Raining down liberation through a clenched fist-drawn and razor cut whorl of damning riffcraft Tuscany, Italy-based black metal trio HANDFUL OF HATE return with an inspired eighth sermon per this latest full-length album. Carrying the classicist momentum featured on their prior LP unto militant performance ‘Soulless Abominations‘ is first and foremost a second wave black metal inspired assault which not only recollects some of their earliest tendencies from the 90’s but hammers them into an abrasive, technical yet still melodious throttle. While my enthusiasm for this release will primarily heap praise upon the unmerciful slash of their guitar work it is just as important to hail their representation (and mild transformation) of the core ideation of the movement that’d spawned their infamy.

By the time Handful of Hate formed circa 1993 between guitarist/vocalist Nicola Bianchi and bassist Ugo Pandolfini the foundation of Italian black metal had yet to distinguish its major second wave characteristic beyond the speed and death metal girded temperament of the late 80’s. The duo’s initial work had developed alongside regional standards provided by the first bands to achieve notable LPs (Mortuary Drape, Necromass, Evol, Opera IX etc.) but arguably represented a different “generation” in taking inspiration from Swedish and Norwegian black metal of the time. We see admirably sophisticated work, an intense level of skill and finesse informing an evocative occult inspired demo tape (‘Goetia Summa‘, 1995) soon after which encapsulates the conflict and merger between Scandinavian influence upon the sub-genre and what nascent scenery had developed independently. The band’s style had veered more resolutely to the standards of the former by the time their debut LP (‘Qliphothic Supremacy‘, 1997) released, an album which is impressive in hindsight but was regarded as somewhat average at the time. Fans of peak Scandinavian melodic black metal style should take a deeper listen to the band’s first two full-lengths, particularly the succinct and guitar-driven sluice of their second (‘Hierarchy 1999‘, 1999) a la ‘Lords of the Nightrealm‘.

With frequent line-up changes over their three decade plus history most perceived stylistic changes within Handful of Hate‘s discography can potentially be attributed to different contributions from the second guitar chair (+ various drummers) where folks from Frostmoon Eclipse, Necromass, Coram Lethe and such often prompted different production values, ramped aggression or shifting aesthetics. All of these efforts generally serve the same second wave black metal ideal. One might’ve accused the band of Marduk and Dark Funeral worship in the 2000’s or even seen them as “orthodox” on certain releases afterward but the goalpost hadn’t necessarily shifted, only left behind the mystère of the 90’s for militant loudness. Back in 2019 I’d suggested they’d brought back some of their ‘old school’ flair for ‘Adversus‘ (2019) and seven years later I’ve found ‘Soulless Abominations‘ does this in exponent, delivering traditional sounds with some new guitar techniques and more challenging riff-driven compositions.

The first three songs on ‘Soulless Abominations‘ are the sort of palm-blistering aggression anyone familiar with Handful of Hate‘s discography would instantly appreciate only they arrive without the blunt, dryly cut loudness of the 2000’s. That is to say that there is a furious yet distant aura conveyed through those ~4 minute black metal pieces which speak to the eerie violence of Scandinavian black metal at its most stripped down and riff obsessed (re: Svartsyn, etc.) Of those three the punched-out double bass wallops which feed “Worlds Below” would prove the most memorable upon revisit. Beyond that point “Winter March” is the clouds clearing above the castle, a slower paced melodic piece full of dramatic restraint and even some mild synth/keyboard work set to enhance the sullen drift between movements. Side A blazes past in the best way possible to start but I’d appreciated that the first half ends with a song that begins to break apart some of the bands most well-covered territories beyond the early 2000’s and reaches for a diabolic haunt.

Rather than barrel through the start of Side B this larger crack in the firmament is exploited via a particularly representative piece “Age of Infamy (Grown in Starvation)” and one which incorporates a number of impressive guitar techniques (“Different – Distant – Apart”) which to me recall something like orthodox and melodic black metal informed dramaticism. From my point of view this song, “Different – Distant – Apart”, highlights what has always been the sweet spot for this band in terms of finding a melancholia guided dramatic hand while shaping it with an unconscionable level of aggression. There is always another riff on the way, always more than a few more riffs to pack into that final minute or two of each song and this is something we could observe in compositions dating back to their first demo tape. ‘Soulless Salvation‘ peaks around this point for my taste as the title track reverts the conversation, or, the flow of the album and closer “Where Sanctity Rots” feels like it should have followed the sixth song instead. The album ends coldly but not abruptly, ending the thought

In all fairness I probably would’ve reviewed Handful of Hate with the same level of praise back in 1997 as I am today and for similar reasons, they’ve held onto some of that spark despite having spent a couple of decades leaning in a severe and brutal direction which is yet reflected here about sixty percent of the time. That said ‘Soulless Abominations‘ stands out today in 2026 not only for their effortless connection with the past via atmospheric and melodic extrusion but via the vibrancy of their attack, keeping their vison of black metal ruthless and confrontational even within their most beauteous arc. Straightforward as some of this work is that should prove a great deal of its appeal for folks looking for something authentic yet unwilling to pander to the fun of never-was revisionism today. A moderately high recommendation.

---