and you can't top that, no matter how hard you try.

The durability of the album keeps renewing itself as the album progresses, and you even keep the enhancement as you will be too baffled a listener to even notice. ''Aces High'' is an exceedingly robust start for the album, wherein thundering melodies of swiftly channel in and forth, as if moving on butter. Yes, butter. And its chorus has to be one of the best metal choruses ever written both music and lyric-wise.

''Run, live to fly, fly to live, do or die
Won't you run, fly to live
Live to fly, Aces High''

''Two Minutes To Midnight'' is a glamorous 70's metal flick, its swaggering array of bluesy riffs and excellent bridges never failing inconsistent, as well as pumping the old metal spirit up. ''Losfer Words ''(Big 'Orra) is a basically a beautiful churning of an abundance of melodies, sharp and is crisp all the time. ''Back In The Village'', ''Flash Of The Blade'' and ''The Duelists'' all embrace the catchy momentum of classic Maiden songs, each flailing out a nifty riffs with a slightly different demeanor of its own. The title track is dripping with mystery and cryptic hints of heavy metal, and most importantly, it stands as the first ever song to entwine with Egyptian subjects, hinted in both the lyrics and the music. The title track is dotted with tiny segments of groove laden arabic riffs and scales, and even Bruce's voice has adopted a sort of mystical, ominous tone to accompany the music. And the journey ends with a rather long exploration into the ocean with ''Rime Of The Ancient Mariner'', guiding its hefty body and over thirteen minute structure most delicately, swaggering with mid paced riffs, attached to each other with subtle melodies, right before breaking into a brooding, queer hiatus. Such a classic an timeless album this is, and there's no way it can lose its virginity, not in this world. You cannot call yourself a metalhead without listening to ''Powerslave'', this is the quintessence and essence of heavy metal, responsible for influencing a large amount of the genre. It will never die.

''Tell my I had to be a Powerslave
I don't wanna die, I'm a god,
Why can't I live on,
When the Life Giver dies,
All around is laid waste,
And in my last hour,
I am a slave to the Power of Death''

Highlights
''Powerslave''
''Flash Of The Blade''
''Rime Of The Ancient Mariner''
''Two Minutes To Midnight''
''Aces High''

Final Rating
Legendary [10/10]

Beherit – Drawing Down the Moon [1993]

Finnish black metal legends Beherit formed in 1989 and have since released a ton of demos and EPs, a couple of compilations, two dark ambient albums and three black metal albums. “Drawing down the Moon” was their first full length released, but their “official” debut album was “At the Devil’s Studio 1990”, which finally saw the light of day in June 2011. A confusing discography, I know, but bear with me as I discuss their most well known album “Drawing down the Moon”.

Recorded in between April and September 1992 but released in November 1993 and produced by the bands’ guitarist, vocalist and keyboardist; Nuclear Holocausto Vengeance, “Drawing down the Moon” is a bit of a departure from their earlier, more straightforward and bestial, work featured on “The Oath of Black Blood” and “At the Devil’s Studio 1990” in that it’s mostly mid-to-slow-paced as opposed to the more fast-paced songs displayed on previous releases and features ambient interludes previously not present. 

The music itself is pretty unique compared to most other black metal released around the same time, and very different to anything that was going on in Norway and Sweden at the time. The guitars often take a step back and mix in with the vocals and drums to produce a “wall of sound” type effect, and there are also moments where slow and mournful melodies are used to pull the listener into a different state of mind before changing it up and assaulting you with more violent bestiality. Special mention has to be made for the vocals, which are generally low the mid-range growls mixed in with some weird clean sections and ritualistic chanting as well as the occasional spoken word piece. The influence of bands such as Sarcófago, Blasphemy and Sadistik Exekution are still ever-present in the music and always an underlying factor in the slower parts and ambient passages, which just goes to show that Beherit were generally more forward-thinking and experimental than their peers at the time, having crafting something that still employs a barbaric and primitive approach while creating a very eerie, dark and sinister atmosphere channeling different techniques such as keyboards and ambiance effectively.

This album is truly something special to behold, and is best viewed as a singular epic piece of music rather than a collection of individual songs. An essential black metal classic if there ever was one!

Highlights:

Salomon's Gate

The Gate of Nanna

Werewolf, Semen and Blood

Final Rating:

10.0/10 Legendary

Blasphemy – Fallen Angel of Doom… [1990]

Blasphemy is one of Canada’s most legendary bands, and one of the most influential and important black/death metal bands of all time. Formed in 1984, the band have unfortunately only ever put out four releases; their first demo “Blood Upon the Alter”, their debut full length “Fallen Angel of Doom…”, sophomore album “Gods of War” and a live album, each one a cut above the rest in terms of barbaric savagery. Right now, I’m going to ramble on about their amazing debut album…

Before going on, I will issue a warning: If you can’t handle raw and primitive black metal fueled by a healthy dose of death metal, extreme power and pure hatred, stop reading now. “FAOD” is by far one of the most primitive and extreme sounding records of all time, and it’s not for the faint of heart. To a lot of listeners, this album WILL sound like mush, due to the low-budget production job, but after spending some time with it you’ll begin to notice little details such as the bass heavy guitar tone, the pounding drum work, some of the sickest and most hateful vocals ever and the killer solos spread between some really interesting yet still primitive as fuck riffs. These songs are clearly the product of an eerie obsession with Sarcófago’s “I.N.R.I.”, the first Possessed album, mid-80’s Sodom and early Bathory. 

It’s impossible to deny the influence of such a great record. Songs like the title track, “Desecration”, the often covered “Ritual”, “Demoniac” and “Goddess of Perversity” really speak for themselves and there’s not much more to be said about “Fallen Angel of Doom…” except that it really is a must hear for a serious underground black or death metal fan and quite possibly the greatest extreme metal album of all time.

Highlights:
Ritual
Demoniac
Goddess of Perversity

Final Rating:
Legenadary 10.0/10

Metal Church - Metal Church [1984]

How fucking sweet is that album cover? It's almost as epic and amazing as the music on the record, which should alone tell you how brilliant "Metal Church" is. In 1984, there was a trifecta of power metal albums, with the two others being Omen's "Battle Cry" and Jag Panzer's "Ample Destruction" (Though, there were several other fantastic records of the US power metal genre), but Metal Church's debut record makes those two legendary records seem nearly obsolete. This album is that damn great. Every single aspect of what makes an album awesome is present here, from the vocals, the riffs, drumming, aura, and everything in between, there isn't a single complaint that could be made about these power metallers (They weren't a thrash band, despite the popular belief, which dictates that they are) and the flawless record that they created. 

The riffs are insane, whether they're the thrashing ones on "Battalions" and the greatest instrumental ever composed, "Merciless Onslaught," or the simple midpaced ones that are prominent on the title track. There's simply no way to deny the catchiness of each riff, but you've got to give credit Kirk Arrington on drums, because his drumming is equally terrific. The fills that can be found on the intro to "Hitman," as well as the intense and thunderous rhythms on "Merciless Onslaught" make all of the riffs that much better. David Wayne's vocals are another fantastic compliment to the music as they bring a different feeling on just about every track. His clean singing on "Gods of Wrath" is top-notch and can be compared to some of the genre's best pure singers, while his fast-paced vocals on "Hitman" and "(My Favorite) Nightmare" are more like those of an early thrash band. 

In addition to the thrashier songs and catchy, simple power metal tunes, there are some much more epic tracks that blow away songs by the much more epic-styled European power metal bands. The album opener "Beyond the Black" begins with a stellar clean guitar introduction that serves as the backdrop to the sample vocals, before turning into a midpaced riff that is guaranteed to get your headbanging, as well as some incredible solos (Which is a common theme on this album, as every song has awesome solos). "Gods of Wrath" also switches effortlessly between clean passages and beautiful vocals, and heavy riffage that balances out perfectly. The description of Metal Church's debut album is nearly pointless, because the only thing that really needs to be said is that it is perfect and if you don't realize this, then you need to be burned and died immediately. 

Highlights

The whole fucking album, but if I could only recommend three...

"Beyond the Black"

"Merciless Onslaught"

"Battalions"

Final Rating

A Merciless Onslaught [10/10]

Demolition Hammer - Epidemic of Violence [1992]

It really shouldn't be possible to release an album this damn amazing nearly ten years after the inception of the thrash subgenre. Thrash seemed to peak during 1986 with masterpieces like "Pleasure to Kill," "Reign in Blood," and "Darkness Descends," rendering all later output by other bands virtually a compliment to these divine creations. Still, once "Epidemic of Violence" is heard by a listener for the first time, their reaction might be similar to the reaction of someone who just ran away from a speeding bull or the survivor of a hellacious trainwreck. Demolition Hammer's sophomore release is akin to a shot of adrenaline directly into one's heart because never before has there been such a combination of brutality, catchiness, and relentless aggression in a single thrash album before. Sure, Kreator really set the standard for brutality in the thrash genre with their magnum opus "Pleasure to Kill", but Demolition Hammer took that sound and injected an amount of catchiness and an almost groove-like sensation that the entire genre was unable to successfully do for nearly ten years.

There isn't a single thing that Demolition Hammer did wrong with the music on this record. The midpaced moments are astounding in how incredibly heavy they are for a thrash act. While a band like Bolt Thrower is notorious for their undeniable heaviness and crushing midpaced riffs, there's a distinct difference in the sounds of the two bands, because Demolition Hammer didn't need to downtune their guitars as low as the death metal masters, yet their music could smash through a brick wall all the same. The intro to "Human Dissection" is devastating with its thunderous double bass drumming a la Vinny Daze and vile guitar playing that could be compared to a giant stomping through a city and the midpaced riffs on the title track could make a corpse headbang. The faster moments of "Epidemic of Violence" are equally diabolical and intense as the slower stuff, with the track "Omnivore" being a blitzkrieg upon the listener's eardrums, but a sonic assault like this has never been more catchy. 

Steve Reynolds' vocal performance on this album is a highlight all of its own. His insane barks during the slower parts of the band's music take the already brilliant songs to a level that you never thought thrash could go and his rapid-fire assault during the faster moments (Think "Aborticide" and "Omnivore") is in a word, "eargasmic," not to mention the stellar gang vocals throughout which are just as destructive. Vinny Daze won't go down in history as one of the best drummers to ever sit behind a kit, but his work on this record is beyond superb and will be the shining moment of his legacy. The soloing isn't mindblowing, but they get the job done well and they're never playing over a dull riff, so I can't bring myself to even try and complain about it. Honestly I could talk about "Epidemic of Violence" and Demolition Hammer all day, but it would be easier to just turn the volume all the way up and seclude myself from existence for 39 and a half minutes while I headbang myself silly. 

Highlights

"Skull Fracturing Nightmare"

"Epidemic of Violence"
"Omnivore"

Final Rating

An Absolute Skull-Fucking [10/10]

Deströyer 666 – Unchain the Wolves [1997]

‘allo ladies. It’s Vagabond from Witching Metal Webzine. I figured it’s about time I got around to posting something on here, so here’s my first review for Nightmare Reality.



Deströyer 666 is one of the first Australian extreme metal bands I got into, and still one of my all time favourite bands. “Unchain the Wolves” is their debut album which was released in 1997 and featured K.K. Warslut (Corpse Molestation, Bestial Warlust) on vocal and guitar duties, Ballistic Howtizer (Gospel of the Horns) on drums, Ian Shrapnel (Adorior, Razor of Occam) on guitars and Phil Gresik (Bestial Warlust, Hobbs’ Angel of Death, Mass Confusion, Long Voyage Back) on bass. It’s often (and rightly so) considered a classic album by fans.

Stylistically the songs are a mix of early black metal with melodic sensibilities a la Dissection and more straightforward blackened speed metal, definitely influenced by early Bathory. Lyrically, mainman K.K. focuses on subjects such as war, drinking, killing, fucking, blasphemy and nihilism. There’s plenty of variety to be found on “Unchain the Wolves” which can be noticed almost instantly with the huge difference in styles between the opening 10 minute epic “Genesis to Genocide” and the 4 minute thrashing anthem “Australian and Anti-Christ”. Every song on the album has its own flavour, with my favourites being the aforementioned first two tracks, “Satan’s Hammer”, “Tyranny” and the title track.

What else can I say about this album, really? It’s an absolute classic and my favourite Australian metal album. If you’re a fan of extreme metal at all and haven’t heard “Unchain the Wolves”, I suggest you stop what you’re doing right now and track down a copy. Seriously, stop reading this review right now and go buy it.

Highlights:
If you’re not hooked after hearing “Genesis to Genocide” then there’s really nothing I can do for you. But since Lister is a wanker and expects a highlights list, you should go look these up on youtube now:

“Australian and Antichrist”
“Satan’s Hammer”
“Tyranny”
“Unchain the Wolves”


Final Rating:
Legendary [10/10]

Terrorizer - World Downfall [1989]

The thrash genre can only get so heavy or so brutal before it completely evolved into something entirely different. The German bands were pushing the limits with their spastic approach to the genre, and then there are the proto-death metal bands, but there were also those crazy bunch of punks in the UK who really loved their hardcore punk, but much like the thrash acts, they needed something more extreme. Terrorizer, took the early grindcore sounds from across the ocean and injected a dose of thrash intensity, as well as some minor death metal attributes which resulted in one of the most influential grind albums ever in "World Downfall."

To make an entirely accurate comparison of this album, I would call this record the grind equivalent of "Reign in Blood." Clocking in at just a little over 36 minutes with 16 tracks, this album is a shot, no make that a few shots of adrenaline to the listener. "World Downfall" doesn't let up whatsoever, and it's because of that this album retains such a great replay value. Despite every song sounding rather similar with the same pattern of midpaced riffs that could break even George "Corpsegrinder's" tree-trunk of a neck and some highly thrashy riffs pushed to the limit by Sandoval's intense and relentless drumming, every song is memorable and manages to stand out. It doesn't matter if they're songs like "Storm of Stress" or "Injustice" that last just a little more than a minute, they're just as effective as tracks like "After World Obliteration" or "Dead Shall Rise" that make it past the three minute mark. 

Garcia's vocals on this record are great and they mesh perfectly with the music, even when the songs are reaching tempos beyond comprehension thanks to Sandoval, whose drumming is another highlight of "World Downfall." His blasts are very tight and precise, but his double bass work during more midpaced moments is also top notch. Bassist David Vincent is no slouch either, and the bassline for the intro of "Fear of Napalm" is one of the catchiest I've ever heard, although it helps that the song is one of the greatest tracks ever recorded. 

I find it impossible to criticize this album, as it doesn't ever get old or overstay it's welcome. "World Downfall" is the perfect album for those that are new to, or want to give grindcore a chance as it is definitely the pinnacle of the entire genre and can only be rivaled by Repulsion's masterpiece "Horrified," but that discussion is for another day. 

Highlights

"Fear of Napalm"

"Corporation Pull-In"

"Dead Shall Rise"

Final Rating

Ripped to Shreds... [10/10]

Bolt Thrower - War Master [1991]

Bolt Thrower absolutely needed to deliver nothing short of a masterpiece with their third full-length "War Master." After releasing two awesome albums, there's definitely a lot of pressure to make something memorable, but there's even more pressure when the album is being released in 1991, which is quite possibly the greatest year for death metal releases ever. Classic albums like "Mental Funeral," "Like An Ever Flowing Stream," "Into the Grave," "Clandestine," "The Ten Commandments" and several others were all released in the same year. Luckily for Bolt Thrower, they released not only their best album, but a flawless death metal record to be cherished until the end of time. 

Everything about this album is amazing. Karl Willetts' vocals are just as destructive, if not more, than on the first two records. When he bellows "CENOTAPH!" at the beginning of the song with the same name, it sends chills down your spine. The bass is also extremely heavy and plays a vital part in the overall sound, which by the way, is heavier than a cinder block smashing your skull. One of the more surprising improvements on this album was the solos. Bolt Thrower went from the very Slayer-esque solo style to coherent and rather memorable solos that fit perfectly with the songs here. But the real show-stealer here is Andrew Whale's performance behind the kit. Every time the double bass pedal hits, it's almost as if a shot is being fired by a cannon off in the warzone. 

Of course I'd be a fool to not mention all of the riffs. On the band's previous effort "Realm of Chaos," we saw Bolt Thrower downtune their axes and we felt each doom-laden riff and every bone-vibrating chug. On "War Master," though, the band must have started listening to the American death metal bands because they tuned their guitars back up and found a much sharper tone similar to Death or Morbid Angel, only Bolt Thrower's sound was a lot heavier. Despite the less doomy tone, the songs here are even more doomy than before. That may sound idiotic, but once you listen to the intro of "Profane Creation" or the first verse of "Cenotaph" you will understand. One of the best parts about the band's decision to doom it the fuck up, is that it makes the faster moments seem even faster, especially when the thunderous double bass pedals are following suit. 

This is easily Bolt Thrower's best work. "War Master" retains the doomy essence of "Realm of Chaos" but also has the aggression and relentlessness of "In Battle There Is No Law!" There isn't a single weak track here either. Every song could make a death metal "Greatest Hits" collection and everyone could be the soundtrack to a medieval battle. In other words, this album is perfect.

Highlights

"Afterlife"

"Cenotaph"

"War Master"

Final Rating

Perpetual Endless Torment[10/10]