THE TOP 20 ALBUMS OF THE MONTH should be self-explanatory, an ordered ranking of twenty albums that’d resonated most throughout this month. If you’re new to the site, the tendency is heavy and/or surreal music. Choices are selected based on temporal immersion, personal connection, impressive style, point of view, aesthetics and with consideration for the lasting value of each selection. All choices are ultimately personal and come without consideration for populism, nepotism, cronyism, or any outside factors including perceived “relevance”. Writing about music is a passion I afford as much time as is manageable and I am grateful to have so much to choose from. Thank you.

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I. This month on MystificationZine.com we found a shit-ton of quality death metal, some insane thrash metal outliers, and various other oddities to round on the month. As much as I try to cover there is a vast, vast number of overlooked releases that are yet worth seeking out. Go and set upon the world with your prowling ears to the ground.

II. Mystification Fanzine (the digital zine, NOT the website) and the Patreon campaign is on hiatus for a few months, I won’t charge anyone for August since I won’t be able to keep up with the pace of monthly issues. Again, I’m pausing the Patreon digital/PDF zine issues, not the website. The June/July issue PDFs are still coming, as I still have some interviews to send out and one painting to finish.

III. In 2024 written reviews will now have a video component which will post at the bottom of each review or feature at the end of each week (Thursday or Friday) If you enjoy these please consider following on YouTube. We are hovering at 990 (!) subscribers and my main goal is to hit the 1,000 mark in 2024.

IV. As always I’d like to express my gratitude for the bands, labels and PR firms who choose to work with me. Thank you.

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#20
ARTIST:	LORD BUFFALO
TITLE:	Holus Bolus
RECORD LABEL(S):	Blues Funeral Recordings

Not my usual thing but an album I’d found myself fixated on for a few weeks. Should appeal to fans of popular psychedelic rock jams and the surreal shades of David Eugene Edwards.

“Fusing folken Americana with the modern fixation of jam-heavy psychedelic rock Austin, Texas-based quartet LORD BUFFALO have always had a fantastic idea behind their gig but the execution, the vocal presence and the more direct songcraft needed to make a connection hadn’t fully arrived on their sophomore LP (‘Tohu wa Bohu‘, 2020) a handful of years back, tending toward the heady drift of All Them Witches without fully touting their ability to approach deep-set inspiration from Wovenhand and Nick Cave. This latest album surely indulges in mud-folkin’ psychedelic tangents (see: “Slow Drug”) but they’ve hit us with a more vocally driven, tuneful song to start as they to get the point more often. I’d particularly enjoyed the bleak heartbeat-attuned thump of this record as much as the last but the vocally driven songs are clearly just as much of a strong suit, they’ve certainly left room to go in either direction as much as they’d like.“

>> SHORT REVIEW <<

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#19
ARTIST:	NEKROTIK SERVITOR
TITLE:	ה​ת​ג​ש​מ​ו​ת ה​מ​ו​ו​ת
RECORD LABEL(S):	Self-Released

Nekrotik Servitor is a solo project from Serpent Above who is best known as the guitarist/vocalist for Venomous Skeleton and in this case his work is hypnotic, bestial, and deeply atmospheric in its treatment of black and death metal in the forceful and the abstract. Heavy use of guitar effects and surrealistic sound-scapes, which range from rotten dirges and echoing black-splattered halls speak to primitive and sinister themes. I’ve found the attack of these rhythms addictive, entrancing to the point that I’m still stuck on this record after a few weeks but admittedly needed more time with it to place it higher on this particular list.

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#18
ARTIST:	GODS & PUNKS
TITLE:	Death
RECORD LABEL(S):	Electric Valley Records

Though I would say that the typical work from Brazilian psychedelic/stoner doom and heavy rock band Gods & Punks isn’t my thing this album is particularly good as they focus on psychedelic doom style pieces a bit more, still touching upon their 70’s progressive rock affect but not too heavily as these dire, expressive pieces take us on a trip through near-death and back again. I don’t know if this is a permanent change to their style but easily their most profound and personal record to date.

“Inspired by the not-so ethereal detachment felt within a near-death experience this fifth full-length album from Rio De Janeiro, Brazil-based psychedelic doom/heavy rock quartet GODS & PUNKS walks the listener from unsuspecting thrive to a comatose state ’til at rest in a near void state of recovery. Having faced ones own morbidity and walked out the other side ‘Death‘ is less a depiction of the adversary and more an illustration of where the author’d found a new point of actualization, an experience to add to the psyche going forth having seen the abyss. Still tinged with the 70’s proto-metal soul and desert-bound psych of past releases this latest album comes with no less of a trip to take in hand but also arrives with a great deal of change applied. It’ll be a very different, far more serious-faced experience than before yet no less remarkable a doom-rock release from this thus far prolific, ever adaptive troupe.“

>> FULL REVIEW <<

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#17
ARTIST:	DISKORD / ATVM
TITLE:	Bipolarities
RECORD LABEL(S):	Transcending Obscurity Records

It isn’t all that often that split albums bring much worth to the table as they are often either showcases for lesser known bands, re-packaging of EPs or demos, or simply studio tossed leftovers. When it works it is usually because both bands totally rule and in this case they both rule and both bring new original material to the table worth hearing. As a big fan of each group this one was a joy to dig into and does well to represent the tendencies of each group in their current state.

“Circuitously strafing trodden paths in delivery of their dual-mode challenge(s) to the well-tested ear this pairing of two remarkable contemporary progressive death metal bands is charmingly apt, a barrage of the idiosyncratic yet brilliantly readable work per distinct troupes, each making spirited work of prog-death forms in the abstract. The time-and-dust tested vision of Norwegian virtuosic aggressors DISKORD and the burgeoning-slow emergence of kaleidoscopic n’ wilding Londoners ATVM in the long form represent a relationship feasibly spread between two poles, each cracking away their own far-reaching extreme yet their work is nonetheless related by similar elemental terra firma and outrageous climes. On ‘Bipolarities‘ symbiosis and distinction are feasible and for the duration of these ~36 minutes we are in a realm of bold strokes, challenging contrasts, and dare I say some of the more original death metal rhythms we’d deign to categorize as canonical in inspiration yet outlier in expression today.“

>> FULL REVIEW <<

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#16
ARTIST:	DEATH RACER
TITLE:	From Gravel to Grave
RECORD LABEL(S):	Dying Victims Productions

Any fan of black/speed metal old and new who appreciates the simple morbid touch of the eastern European hand in its movement should enjoy the raw, filthed-up but mostly tuneful rub of Death Racer on this debut LP. I don’t know that the theme is more than an amusing gimmick and I suppose that is not a big issue considering what type of worship they’ve gone with here. Either way I’d had a great time with this one and think it will stick in mind for folks who appreciate evil speed metal and Venom inspired thrash in general.

“You’ll see smoke and fire long before you ever see blood on the raceway, when they’re waving the yellow flag and if there’s gore to see it’ll be flaming dismemberment and incinerated bones in most cases. Surrounded by shrapnel and howling for blood our reaping crew in the now scorched pit is Linz, Austria-based black/speed metal quartet DEATH RACER who insist you look to the competitive world of speed demons and rally cars for this inspired, largely classicist debut full-length album. Appreciably morbid, echoing in daemonic hiss and thrashing like a strapped-in stock car racer on fire ‘From Gravel to Grave‘ is mostly just good fun in intent but that doesn’t stop it from being a heavy, menacingly delivered ‘evil’ speed metal album in the style of the mid-to-late 80’s.“

>> FULL REVIEW <<

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#15
ARTIST:	VULTURES
TITLE:	Divine Retribution Unleashed
RECORD LABEL(S):	Onyx Stone Blood

There were a lot of fine records I could’ve included in this spot but I’d end up placing this obscure Indonesian ‘old school’ death metal and hardcore influenced band’s record here for the sake of the simple efficacy of their work, the deep-reverbed Bolt Thrower-tinged stampede of it in particular. No deep thoughts to share, nothing all that original, no grand themes that I’d picked up on, just ugly and simple enough punishment with a great cavernous and kicking sound.

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#14
ARTIST:	KRALLICE
TITLE:	Inorganic Rites
RECORD LABEL(S):	P2, Self-Released

Much as I was thrilled to hear this type of progressive black metal avant-movement from Krallice once again I think I found even more fixation in the dark and transfixing ambiance featured all over this record. While I have enjoyed the experimental boon and fluxion of their work since 2017 this is maybe the one that’d connected me back to the band’s work most, I don’t know if this is where they’ll plant their feet (no reason for that at this point eh) but what a milestone it has been in terms of my own fandom.

“The last several years have found Queens, New York-founded progressive metal crew KRALLICE workshopping with different forms of authorship, performance, configuration and the results of these attempts at transmogrification have ranged from the rawest to the most celestial extremes available to a band who’d represented a new voice in avant-garde black metal starting back in the late 2000’s/early 2010’s. Their seventh album in the space of four years, ‘Inorganic Rites‘, roots itself in something akin to symphonic prog-tinged black metal presentation to start but finds elements of progressive electronic music, deeper exploration of spaced ambiance which weighs heavily here at around half the length of its ~67 minutes.“

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#13
ARTIST:	APOSENTO
TITLE:	No Safe Haven
RECORD LABEL(S):	Xtreem Music

With this latest album Spanish death metal band Aposento continue to evolve within their resurrection years, now taking on an even more directly set 90’s death metal sound, something similar to Deicide and early Sinister, and attack it with brutal intensity. Production values hit hard, riffs go for it in every case and the result is wholly classic in the way that it hits. For me this is pure pleasure listening as a fan of all things death metal not only for the purity of its sledge but the intensity of its attack. I would say this is the best album from the band to date, much as I like some of their 90’s obscure stuff.

“Now four albums deep into their post-2010’s resurrection beyond a late 90’s demise Logroño, Spain-based death metal quintet APOSENTO were on a decent enough run for their first three albums but with ‘No Safe Haven‘ it feels like they’ve finally dialed back into a sound and style which suits their original impetus. That is to say that this record might be polished to accentuate their most brutal points but conveys a specific 90’s level of death metal savagery unhindered by groove metal antics or sleepy hardcore hops. Though they’ve chosen a very specific baseline in development of vocal cadence, a point of inspiration which is all too clear, this helps to best focus the efforts of this band into the right kind of tunnel vision where all is in service to the riff yet their new-found rhythm section drives every point home with an inspired, heavy-handed touch.“

>> FULL REVIEW <<

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#12
ARTIST:	SKELETHAL
TITLE:	Within Corrosive Continuums
RECORD LABEL(S):	Hell’s Headbangers Records

If you are looking for a solid, unflinching pure death metal album which is still willing to experiment with atmosphere, pace and doesn’t hold fealty to any one particular style or era French band Skelethal offers something authentic yet adventurous here on their latest album. The first half is brutish, ancient and primitive and the second half is violent and concussive with its fiery movements and the finale is almost a bigger death metal jam as we feel their interest in experimental modes begin to creep up against tradition. Anyhow it goes places and is fully worth your time.

“Huffing deeply of the half-burnt decay piling just beyond the gates of Hell this third rite from Lille, France-based death metal trio SKELETHAL inhales choice ancient death as its primally instinctive directive, consuming all manner of auld rot before coughing up hallucinatory dread as thier main byproduct. The deep-red sputum of ‘Within Corrosive Continuums‘ acts as a better conglomerated heap, some additional definition and further adventuring within these folks’ ever-shifting approach to ‘old school’ aggression. Through a series of volatile escalations they present a style that is proudly backwards-facing toward early 90’s styled death metal characterized by its fire-whipping hand and wandering ear yet continues to stretch admirably away from the Swedish death metal obsession that’d originally inspired their work. Without losing sight of the hard-assed classicism inherent to their body of work this album expands horizons as often as it reinforces its own borders, making for an intensely radiant wanderer that never strays all that far from the furnace.“

>> FULL REVIEW <<

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#11
ARTIST:	LIMINAL SHROUD
TITLE:	Visions of Collapse
RECORD LABEL(S):	Willowtip Records

Though I’m not sure folks find any positive associations when I suggest a black metal album is “modern” I think this applies well to the work of Liminal Shroud, who’ve always done well to present technical aptitude and dramatic statement which is not indebted to wholly ancient black metal tenets, moreso based in something like Cascadian and post-black metal in its presentation. This album in particular changes the tone, lowers the outright confrontation of the first records strong performances and now appears increasingly cinematic, in service to the theme. I’d found it inspired, something different than expected but still impressive in its composition and general fortitudes. I would assume their work is headed in a more progressive direction from this point.

“Entranced by their own erosion and positing destruction as a chance for renewal the lapping waves of time against stone fixate Victoria, British Colombia-based black metal trio LIMINAL SHROUD as the forces of nature are embodied within their work, pressing on as devourers of the coastline wave-after-wave on this accomplished third full-length album. ‘Visions of Collapse‘ celebrates the futility of the organism in the wake of these forces’ persistence, accepting the nihil in mind while providing catharsis within this ruminant work. To suit this mood of dimming light and dire acceptance they’ve provided a moderne yet elaborately realized “post-black” experience, a blustering and howling ride tempered by sharp taste and ambitious folken yet progressive-lite songcraft which reads grand at its peaking intensity and nigh miserable at its lowest.“

>> FULL REVIEW <<

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#10
ARTIST:	VOID WITCH
TITLE:	Horripilating Presence
RECORD LABEL(S):	Everlasting Spew Records

Though they are fairly compared to Hooded Menace at face value this Texas borne death/doom metal band have brough their own surreal perspective and inspirations into this well-thought and carefully curated debut LP and it ends up being the best possible first impression. Though it just barely starts to drag on by the end ‘Horripilating Presence‘ is altogether all-killer material with plenty of riffs, strong lead guitar presence, and thickly set atmosphere. Any fan of death/doom metal with some actual treatment of doom metal riffs should appreciate this one.

“Wrought into familiar sculpt by time strained arms and slow-burnt psyche this debut full-length album from Austin, Texas-based death/doom metal quartet VOID WITCH benefits greatly from its patiently chiseled construction having been poured over in fragmented steps ’til set exactly as-is. Though it greets with the rippling of skin and hackles raised ‘Horripilating Presence‘ is an experience that tends to push forth via curiosity and Eldritch intrigue rather than stand frozen in pure horror as a fairly traditional undertaking given a strong melodious voice. Beset by ear-tracing leads and given strong enough still-categorical variety thier work outshines the spine-caressing déjà vu that seasoned sub-genre specific fandom will experience otherwise making for an easily approached record that feels (more than) one step beyond the usual sub-genre entry already.“

>> FULL REVIEW <<

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#9
ARTIST:	WORMED
TITLE:	Omegon
RECORD LABEL(S):	Season of Mist

Several years beyond their third album and with some serious movement in terms of the line-up we find this latest version of Spanish technical brutal death metal outlier Wormed sounding remarkably normative at a glance. Of course the first impression is unavoidable here if you’re a longtime fan as the band’ve lost some of their guttural early 2000’s death metal weirding grunt and disarray but this has been the case since they’d returned in 2013 or so. This album still has that Defeated Sanity weirding slap, the pedigree of outrageous noise on the level of Afterbirth‘s more brutal side, these guys are still on that level but the two new guitarists have brought a much more modern songwriting hand into this than expected. It really depends which member had a hand in which song but there are certainly a few songs here which feel more attuned to the odd strokes of djent-tech death rather than the future-zoned bizarro Demilich of the olden days. None of this is a complaint, I enjoyed this album quite a bit but it certainly felt like a bigger change than the last two.

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#8
ARTIST:	VIMUR
TITLE:	The Timeless Everpresent
RECORD LABEL(S):	Avantgarde Music

Vimur have managed to create a different album each time they’ve attempted over the last several years, generally making some sort of stride in their craft each time though this hasn’t manifested a predictable personae for the group just yet. That said this latest album connects well with their previous thread, picking up on more melody and mid-paced movements without losing the ‘epic’, thrashing and melodic strokes of past works. This one is a bit less brutal and somewhat more stargazing, channeling its own Luciferian current and ultimately finding a nice balance between old classic traits and new ones.

“Vanguard to the myriad consciousnesses, attuned to the projections of all three spiritual planes, and in conjure of ageless ideology Atlanta, Georgia-based black metal quartet VIMUR seeks commune with the primordial nothingness in depiction of the corporeal and psychic wars eternally waged against the illusory self-importance of man. Their own Luciferian current aimed to strike out the second sun, ‘The Timeless Everpresent‘, arrives charged with frenzied energy as a fourth full-length album should, slung with chest abroad and weaponry in hand by way of the warrior’s path and purpose. Though the complete evolutionary step found herein makes sense at face value the path has been jagged with each album taking a spiraling leap up toward its next destination, this is not the greatest rocket up-forth but a refinement of the artist’s voice to a supranatural degree.“

>> FULL REVIEW <<

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#7
ARTIST:	INTOLERANCE
TITLE:	Waking Nightmares of an Endless Void
RECORD LABEL(S):	Memento Mori, Godz ov War Productions

This Spanish death metal band returns after just two years having made a serious leap in their development, aiming for a more atmospheric and death/doomed turn upon their classics inspired sound. They’ve achieved a creeped out sci-fi death metal record that is better rounded in terms of its pacing and sharper in its performances than expected they’ve managed to still sound like an underground group in the process. Though I didn’t go in expecting much more than cool cover art this one definitely finds its deeper pockets of interest over the course of the full listen.

“With their tendrils growing steeled in scale as they reach for the chilling vacuum of outer space Zarazoga, Spain-based death metal quartet INTOLERANCE have imbued their ‘old school’-minded craft with the otherworldly entrancement of a doomed and cosmic-horrified mind on this stellarly set yet classics-grounded sophomore full-length album. Holding the keys to the gate but standing flayed by the mind-scourge guarding the entrance ‘Waking Nightmares of an Endless Void‘ snarls, mutates and ascends by the time our protagonists have passed on through this wild evolutionary statement. Having built a solid foundation over the course of several years, it comes as a pleasant surprise to find the second album from this band making it a point of transformation in passage from start to finish here as their capabilities expand, their personae emboldens, and thankfully the riffs continue to flow within ’em as they carry out these unmerciful rites of transcendence.“

>> FULL REVIEW <<

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#6
ARTIST:	OBSCENE
TITLE:	Agony & Wounds
RECORD LABEL(S):	Nameless Grave Records

I think I’ve said it each time Obscene have put out a record but they only seem to get better at this nowadays take on ‘old school’ death metal thing each time they get together and write an album. This one feel like it has more work than ever put into the variety on tap, introducing a bit more doom and melody without losing the violence of their mostly classicist sound. If nothing else it feels like they’re building more and more of a legacy with each pass, developing a more distinct personae along the way. Anyhow they’ve still got wild-ass vocals and plenty of riffs so I’m totally down for however many more times they end up making these.

“Indianapolis, Indiana-based death metal quartet OBSCENE have built. A dangerous meeting of ideals reveals itself within as the feral-minded torsion of their troupe remains alive and deep underground in its fixation despite signs of progress and decadence each on the ups. An obsession with reeling pulverization and adrenaline-fraught movement remain within the core directive of their ‘old school’ death metal inspired presence regardless of how forward (or backward) the movement on ‘Agony & Wounds‘ is perceived. Eleven horrified, gloom-stricken and decaying scenes from their wasteland to ours enter us into collective procession where their morbid funeral narration is told in erratic, sometimes melodic, yet always riff driven bursts of pure death muse. These folks only seem to improve with each record, making gains in the surety of their gig as time goes by, yet the important thing here is they’ve not lost their knack for writing intense, wild-ass death metal songs in a distinct enough voice.“

>> FULL REVIEW <<

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#5
ARTIST:	VANHELGD
TITLE:	Atropos Doctrina
RECORD LABEL(S):	Dark Descent Records

After about six years since their last full-length the return of Swedish death metal band Vanhelgd feels like it arrives with maturity, intensified musical intent, or simply sleeker than ever presentation with a strong melodic component yet it still brings the morbid death metal attack they’ve long been known for. There is a surprisingly anthemic quality to some of these songs, not just rotten sinister noise and as a longtime fan it feels like they’ve added an additional dimension to their gig.

“The work of Mjölby, Sweden-based death metal quartet VANHELGD either worships or simply respects this order, accepting fate and fatality on this much anticipated return for a sixth full-length album. Of course they return changed by time wherein ‘Atropos Doctrina‘ brings a new-death sensation alongside a familiar ‘old school’ death-driven impulse, one of grand dysthymic melodicism brought by an ever-wizened set of minds. The most classic sensibilities of their work survive in primal-sourced inspiration here, the old dark clouds still hang, yet there’ll be no tempering the pronounced, tunefully struck dread which arrives in graceful strand throughout this unexpectedly melodious return.“

>> SHORT REVIEW <<

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#4
ARTIST:	CEREMONY OF SILENCE
TITLE:	Hálios
RECORD LABEL(S):	Willowtip Records

Just a month beyond a couple of extra-hyped releases in the technical blackened death metal realm and we’ve got another viable contender in this second album from Ceremony of Silence, who’ve naturally refined their sound while iterating upon the successes of their debut herein. This isn’t an album that’d been made “just because” or out of creative habit but instead all of this band’s work appears purposeful, driven by spiritual and intellectual search, and as a showcase for fine talent which stretches beyond surreal technical ability. For me this was easily up there with my most listened albums of the month and at this point I’m still enjoying returning to it.

“In generation of a broadly arcing thesis on the universal themes carried within the mythos of Earth’s most ancient and/or enduring civilizations on record Zvolen, Slovakia-borne blackened death metal trio CEREMONY OF SILENCE posit their interpretation(s) of the stories of primeval mankind through astutely observed commonalities upheld. In description of the creation of cosmic order, the defeat of apex predators, and the advent of caste by way of heroism and opportunism alike these fellowes arrive upon an open-ended set of universal truths within this darkly inclement death metal sophomore record, once again billowing high their own fantastical atmospheric plumes. They begin ‘Hálios‘ in twinned sacrifice, just beyond the advent of time and space where their embodiment of the burning radiation of the universe itself becomes their storyteller voice. Rather than focus on outdoing or flattening their debut this second album accentuates said voice, acting as a second and blazingly-writ chapter set to unveil the primal and sophisticated drivers of their craft for a brutally focused yet gloriously meandering exploration of moderne extremes.“

>> FULL REVIEW <<

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#3
ARTIST:	MAGES TERROR
TITLE:	Damnation’s Sight
RECORD LABEL(S):	Invictus Productions

It has been years since we’ve had as many classic thrash metal inspired records worth talking about as we’ve found in 2024 and ‘Damnation’s Sight‘ is one of the best, most authentic visions of the old ways with a blackened touch we’ve heard from Australia in some time. The thing that holds this one up and well above average compared to most is this sense that these folks not only have some intense fealty and appreciation for 80’s heavy metal but that their standards must meet up with those qualities or bust. Mages Terror shred, riff, rasp and exhale cosmic dust all over this thing to the point that it never sounds like an imitation of thrash but a viable entry.

“Wicked abominations birthed from new blood spilled at auld sites of sacrifice now haunt the dark fantasy realm of Brisbane, Australia-based thrash metal quartet MAGES TERROR who’d present their first spell in the form of this debut full-length album, a classicist article rife with their own vision of malice-filled magickry. ‘Damnation’s Sight‘ absorbs the high standards of guitar authorship per late 80’s extreme-thrashing mastery and writes its own hissing and flapping daemonic bestiary by way of riff-obsession construct, tuneful yet rapaciously delivered command of the arcane ways. While it’d be enough to survive on points of style and authenticity alone today what remains remarkable about this work is its level of craft wherein each detail approaches in service to the song as well as the outsized personae of the group who only ever sling the vintage evil from their staves with death-dealing conviction.“

>> FULL REVIEW <<

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#2
ARTIST:	LACERATION
TITLE:	I Erode
RECORD LABEL(S):	20 Buck Spin

Just as easily qualified for the #1 spot here this month this sophomore album from Laceration reminds us that modern-day death metal doesn’t have to be anything less than pure. As if ‘Demise‘ hadn’t already compounded their superiority enough this follow-up is even more succinct, revises their rhythm section in terms of the drumming a bit and only improves upon their past work. It has been awesome to see the band evolve over the last several years beyond 2018 (and their death/thrash beginnings before that). If your qualifications for death metal start with the riff and you value brutality nearby these folks are taking similar notes and banking on a classics-inspired attack to keep the momentum going.

“Calloused down to the nerve and shaken apart at the vertebrae Santa Rosa, California-based death metal quartet LACERATION reassemble the very spine of their work, the battery and volatility inherent, so that this sophomore full-length album might strike with greater-reinforced steel. Knowing the ideal achieved thus far and now finessing the weight of past work into a most concise work ‘I Erode‘ tempers down to weightiest essentials, making room for presentation to bolster each hammer-point with greater impact. With all expectations per those ‘ready in the know set exceptionally high the tendency is for a death metal band to over-deliver and indulge but in this case their craft is extreme enough that it might speak for itself, direct and deadly in its strike.“

>> FULL REVIEW <<

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#1	Album of the Month
ARTIST:	MAYHEMIC
TITLE:	Toba
RECORD LABEL(S):	Sepulchral Voice Records

The number one choice this month comes down to my own specific tastes in heavy metal and the hundreds of niches I’ve explored over the years, this Chilean thrash metal band not only hones in on one ultra-specific sound and does it better than most… but they step over the line in the process of writing a series of fantastic, memorable songs throughout. Though taking on mid-to-late 80’s witching thrash metal attack and proto-death metal riffcraft isn’t exactly ground-breaking and their work is at times referential this’d always been a boon to the authenticity of their work. As much time as I spend generally analyzing where to place and how to value various hyper-specific metal niche a band like Mayhemic reminds me to simply enjoy the damned record and go to Hell with it. For my own taste, easily in the Top 10 this year.

“As if gleefully day-dreaming of the most brutal-as-possible, horrifying end for all humanity these folks channel the terror of primal man faced with cataclysmic events into morbid ‘old school’ thrash metal given a black metal rasp. Using a specific set of late 80’s style niche as key inspiration for ‘Toba‘ and its sound we find this album exactly along their path as intended, a point where primal death and black metal movements were born in the thrash metal underground where their work comes from astute diviners, ghoulish devourers treading the path of old bones toward a new lease on upper Pleistocene-level riffcraft, a feat which continues to deliver its thrilling accost time after time, spin after spin.“

>> FULL REVIEW <<

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