Cult Of Fire – Triumvirát
released by Iron Bonehead Productions, 2013 (black vinyl LP)

Much has already been said about this rising dark star from Czech Republic, and since I’ve spent the most time with their debut full-length Triumvirát, I want to add my voice and state this is a band that got it right from the beginning. These tall-hooded, skull-carrying cultists have been burning brightly for the past few years, and each member of this 3-piece brings fervor to the cause with a strong visual presence and a sound to back it up.

Cult Of Fire understand that true black metal needs a sense of majesty, and execute their sound with the same feeling as some of the best second-wave bands. Keyboards are used effectively, complimenting the guitar melodies without ever stepping forward into the lead, and with a melancholy tone that suits the atmosphere. No track feels like it relies too much on any one instrument. Each song is composed of several strong threads woven together into a rope that pulls the listener forward through each well-developed section. These songs are all carefully crafted for maximum reaction, as is the case with all parts of this band’s aesthetic.

This aesthetic also extends into their visual presence as a band and with their artwork, as this LP features a gatefold cover showing the hooded members living up to their namesake while holding a burning bible. The inner gatefold shows a skull sitting atop glowing flames, and no other information about the band or album. Even the song titles are rendered in the Theban alphabet, offering no clues but to the most devote scholar. Cult Of Fire follows in the traditions of their fellow countrymen Root and Master’s Hammer, both known for their theatric approach and obsession with mysticism and Satanism, with a deathly serious devotion.

Beyond all appearances, their music stands on its own, building from a firm foundation in traditional fast-paced black metal into beautifully crafted hypnotic passages that transport the listener beyond the flames. The cult expertly demonstrates all their sinister techniques in the attention-commanding start to the album, “Závěť Světu,” which builds slowly and steadily to set the mood before the whiplash of the verse riff sweeps the listener away, only to ultimately arrive at a grim mid-paced march. At this point in the album, they have truly arrived and the sound is commanding. Other highlights include the excellent side B opener “Z Jícnů Propastí” as well as the epic closing title track, burning with a “Nightside Eclipse” energy that so few bands manage to capture. The flames die down but the embers never cool, and this 6 song offering is just the perfect length to leave the listener craving more. I’ve since gotten their incredible follow-up, मृत्यु का तापसी अनुध्यान, which we may make an appearance here as soon as I figure out how to pronounce it.

Riistetyt – Korppien Paraati
released on Riistetyt Records, 2014 (black vinyl)

Now into their 4th decade as a band, it’s almost unthinkable that Riistetyt could still be releasing hardcore punk records with any bite. But on Korppien Paraati, these long-running champions of the Finnish hardcore scene do indeed deliver with a record that is the obvious next step in their progression and still manages to bring a little new to the table so as not to sound like a desperate grab at past successes.

The current incarnation of Riistetyt has definitely had a healthy dose of metal present for over a decade (mostly in guitarist Vege’s strumming) but never enough to make this anything more than a punk band. While some songs chug forward, many feature melodic interludes and tempo-shift breakdowns and still others channel some of the concentrated hardcore fury of side project Ääritila. Opening track “Jälkeen Korppien Paraatin” starts in a very typical hardcore fashion for these gents, then stepping it up with a bit of Motorhead flourish in the chorus riff, an influence that makes several other appearances most notably in “Heil Amerika”. The intro to “Valhalla” almost channels Bolt Thrower for a few seconds before returning to the more distinctive speed-picking throughout the album. The B side opens with a riff that I almost thought was going to be Nausea’s “Inherit The Wasteland” for a second before it too returned to familiar Riistetyt territory.

Bassist and founding member Piise, who rejoined in 2008 to take over for his replacement Nappi (who later passed away in 2011, RIP) is able to work in some very fine moments of 4-string flair throughout these tracks. Any fan can see this is the same man behind the memorable bass sound on the jewel in Riistetyt’s crown, Skitsofrenia. He even manages to squeeze in a quick solo during the final breakdown of closing track “Garganta Do Diabo”. The only other remaining founding member, Lazz (who is also the only member who has appeared on every record), is visually more Brett Michaels than Sid Vicious these days, but his vocal delivery has only gotten grittier over the years and he’s shown no compromise in his approach or subject matter.

For all their experimenting with the formula, it doesn’t work 100% of the time. If anything, this record can feel a little long, with the less distinctive tracks starting to meld together, and some breakdowns that would have benefited from half as many bars or complete omission altogether. Much of the same can be said of their previous release Kuolonhymnejä from 2010, and if anything the band has since learned a few new tricks to the benefit of this record.

Self-released on Riistetyt Records (the second on their own label, following Kuolonhymnejä), the album comes on black vinyl in a grey on black pocket sleeve with gatefold insert featuring both Finnish and English translations of the lyrics. This is a solid release that while not a mandatory record by any means keeps these Finns on the map.

Axis Of Advance – Landline
re-released on Grief Foundation, 2008 (clear vinyl)

Landline was the debut offering by Axis Of Advance, a band that rose out of the ashes of Sacramentary Abolishment featuring 2/3s of the SA lineup plus the addition of “session” drummer J. Read. Like the Canadians do so well, this band straddles the line between death and black metal with a high level of proficiency. This 3 song EP (2 originals and a cover) may seem like something a band might release as a teaser, but this stands as a fine mission statement for what this band would set off to do, featuring sharp and ambitious songwriting and disciplined execution.

I was more familiar with Read and Vermin’s work in Read’s primary band Revenge, and followed the trail back to this re-release of AoA’s first output. While Axis Of Advance does feature the same ferocity of Read’s drumming in Conqueror and Revenge, the full range of tactics employed by AoA build a much broader foundation. The opening track “Curtailing Factors of Interference” is over 9 minutes (and the entire first side of the record), and unfolds as a tightly constructed tactical offense carried out with militaristic precision. Opening with a blasting assault, the track slows enough to shift its weight and then launches into a black metal whirlwind of razor riffs and Read’s trademark drumming. Throughout the course of this track as well as their other original “Structural Interpretation Via Superfluous Union”, we see the band switch up and drop in deployments of death metal breakdowns, doomed wardrum dirges, and frenzied bestial bursts.

As further testament to their technical prowess, the band concludes with a cover of “Re Animation” by classic Canadian thrash metallers Sacrifice, and is spot on in speed and intensity. This EP totals up to just shy of 20 minutes, but these are indeed all live rounds, no blanks to be found in this performance.

Originally released by Catharsis Records in 1999, this stake in the ground places them firmly at the vanguard of the Canadian black/death sound, marching forward and greatly expanding upon the works of their previous groups. This re-release comes on clear vinyl in a nice glossy cardboard sleeve with insert.

Crushed Butler – Uncrushed
released on Radio Heartbeat Records, 2009 (black vinyl)

Crushed Butler were a hard rock band from the early 70s UK scene that has been categorized as one of the first bands to play ‘punk’ style years before punk was even a thing. Supposedly they had a live show that would blow headliners away, but unfortunately were never able to transform their raw energy and power into a record contract. Uncrushed is a collection of their recordings from the early 70s compiled by the band and finally given a proper release.

Tracks such as “It’s My Life” and “My Son’s Alive” were destined to be hits even if they never had a chance to reach a wider audience. (They were even released as the A and B side of a single in 2005 on Windian Records). Darryl Read’s heavy drum style is all over the kit, propelling the rest of the band forward. His work on “It’s My Life” is absolutely pounding and relentless throughout the 2 minutes and 12 seconds of the track. Alan Butler’s bass fills out the rhythm while Jesse Hector leads on guitar and vocals. Hector’s guitar tone is bottom heavy and full. He’s not here to waste time on solos flying up and down the fretboard, just big juicy riffs with roots in English blues but with a heavy helping of overdrive and grime. “Factory Grime” does feature some nice interplay between Hector’s guitar and Butler’s bass, but the stomp of the drums keep it rooted in their pre-punk sound.

Also included on the record is 2 versions of “High School Dropout”, their attempt to write a catchy rock’n’roll song, as well as their version of a song written by some friends called “Love is All Around Me”. “Love Fighter” has a nice slow pace that’s proto-doom in the Sabbath tradition, while the upbeat instrumental “Let it Ring!” rounds out the recording with a bit of fun.

This record comes in a simple cardboard sleeve but does feature a nice history of the band on the inner sleeve written by Read, as well as a handful of band photos from his personal collection. These recordings are very raw, not having the polish of a professional studio, but these recordings compliment their style well, preserving the punk quality and heavy metal grit that set these guys apart from their contemporaries.