SHORT REVIEWS Our twenty-third edition of Short Reviews for 2023 finds us picking through the second week of June’s new releases with moderate enthusiasm, all of which release tomorrow. I’ve done my best to showcase the most interesting works that I come across while still presenting some decent variety here but choices boil down to what sticks, what inspires or what is worth writing about. These are more easygoing than longform reviews, so relax and think for yourself — If you find something you dig go tell the band on social media and support them with a purchase! If you’d like your music reviewed, read the FAQ and send promos to: grizzlybutts@hotmail.com

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Gothenburg, Sweden-based death metal quartet Imperishable is a recently formed and now full-length ready project from key members of Vampire who present their idyllic vision of early 90’s Swedish death metal throughout the HM-2 crusted chainsawed kick of ‘Come Sweet Death‘. I wouldn’t blame folks who’d approach a record in this style with a heap of cynicism but overall this record won me over with its take on late-80’s heavy metal touched melodic death swings, its otherwise d-beaten kicking and generally Dismember+ style sound which approaches melody with proper mannerisms. I’m not the biggest fan of Nominion‘s vocalist in terms of range as the claustrophobic effect applied to his voice within the mix doesn’t give us the distance and the dread one would want from early Swedish death, all of those layers heaped on don’t really do the album any good when the guitars fill the rest of the space so completely with interest. My only real frustration with this album came with the dual guitar leads that’d soared through opener “Venomous” since this was basically the standard set for the album up front and they’d never revisited it. “Teeth of the Hydra” almost gets there but not in the same early melodeath kinda way.

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I, Destroyer is a black/speed metal band lead by Barbaroz (Haxen, ex-Churchburn) since 2003 with various line-ups featuring on a handful of demos over the years since. It’d appear they’d picked it back up more seriously, or simply found the right lineup, around 2017 as they grabbed folks from the Rhode Island and New York black metal spheres leading up to this first official mLP. The style here isn’t entirely unfamiliar in terms of Bathory-esque noisome aggression and jagged thrash riffs which focus on simple yet twisted progressions that fans of late 80’s black metal will immediately appreciate. ‘Cold Dead Hands‘ is primitive and on a tear throughout with bestial rush to the first few songs until “Prophecies of Final War” and “Speed Kills” turn to a more effective sort of speed metallic direction. Though the idea has been in practicum for quite some time it definitely feels like this EP is a first decided-upon and most confident foot forward.

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Over the course of four full-length albums Vancouver, B.C.-based quintet Dead Quiet have perfected their own unique form of organ grinding, soulfully delivered heavy psychedelic/stoner rock with a retro hard rock swing to their rhythms. Their use of keyboards generally showcases similar stylistic reach found on Hex A.D.‘s work but from a less progressive rock fed direction than ‘Guessing Game‘-era Cathedral, instead landing closer nearby Dunbarrow if they’d more interest in Hammond organ lead grooves and pre-’73 Deep Purple in general. This is still quite a step beyond their 2017 released second album which I’d reviewed it back in the day, the evolution is entirely admirable as it seems their unexpected lean away from harsher belting stoner metal and doom in favor of this unique sound is paying off. The only major criticism I have is that the keys dominate with a singular tone much of the time and more variety might create a sense of separation beyond the choice of taking it to rock church (“High Roads”) or gathering around a piano (“Leave the Light On”.) The only song I’d really had trouble with here otherwise is “Dying to Live Again” where the vocals fall off a few times in a strained manner.

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This sixth full-length album from Finnish dark progressive neofolk act Tenhi suggests a return to the shores they’d met circa ~2006 or so where the cinema that would develop on albums like ‘Saivo‘ had only been hinted at within chamber-resonant folk pieces which were sombre but not yet funereal in their walk. Ten years in the making and perhaps evolved from many drafts ‘Valkama‘ begins with a handful of tragic, slow-walked pieces which are far prettier and warm than expected beyond their reverent pacing. As we reach “Rintamaan” it is as if the spectacle of the watchers on the shore now takes a drive through a small village, a gang of choral voices and very 70’s prog-folk instrumentation begin to feel whimsical despite the warm growl of the main vocalist. Something is lost, a close and somewhat nude exposition straight from the performer, whereas something is certainly gained in the form of a varietal womb of narrative explored in patient meter. The tradeoff works very well for my taste but doesn’t quite cut their best ideas off before hitting the five minute mark, leaving me wondering why this ~71 minute record couldn’t have been half as long.

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The first time I put this tape on it basically sat there on repeat for four hours straight. There is a proper swipe of circa ’86 metalpunk eyeliner applied to this self-titled debut from Brahmashiras a Vladimir, Russia-based trio who give dark metallic spin to the heady gloomer hardcore punk underground of today. These folks almost give a blackened affect in terms of the obscurant, ranting and barked into the abyss style of vocals but they’re otherwise kicking through a pretty inspired deathrock droolin’ crawl and kick which fans of mid-to-late 80’s dark punk will appreciate off the jump. Memorable, full of wide-eyed morbid energy and yet still likely to inspire a sweaty heap of a mosh with their movement this is a pretty damned stunning first shot. Literally don’t touch a thing beyond sharper enunciation on the vocals and a bit more clanged-at definition to the bass guitar tone.

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Cagliari, Sardinia-based throwback heavy blues rock quartet King Howl are on the road as a point of character within the greater narrative of this stoner rock meets late 60’s rock n’ ride style full-length. ‘Homecoming‘ is no less of a yesterdays-minded study as their previous records but this time around they’re covering even more ground as they touch upon buzzing early days heavy psych and a few more experimental pieces here and there. Slide guitar, harmonica and Hammond organ aren’t at all out of place next to a fuzzed blues rock saunter and all of this works well together within buzzing, estranged desert tripping hard rock but the Rolling Stones cover and some of the vocal choices kinda take me out of it here and there, when the immersion breaks it all lands a bit sleepier and drugged than the honking introduction of Side A had promised. A big step taken beyond their last record either way.

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