In this feature, we look back at a number of reviews from the previous month, focusing on albums that were released in that month, or are yet to be released. We perform this retrospective with several members of the staff, who were also given the opportunity to have their say. This can confirm the judgement of the original review, or perhaps offer a slightly different perspective. Above all, it is intended to bring a few more albums to light in these fleeting modern times: you never know if something might have flown under the radar.
As they say when baking pancakes: “the first one always fails”. Now, it is not as if this first attempt at ‘Highlights of the Month’ has failed, which would not be a helpful thing to mention in an intro, but the intention was to publish this earlier in March. Nevertheless, there is still plenty of discussion surrounding these albums, so despite coming online a bit later than planned, it is no less relevant.
In February, reviews were published for the latest releases from Nuctemeron, Mutagenic Host, Oraculum, Misotheist, Mayhem, Kanonenfieber and Cruel Force, all of which were generally well-received. Let’s see what the rest of the team thought…
Nuctemeron – Demonic Sceptre
I Hate Records
After twelve years of prowling the underground and spewing a relentless stream of EPs and splits, the wait is finally over. The debut full-length, ‘Demonic Sceptre’, has arrived via I Hate Records, who described this album as: “A striking detail is the diversity between the songs, every number with its own identity, while still keeping the old school banner high!”
‘Demonic Sceptre’ was reviewed by Arian, who characterised the album as: “a Black/Thrash Metal assault that fuses the chaotic venom of Nifelheim with the raw, merciless energy of Nocturnal Breed”. As the label mentioned ‘diversity’ in every track, Arian backs it up with: “Every track radiates that classic Teutonic steel; cold, sharp, and relentless, yet infused with a dark, blackened aura that keeps the listener on edge.”
At VM-Underground, we do enjoy a good slab of Old School, especially when Black, Speed, and Thrash Metal are combined. Rocky, for instance, thought: “Total blackened teutonic steel that feels like cuts right through the bone. If you crave for that razor sharp German precision mixed with the venomous strikes of Nifelheim then this is record is forged for that. Relentless, old school sonic fest done with terrifying speed.”
I myself could only conclude the following: “Spikes, leather, bulletbelts and by the looks of it, the possessed cross from the ‘Seven Churches’ album has been dusted off and given a fresh coat of paint… German Black Witching Blitz of Metal done right!”
Will “Bones” Lee thought: “Nifelheim, Cruel Force, Desaster live still! Plus the bullet-belts and spikes aplenty, hammer that home. You cannot go wrong with this. Horns Up!”
The conclusion from Arian in his review could be the conclusion of us all: “For fans of Blackened Teutonic steel, this is a triumphant strike straight to the heart.”
Mutagenic host – Grotesque Union / Chimeric Vestige [Single]
Church Road Records
Following the debut album ‘The Diseased Machine’, the UK Death Metal act mutagenic host released a digital single, providing two new tracks for us to sink our teeth into.
Huw described these two songs as: “The band continues to indulge their Obituary-brain through the lens of a Suffocation/Cryptopsy sound palette”. Rocky also took the time to listen to the single and noted: “London’s death dealers are back to crush skulls. It’s that killer spot where the fatal grooves of Obituary meet the outlandish technicality of Suffocation. Some pure, mutated aggression that should cement their footprint in the UK scene. Fists up for the machine!”
Huw ended his review with: “They’re a band who have placed a firm titanium cyborg footprint into the British scene, and these two tracks yet again leave me highly interested in whatever comes next from mutagenic host.” Time will tell…
Oraculum – Hybris Divina
Invictus Productions
After two EPs in 2014 and 2017, the moment was finally here: the debut from the Chilean band Oraculum. Invictus Productions described the debut as: “the band returns with a new ritual of violent and dissonant Death Metal, a testament to their unyielding dedication to the genre’s most unholy and primal roots.”
VincentP got stuck into ‘Hybris Divina’ and provided a fine mix of influences: “Oraculum plays mood-driven old school Death Metal mainly inspired by the bands from various corners of the world that peaked in the late 80’s and early 90’s. There is a strong sense of ‘Lost Paradise’ era Paradise Lost and Germany’s Poison in the atmosphere, while riff-wise there are clear references to early Morbid Angel and Death and the French bands Mercyless and Agressor. But certainly a flair of Bolt Thrower, Morgoth and Asphyx cannot be denied either.”
Rocky agreed: “Oraculum captures that nowadays rare analog magic where the production provides that alive and dangerous feeling of listening. It’s got that classic South American fire that gives away that early 90s European atmosphere. With all those shifting, restless gloomy yet surgical aggression of Morgoth, this record is meant for unleashing total carnage.”
To conclude with VincentP’s opinion: “Everything about the album reeks of meticulous focus on quality, on minute details that set the song on the right path of building the atmosphere in the correct manner while keeping true to that unpredictable violent energy within.”
Misotheist – De Pinte
Terratur Possessions
The fourth album by Misotheist, coincidentally all four have been covered by us, is described by Terratur Possessions as: “43 minutes of sheer Black Metal excellence. here is the drama, the melancholy, the aggression, the passion, and the devotion of real art, performed by world-class musicians who are masters of their craft”. It is clear that the bar was immediately set high.
VincentP was kind enough to see if that bar was indeed reached: “Musically speaking, ‘De Pinte’ is the logical continuation of ‘Vessels by Which the Devil is Made Flesh’ from 2024 and by extension the formula they set out with their very first release. As time has gone by, perhaps a part of the suffocating atmosphere has been molded slightly more towards the melancholic, but certainly the dark and eerie undertones have remained a constant.”… “I just miss that dark, choking sound, that catchiness in the riffs. When I think of misotheist, it’s still ‘Beast and Soil’ and ‘Benefactor of Wounds’ that come to my mind. That doesn’t seem to have changed with ‘De Pinte’, even if this album musically is beyond that early work and I am glad to have added it to my collection.”
While VincentP is somewhat reserved in his judgement, DPF thinks differently: “Probably one of the very best around currently, they keep evolving and staying true to their identity. Even more chaotic, intriguing and somehow atmospheric at the same time. Get drowned into the black maelstrom.” Will “Bones” Lee sees Misotheist as: “A band with atmosphere, and mood. Dare I say worthy of the tags Norway and Terratur Possessions”.
Rocky concludes: “‘De Pinte’ is the extension of the formula they set out with their very first release. The suffocating atmosphere here weaves into something melancholic, yet the dark and eerie undertones hang there constantly. The songs felt connected, flowing into each other, telling a part of a four chapter tale”.
Mayhem – Liturgy of Death
Century Media
It always creates a major buzz when Mayhem arrives with a new album. Singles and news are posted and discussed extensively, particularly via the well-known social media channels. As always with bands that have existed for years and hold a certain reputation, you have people who strictly embrace the past, and those who want nothing to do with the old and praise the new.
Arian volunteered to dissect ‘Liturgy of Death’ as a fan of their entire repertoire: “The riffs drip with frostbitten malice, the atmosphere is suffocating and ceremonial, and the performances are delivered with the conviction of men who have walked the path since its earliest, most infamous days.” He continues: “‘Liturgy of Death’ stands as a testament to endurance, to legacy, and to the undying spirit of Black Metal in its purest form.”
DPF had his own thoughts: “Probably their finest since a couple of years, this record evolved the ideas of its predecessor and blows things even more. A good Black Metal album from a pioneering band.
I myself was sceptical beforehand, as I am personally not impressed by contemporary mayhem: “Another Mayhem record. I always give their new material a spin, but I usually end up stuck in the past. Yet, I must conclude that ‘Liturgy of Death’ is a steadfast album, consistent in both quality and vision. Unlike ‘Esoteric Warfare’ and ‘Daemon’, which left me cold, ‘Liturgy of Death’ and its occult nature is far more impressive.”
Will “Bones” Lee concluded: “I will concur with Ricardo above. I dwell too much in the past as well and I almost tend to disregard current output. Having said that I do hear and “feel” much more of that feeling and atmosphere on this release. The “subject matter” perhaps?”
Arian stands his ground and is convinced by ‘Liturgy of Death’: “Fellow disciples should hail and bow down to their legacy, for mayhem continues to reign where their name is carved in stone: unstained, unbroken, and forever shrouded in the northern darkness.”
Cruel Force – Haneda
Shadow Kingdom Records
Both Arian and VincentP are well-represented in this article: this time they took on cruel force’s ‘Haneda’. Are they in agreement? Do they think differently? Let’s find out!
Arian kicked things off with: “With ‘Haneda’, cruel force steps forward as true torchbearers of the Teutonic titan legacy, carrying the flame once ignited by the holy trinity of Sodom, Destruction, and Kreator. This is not a nostalgic imitation, but a ferocious continuation of that original spirit: speed, aggression, and unrelenting Thrash Metal fury forged in the old German tradition”. He then concluded his review with: “After Sodom, Destruction, and Kreator, cruel force rises as one of the rightful torchbearers, keeping the flame of savage German Thrash Metal burning bright and merciless.”
VincentP offers a side note: “‘Haneda’ is filled with excellent Speed and Heavy Metal, but, and this is quite a big but, it does signal a further departure from the first two albums. The first era, consisting of the first two albums ‘The Rise of Satanic Might’ and ‘Under the Sign of the Moon’, with Blackened Thrash that carried obvious influences of Venom, Bathory, Motörhead, Sodom, Possessed and Celtic Frost. And the second coming represented by ‘Dawn of the Axe’ and ‘Haneda’, a sound more influenced by 80’s Heavy, Thrash and Speed Metal that blends ripping Teutonic Thrash Metal and Speed Metal and some Heavy metal grandeur.”
Will “Bones” Lee is more on Arian’s side: “Two Words. Cruel Force. Nuff said! They have become synonymous with dependable and quality output. Worthy to be positioned with much of their brethren.”
VincentP leaves the choice to the listener: “Will you go for the rawer, Blackened Thrash of the first albums? Or the more Speed oriented sound of ‘Haneda’? Or do you go for pure authenticity and riffs for days and embrace the entire body of work of the band?”
Kanonenfieber – Soldatenschicksale [Compilation]
Century Media
Another band causing a stir online: Kanonenfieber. On one hand, they have brought in a stream of young blood who have made their entry into Extreme Metal through them: on the other hand, they are dismissed as a gimmick. The fact they are on a major label will not help matters for some. It is a discussion that will certainly never end, as history has taught us.
Arian, there he is again, listened to this compilation and certainly found it to his liking: “With ‘Soldatenschicksale’, kanonenfieber further proves why they are shaping up to be the next big force in the Black/Death Metal underground. This compilation is not just a collection of tracks, but a grim chronicle of war, suffering, and the machinery of destruction; delivered with an intensity that feels both historical and apocalyptic.”
I myself have followed the musical and popularity growth of Kanonenfieber: “Of course, it’s easy to be sceptical of a band that’s gaining a lot of traction and success. But even though the Great War is such a fascinating source for themes, Kanonenfieber just doesn’t do it for me. The production feels too safe and clean, and with the first two songs being new material, I doubt the direction will shift. I can definitely imagine them being seen as a fresh ‘gateway’ band, though.”
Arian disagrees with me: “This is Black/Death Metal with teeth: merciless, immersive, and ready for war.”
The next ‘Highlights of the Month’, covering the reviews and releases of March, will be out at the beginning of April.
