Friday 30 September 2022

Colacon - This Little Light Of Mine, It's Gonna Burn My Eyes Out Ft. Cody Chudy Song/Video Premiere

On October 7th, Canadian label Tomb Tree releases the new album The Pestilent Sickness from Georgia, USA grindcore/mathcore band Colacon and this evening, I'm honoured to be able to bring you the second track premiere for the release, 'This Little Light Of Mine, It's Gonna Burn My Eyes Out' featuring guest vocals from Cody Chudy.

Check the video out for the song in all it's glory below:-

You're in for a treat with this, especially if you like your technical grind/death served up with a huge dollop of mathcore craziness!

It'll be available digitally but there's also going to a (sick!) tape pressing from the aforementioned Tomb Tree, featuring 51 tapes. 30 copies will be on a purple/green swirl, 10 will be on a yellow/red swirl, plus there will 6 test dips and 5 mystery swirls.

Tomb Tree has already revealed the 'Handshake with lawnmower on a sunny day' yellow/red variant tape on their social media channels. Here it is below:-

The Pestilent Sickness will include eleven songs in total and promises to be a proper head smasher!

The first track to be premiered from the album 'We're Gonna Need A Bigger Lawnmower To Keep These Snakes Out The Grass' is available via OPENmind/SATURATEDbrain below:-

For more news on the release, keep your eyes glued to the below links:-

Colacon -

Tomb Tree -

Tuesday 27 September 2022

Sarin - Darker Lakes

Labels: Arkan Records/Dead Punx Records/Dingleberry Records/R.I.P In Peace Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 25 Jul 2017


1. Ice Wrought

2. Amber Guide

3. Darker Lakes I: Moraine

4. Embers Circling Downwards

5. Darker Lakes II: Crater

6. Bloom

7. Ocean Burn

8. Darker Lakes III: Glacial

9. Low Moon

It seems that I'm (unconsciously) focusing on Canadian bands right now. I mean Schedule 1, Terry Green and Seven Nines And Tens all come from Canada (three out of the last five bands I've reviewed, if I'm correct!). Make that four out of the last six with Toronto, Ontario's Sarin. This is also the latest in my ZBR roster review series and focuses on their 2017 full-length Darker Lakes, which turned out to be the last before they went on to work with Prosthetic Records, though ZBR's sister label Tomb Tree did release their follow-up You Can't Go Back on tape in 2021, the same year it was released via Prosthetic on LP/CD.

Somebody needs to update Sarin’s Discogs entry for this release, as it says there are only six track on the record when there are nine. I guess whoever wrote it ignored their ‘Darker Lakes’ trilogy here. Sarin are a self-proclaimed doomgaze/shoegaze band, which are also sub-genres that I’ve been delving into recently. Album opener ‘Ice Wrought’ is a very grandiose song, with mountains of riffs, lingering feedback and dramatic percussion. The mix of clean and harsh vocals compliment each other perfectly and help to open up the album even at this early stage. 

On ‘Amber Guide’, you’re whisked off to a dreamy island at first before reality comes crashing back down again in the form of truly crushing dissonance. It’s way more doom-like when the heaviness kicks in but it’s punctuated for large passages by more gentle instrumentation. The vocals sit deeper within the harsh parts, making it a song of true twists, turns and introspection. 

The first of the album’s ‘Darker Lakes’ trilogy comes in the form of ‘I: Moraine’ and it’s a haunting instrumental complete with whispered, unnerving vocal tones. It breaks up album but doesn’t break up the mood at all. Sarin has garnered a lot of praise for this album and it’s easy to see why. As a band, they’re not afraid to step out of the shadows to create music that crosses over into more mainstream alternative echelons. You might get a sense of that on ‘Embers Circling Downwards’ (despite my attempt at using more words than were needed in the previous sentence). Either way, what is true is just how good it sounds.

‘II: Crater’ is the second of the ‘Darker Lakes’ trilogy and once again in proves to be fraught with danger as it’s bass-heavy, sample-laden tones ring out and guide you into ‘Bloom’, which signals the album’s second half. As it started, it continues with clean vocals and a distant, almost grunge-like atmosphere. No gloom though, just waves of sound that herald a slower burning side to Sarin. Rhythmically on point and led by a rumbling low-end, it promises no safe haven while still inviting you into the sheltered bay with it’s siren song. 

You get a feel that the album is coming to a close with ‘Ocean Burn’ but don’t be fooled, it’s a long way from over yet. The spacial atmosphere of the song looms large as the layers build and the anticipation fizzes along with Sarin’s post-metal majesty. The final part of the ‘Darker Lakes’ trilogy, ‘III: Glacial’, feels just that. Not cold in any way but truly expansive and awe inspiring for such a short song, as it leads into album closer ‘Low Moon’.

Ending with a ten+ minute number is genius because it allows you to cling onto Sarin’s beauty for a little longer than you otherwise might have. I realise that this review has turned into a bit of a mammoth read, but I regret nothing. Music (and writing about it here) are the only things truly sustaining my interest right now (aside from my family and friends of course). Overall, ‘Low Moon’ mainly exists in instrumental form, with sporadically used vocals. That’s perfectly fine as it allows their breadth of song-writing skill to really shine through.

Five years may have passed since this release but it still stands up hella well today and deserves all of the praise it gets. Sarin may have fallen off people’s radars recently but I hope that this review might draw people back to them. Fantastic from beginning to end!

You can stream and purchase Darker Lakes digitally from Sarin below:-

Physical copies are still available from the labels below:-

R.I.P In Peace Records -

Zegema Beach Records USA Store -

Arkan Records -

Dead Punx Records -

Dingleberry Records and Distribution -

R.I.P In Peace Records -

Zegema Beach Records -

Sunday 25 September 2022

Deathnoisefrequency - Horrid Dirge + Omitted Horrid Chapters

Labels: Wall Of Sound Records

Formats: Digital

Release Date: 17 July 2020


1.  Chapter III: The Mortician's Lamenting Dirge

2. Chapter IIII: Horrid Choirs

As I cling desperately onto the remaining hours of my annual leave before returning to my day job, I thought I'd fit in a couple of short reviews. Both are of releases from the same band; Deathnoisefrequency, who hail from Saudi Arabia. Horrid Dirge was their first release, dating back to July 2020. Along with the second review, this feature is a precursor to another feature that I'm planning, which addresses the plight of bands that exist in countries with strict regimes, but more on that later. For this release, the duo of Ghassan Al Fudail (guitars) and Ahmed Mahmoud (vocals) are joined by session musicians Diya Azzony (keys, bass, effects) and Sarah Belle Reid (additional keys, trumpet and effects).

Deathnoisefrequency promise to make things uncomfortable for you as a listener and on ‘Chapter III: The Mortician’s Lamenting Dirge’, they waste no time in producing a harsh soundscape complete with almost industrial, programmed drums (I’m guessing! Please correct me if I’m wrong). It’s great to here how they interpret extreme music like this. It can’t be easy to exist as such an extreme musical entity in the Arabian Peninsula but Deathnoisefrequency clearly care about their art and it’s very enjoyable to listen to so far; especially with the production work of Diya Azzony.

Second song ‘Chapter IIII: Horrid Choirs’ is filled with ambiance and additional effects, as the opener was. It’s drone-like dirge sits perfectly alongside the trumpeting of Sarah Belle Reid, giving it an ever more menacing feel. At times there’s a harshness akin to Rammstein, but that’s a very tenuous comparison. This is way more avant-garde. One thing’s for sure though, overlooking this is a grave mistake if you like music on the more experimental end of the spectrum. 

You can stream Horrid Dirge and purchase it digitally below:-

Labels: Wall Of Sound Records

Formats: Digital

Release Date: 31 Oct 2021


1. The Beast's Lamenting Dirge

2. The Children's Lamenting Dirge

Coming more than twelve months after Horrid Dirge, Deathnoisefrequency released Omitted Horrid Chapters in October 2021. Again featuring two tracks, but this time both of the same length, it remains their latest release to date. It also once again features the guest musicianship and expertise of Diya Azzony and Sarah Belle Reid. 

Omitted Horrid Chapters is billed as a re-working of ‘The Mortician’s Lamenting Dirge’ and on listening to opener ‘The Beast’s Lamenting Dirge’, I can hear where Deathnoisefrequency are coming from. There seems to be more black metal influences coming through in the vocals here, as well as the ambience/effects that were heard on their first EP. 

Second song ‘The Children’s Lamenting Dirge’ almost feels like it could follow straight on from the EP’s opener without the pause, and indeed it probably should but that’s just my opinion. In it’s own right, it’s a lovely layered song that follows on perfectly in a musical sense. There’s a part of me that was expecting Deathnoisefrequency to be a lot noisier, even venturing into harsh noise, but that was the wrong assumption to make. There’s much more to them musically and that’s a reason to take notice.

Omitted Horrid Chapters can be streamed and purchased digitally below:-

To summarise both of these EPs and Deathnoisefrequency, I wouldn't hesitate to say that the music contained herein isn’t just enjoyable, but is also a unique interpretation from a band doing things their own way. I sincerely hope that there is more to come from them. If not, then may they be an influence and a beacon for those who wish to follow them.

Deathnoisefrequency -

Wall Of Sound Records -

Seven Nines And Tens - Over Opiated In A Forest Of Whispering Speakers

Labels: Willowtip Records

Formats: CD/Digital

Release Date: 07 Jan 2022


1. Popular Delusions

2. Throwing Rocks At Mediocrity

3. Midnight Marauders

4. Let's Enjoy The Aimless Days While We Can

5. Edutainment

6. Fight For Your Right To Partial Relevance

7. Sunshine

In January, Canadian progressive/post-metal band Seven Nines And Tens released their latest (and third full-length) Over Opiated In A Forest Of Whispering Speakers via forward-thinking label Willowtip Records, whom they have been signed to since 2020. This is my first time hearing the band; however, after reading that they've shared the stage with the likes of Minus The Bear, Astronoid and Nothing (amongst many others) and having been a band since 2008, I'm looking forward to this greatly.

The discovery of new bands is a constant journey of enjoyment. Granted, Seven Nines And Tens aren’t new in the literal sense, there will be people who are only just discovering them (like me). Album opener ‘Popular Delusions’ is filled with fuzz-laden instrumentation and glorious vocal harmonies, as well progressive blues-like flourishes and tasteful percussion. There are so many familiar elements to the trio’s sound, yet everything feels fresh and new at the same time. Hearing the initial bars of ‘Throwing Rocks At Mediocrity’  reminds me of the band American Football, at least before the music gets heavier that is! Even when it does get heavier though, it’s not totally dissonant and the soothing vocals sit nicely amongst the instrumentation and don’t get overpowered by it.

‘Midnight Marauders’ is a slower-paced song with shoegaze at it’s core. As such, it’s really listenable. There’s a sense that this album could elevate Seven Nines And Tens beyond the metal underground (so to speak). They certainly deserve to heard by a much greater audience; for example, they would sit comfortably alongside Muse and Pink Floyd (which is apt, because the cover for this album was created by Ahmed Emad Eldin, who also created the cover for Pink Floyd’s Endless River in 2016). 

They grow in a more experimental direction on ‘Let’s Enjoy The Aimless Days While We Can’ with the use of different time-signatures, stop/start passages and brilliantly layered instrumentation. It flies by in no time all in spite of it’s five minute+ length. One thing I haven’t mentioned enough of yet is how good the bass guitar is on the album. You can hear it more clearly on ‘Edutainment’, where it’s bluesy/jazz-like tones really add warmth to an already warm and dramatic song.

That rhythm when the first verse of ‘Fight For Your Right To Partial Relevance’ kicks in is unexpected, given how heavy the intro is. It carries on in much the same vein with the up-beat verses being punctuated by much heavier passages and off-kilter transitions too. Because of this, it’s very much the heaviest song on Over Opiated…. Closing song ‘Sunshine’ is poignant and with a hip-hop like percussive performance as well. It’s the most bizarre song on the album with all kinds of instrumental effects, time-signatures and styles present. That’s what Seven Nines And Tens are so hard to classify.

Overall, this album blew me away. I didn’t know what to expect but it’s been a fantastic listen throughout, As I mentioned above, Seven Nines And Tens deserve greater recognition for their music and here’s hoping more people catch on in the near future. Truly excellent. 

You can stream Over Opiated... and purchase it on all formats below:-

Seven Nines And Tens -

Willowtip Records -

Friday 23 September 2022

New Eux Single Released Today - Dans ce miroir

French emo/screamo band Eux have today released their new single 'Dans ce miroir'. The song will feature on the band's second album Mor(t)sang, which will be released in 2023.

For the new album, Eux have trimmed down their line-up to a three-piece, following their well-received debut album Et les Autres, which was released in 2018.

Among further news regarding the up-coming album, Eux have confirmed that there will be one or two special guests appearing. I'll leave it to them to reveal who when the time comes!

Mort(t)sang will be released with help from Hell Vice I Vicious Records, Saltamarges, Seaside Suicide Records, Voice Of The Unheard Records and Zilpzalp Records.

Eux -

Hell Vice I Vicious Records -

Saltamarges -

Seaside Suicide Records -

Voice Of The Unheard Records -

Zilpzalp Records -

Thursday 22 September 2022

Vaticinal Rites - Vaticinal Rites EP

Labels: Caligari Records/Dry Cough Records/Redefining Darkness Records

Formats: CD/Tape/Digital

Release Date: 12 Nov 2021


1. Dysphoria

2. Telekinetic Blood Ritual

3. Burning Elysium

4. Flesh Portal

It's been a little while since I've championed a Dry Cough Records release here. Dry Cough helped to release the debut EP from UK death metal band Vaticinal Rites, alongside US labels Caligari Record and Redefining Darkness Records last November. Four songs from a three-piece (four including the session drummer) that have been getting plenty of praise from the Youtube community. They're in the process of writing their debut full-length too, so it's the perfect time to get acquainted with their sound.

There’s always been a great history of UK death metal, just like there has been with doom (which is where Dry Cough Records made it’s name, kind of). Bringing another new death metal band to the fore was always going to be on the cards, alongside the awesome Slimelord, Visions From Beyond et al. Vaticinal Rites begin with the suspense inducing opener ‘Dysphoria’, which is a short and ambient-filled intro that leads into ‘Telekinetic Blood Ritual’. It’s a proper dirty death metal song. Not too br00tal and with just enough old-school murkiness to make it stand out in a scene that’s overdone slam breakdowns (at least for now). 

‘Burning Elysium’ is filled with thrash vibes initially, before the gutturals and pinch harmonics take over. Fast-paced unlike your so-called “work environment” and truly groove-laden, Vaticinal Rites know exactly what they’re doing. This really doesn’t sound like a debut at all. It’s way too accomplished. Closing song ‘Flesh Portal’ takes succinct death metal to an eye-watering level. Everything about this EP raises the bar; from the accurate and authoritative percussion, the rumbling low-end bass, the more than skilful rhythm/lead guitar work and the dual-pitched vocals. The production and mixing/mastering is also well worth a mention, especially when you consider that the recording process took place at three different locations. It all sounds so together.

Vaticinal Rites have put together a frankly incredible debut EP here. I can’t want to hear the debut album when it’s released. Once again, the bar of modern day UK death metal is raised. Let’s see what the rest of you have got!

You can stream the debut EP and purchase it digitally, and physically from Vaticinal Rites below:-

Vaticinal Rites -

Physical CD/Tape copies can also be purchased from the labels below:-

Caligari Records -

Dry Cough Records -

Redefining Darkness Records -

Caligari Records -

Dry Cough Records -

Redefining Darkness Records -

Wednesday 21 September 2022

Terry Green - LP

Labels: Middle-Man Records/R.I.P In Peace Records/Upwind Productions/Zegema Beach Records/Zilpzalp Records

Formats: Vinyl/Tape/Digital

Release Date: 25 Aug 2017


1. I

2. II

3. III

4. IV

5. V


The only previous time I've featured Canadian punk/screamo band Terry Green here was when I wrote about their 2015 split tape with Huge Cosmic, which was released via Zegema Beach Records, whom also had a hand in the release of their untiled LP in 2017 (alongside many other collaborators). In fact to date, this is Terry Green's only full-length. It was limited to 200 copies on black vinyl, while Middle-Man Records also did a run of tapes, which is since sold out.

Despite only featuring six songs, this is definitely a long-player. Intensely DIY sounding, it truly conveys the energy of Terry Green as opener ‘I’ rings out with feedback aplenty. Given Canada’s rich history of post-hardcore and some of the bands that put it on the map, I’m surprised that Terry Green have remained under the radar of many outside of those who know. One thing’s for sure though, they’ve written and played some surprisingly intricate music on this LP, as exemplified by ‘II’ and it’s twinkly riffs. It’s not a fast song, but it’s mid-paced tempo shows a more thoughtful side to things. Switching between harsh vocals and semi-spoken word is nice too.

Talking of intricacies, ‘III’ has some great percussion leading it. There’s a bigger math-rock feel as you get further into the LP and even some post-punk/punk too. Being listenable and cohesive on record is pretty important, and Terry Green pulls it off perfectly well. The album’s second half is the more expansive and lengthy half. ‘IV’ is pensive and relaxing instrumentally, building up in volume gradually, forming something that’s unexpectedly heart-wrenching. 

The same is said for ‘V’, which forms a real collage of sounds that repeat in even bars before things briefly get louder and then slip away again. Granted at this point we’re still in the song’s first half but that’s far enough in to realise that it’ll eventually crescendo and threaten to overspill without actually doing so. A proper instrumental this time with plenty of dramatic rising and falling.

It’s left to album closer ‘VI’ to provide one last lengthy flutter of CanaScreamo from Terry Green. It’s delivered in the best way,  the only way the band know’s how. Properly epic sounding and musically rousing. I guess that’s the only way to pull of an eight-plus minute post-hardcore/screamo song after all. The latter half of the song it filed with sonic chaos that dissolves into ear-piercing guitar feedback (the same that kicked the LP off). As it all quietens down, it becomes strangely calming once again. 

I’ve been doubt a lot of reflecting on the relationship I have with the music I write about off late, as in the past I’ve tried to write more regularly and in some ways, it’s been hard to properly connect with the bands underneath. I’m not saying that’s why I’ve slowed down, but it has given me time to truly enjoy what I have in front of me. Terry Green’s LP is an example of why you should treat each band on their own merits too, instead of lumping them in with countless others for ease. It’s infectious but in a stealthy way and it makes you want to dig deeper into the rest of their discography.

You can stream and purchase the LP digitally below:-

Terry Green -

Physical copies can be purchased below (it just so happens that ZBR has recently release a new limited run of tapes, alongside the vinyl copies):-

Zegema Beach Records CAN/INTL - / USA -

Middle-Man Records -

R.I.P In Peace Records -

Zegema Beach Records -

Zilpzalp Records -

Thursday 15 September 2022

Schedule 1 - Schedule 1

Labels: Dirt Cult Records

Formats: Vinyl/Digital

Release Date: 28 Jan 2022


1. Show Your Children

2. Another

3. Five Hundred To One

4. Sacred Light

5. Paint It Red

6. Invaders

Right, I can no longer allow myself to get distracted. I have a mission and that is to be more active (in a writing sense) than I have been in recent months. I've been working out a new schedule of reviews, which is pretty apt because Canadian punk band Schedule 1 was the first name I added. Their self-titled album was released via US label Dirt Cult Records back in January. This is Schedule 1's debut release and that's pretty much all I know about them, although I there's gonna be more to them than just punk.

I really miss the local punk scene that existed in my town up until a few years ago, but hearing Schedule 1 takes me right back to those times and the gigs that were put on. ‘Show Your Children’ opens up the record with a distinct nod to 80’s UK punk and the goth/post-punk of The Cure et al. There is a slight dower atmosphere to the music but then you’d expect that. That said, it’s not depressing by any stretch.’ Another’ has that reverb on the vocals that’s synonymous with the musical style and it works well during the verses, before Schedule 1 get noisier in the chorus, with an almost grunge-like approach. I love that their songs contain enough punch to justify their shorter lengths. No room here for sticking around!

I can definitely see this record appealing to a broader section of music fans, both young and older as it sounds like it’s been plucked out of yesteryear on ‘Five Hundred To One’. I’m not poking fun with that last sentence, so please don’t take offence. I hear comparisons to Franz Ferdinand (the UK indie band) in the song too. Schedule 1 is a slightly grittier band than the one I’ve just name-checked above though and some of that grittiness shines through on ‘Sacred Light’, once again in the reverbed-vocals and hardcore influence that’s entangled within the music. At times it’s head-bobbing and hypnotic, while at others it threatens to explode with raucous energy, but never truly does.

Penultimate song ‘Paint It Red’ has the catchiest intro riff on the album and it continues through the song, providing extra melody that steers everything away from the sometimes dystopian post-punk sound/mood. It shows, as I eluded to in the opening paragraph, that there’s much more to Schedule 1. Album closer ‘Invaders’ has a more off-kilter feel, though it’s also a song that would have been at home on any Tony Hawk’s Pro Skater soundtrack. Catchy, memorable without being cheesy. I guess that’s the thing about this brand of punk; it’s simple, easy to listen to and when done right, it’s hard to forget. 

You can stream and purchase the album digitally below:-

Schedule 1 -

You can pick up vinyl copies from Dirt Cult Records here:-

Dirt Cult Records -

Monday 12 September 2022

Species - To Find Deliverance

Labels: Awakening Records

Formats: CD/Digital

Release Date: 26 Aug 2022


1. Rare Signals

2. Parasite

3. Falls The Tower

4. The Monument Of Envy

5. Malfunction

6. Thy Name Is Slaughter

7. Deus

8. Ex Machina

Chinese label Awakening Records have been re-releasing some absolute underground extreme metal gems since 2017, but they've also been championing newer bands from across the globe more recently and Polish thrashers Species are one of them. The trio released their debut EP The Monument Of Envy back in 2019 and in August of this year, they released their debut album To Find Deliverance, which includes the three songs from their first EP alongside five brand new tracks.

Thrash metal is known for being a more formulaic metal sub-genre, yet it adds so much to metal in general. To Find Deliverance opener ‘Rare Signals’ is an oddly cosmic piece, which leads into the prog/jazz-laden ‘Parasite’. It’s the first proper song here and boy does it have chops!. It’s awesome to hear thrash metal like this in an era when music is so polished and sterile. Species know exactly what they’re doing and their technical take on thrash metal is absolutely brilliant.

‘Falls The Tower’ was one of the songs off their debut EP The Monument Of Envy. I’m not sure if it’s been re-recorded for this record but even if it hasn’t, it’s still a killer song that brings the old-school back to life in the best possible way. The music of Species will be equally at home in the collections of fans of Death Angel and Cynic, especially where ‘The Monument Of Envy’ is concerned. It’a both straight-forward and technical. The march of progress within extreme metal is never ending, even if it subtly takes from the genre’s forefathers. 

As the midway point of this album passes, ‘Malfunction’ gathers a harrowing sample that sits perfectly alongside the epic instrumental thrash that makes up the majority of the song. It’s hard to comprehend just how good Species are musically, but the comprehension comes close here. ‘Thy Name Is Slaughter’ is the final song that appeared on the band’s debut EP and it’s fair to say that it’s an onslaught of Onslaught (the veteran UK thrash band) proportions. So fucking good!!

Penultimate song ‘Deus’ is an instrumental interlude made up of soothing acoustic guitar and percussion that leads into the leviathan that is ‘Ex Machina’, in all it’s eleven+ minute glory. This is where Species pull together and deliver their ultimate take on thrash. I know that the various sub-genres of metal can be hashed and re-hashed over and over again, but that’s no reason to dismiss individual and unique bands. On merit, Species provide something very special on To Find Deliverance

Listening to this record all the way through is a proper treat and Species deserve so much credit for producing an album that’s so accomplished and enjoyable. I think it’s about time you started checking out the new breed, because they’re equally as good as those that came before. 

You can stream and purchase To Find Deliverance on physical and digital formats below:-

Species -

Awakening Records

Friday 9 September 2022

Hive Mind - Demo

Labels: Zegema Beach Records

Formats: Tape/Digital

Release Date: 04 Feb 2016


1. An Ambiguous Utopia

2. Meat Hook

3. The Duality Of (un)Man

4. Time Cube

5. Hyperdrive

When I sat down to write my Mrtex/Kelut review the other day, I noticed that I'd missed a release before it. That release was the demo by US pv/screamo band Hive Mind. It was self-released digitally by the band and released on tape via Zegema Beach Records back in February of 2016. According to both band and label, ZBR's first batch of tapes were mostly blank and didn't play, so a fresh batch was pressed in late 2020. I'm not sure CanaDave will appreciate me mentioning that! I'm sorry, I just like to add some detail here and there.

I’m kicking off two weeks of annual leave tonight and I couldn’t be happier! I’ve been writing about historic ZBR releases for some time now, but somehow I missed this one so I’m putting things right here and now. Five short tracks of pv/emoviolence/screamo make up this early demo from US band Hive Mind. Opener ‘An Ambiguous Utopia’ is certainly noisy and chaotic. Hive Mind’s own take on the style is harsh yet pleasingly riff-laden. 

‘Meat Hook’ follows on from a short screech of guitar feedback in similarly abrasive fashion. Kind of like The Body in terms of it’s vocal ferocity, it’s angular post-hardcore reigns supreme. The bass and percussion seem to add so much as well, which is very noticeable. After more of that lovely feedback the rawness of ‘The Duality Of (un)Man’ is still a shock. I really would’ve loved to have witnessed Hive Mind in a live setting back when this demo was released. It would have been something special for sure.

The demo’s final two songs don’t reach the minute mark, starting with ‘Time Cube’, which slays from start to finish. Hive Mind’s hardcore influence is genuinely captivating even though their songs contain so much in such a short space of time. Final song ‘Hyperdrive’ is the best song to end on! Utterly mad from beginning to end, the authoritative percussion takes over and leads you into a mesmerising second-half, which concludes as it all started.

I’m so glad I didn’t wait to re-visit this demo. Aside from the split 7” they released with What Of Us, this demo is the only material you can find from Hive Mind, which makes it all the more special. I’ve always maintained that it’s better for bands to burn out rather than to outstay their welcome and fade away. I’m sure that Hive Mind still have music is them (as they haven’t officially ceased as far as I can tell), but if we never get the chance to hear more, this release will provide auditory comfort for years to come, especially to those who managed to snag a tape copy!

You can stream and purchase the demo as a name-your-price download below:-

Physical copies can be purchased from Zegema Beach Records below:-

Zegema Beach Records - CAN/INTL Store

USA Store -

Hive Mind -

Zegema Beach Records -

Wednesday 7 September 2022

Annihilation Rite - World Below

Labels: Satanath Records

Formats: CD/Digital

Release Date: 28 Apr 2022


1. Shrine Of Obscurity

2. The Abyss

3. Damnation Crowns

4. World Below

Sometimes, writing about a band in their infancy can be challenging. Annihilation Rite is a case in point, as the German solo-project is described as an industrial black metal band on social media or a death/doom band if Metal Archives is accurate. Genre specifics within extreme metal aren't that important I know, but sometimes a bit of guidance helps. Anyway, World Below is Annihilation Rite's debut full-length and was released on limited cd/digital via Georgian label Satanath Records in April of this year. The band's sole creator Entweider features (and has featured) in many other bands, including Sinister Downfall (Funere Records), Donarhall (Symbol Of Domination Productions) and Necrochaos (Godz Ov War Productions) amongst others. 

So is World Below industrial black metal or death/doom? On hearing album opener ‘Shrine Of Obscurity’ there’s definitely a heavy death/doom sound. Slow tempos, mournful instrumentation and hellish (almost gargled) vocals that lean more towards funeral doom. It’s mesmeric and atmospheric, without any of the coldness of industrial black metal (to these ears anyway). With all things considered, both Annihilation Rite and World Below sound great so far. 

One thing that’s immediately obvious about this album is that all four of it’s songs reach well over the nine minute mark. After the gloomy, crawling opener, ‘The Abyss’ begins in raucous fashion with a mix of death and black metal musicianship. I guess this must be where the industrial element comes in, but I’m still not entirely hearing it, aside from the subtle use of electronics that you can hear more vividly before the vocals kick in. When they do, the pace slows once again. The way that Annihilation Rite weaves different extreme metal elements together makes it much harder to pin down, but the band’s slower sections really make the hairs stand up on the back of your neck.

‘Damnation Crowns’ is a prime example of what I’ve just said with bucket loads of truly engrossing guitar work and extended build-ups. When Annihilation Rite hits full stride after the three minute mark, there’s no place of safety. The masterful arrangements, skilled musicianship and professional recoding/mixing help it stand out, especially for a debut release!

Closing with the title-track ‘World Below’, there’s an ominous feel to the music that’s seemingly magnified somewhat. I’m not sure this song is any different to the three that came before it but there just seems to be something slightly different about it. Maybe it’s the lumbering pace (that’s similar to the opener), but whatever it is, it’s glorious in a dark way. I for one really enjoy how different bands/projects interpret slower music. 

I’ve always considered German bands to be more industrial in tone, yet Annihilation Rite don’t have that feel. Instead, there’s an odd feeling of warmth emanating from the speakers that may take you by surprise. I hope to hear more from this band in future, as this debut has really hit the spot.

You can stream and purchase World Below digitally from Annihilation Rite here:-

Annihilation Rite -

Physical copies can be purchased from Satanath Records here -

Satanath Records/GrimmDistribution -