ALBUM REVIEW – ARMAGH

Armagh – Exclamation Po!nt

Reviewed By: Denis Bridger

Review Score: 9.5

Formed in 2012 (and hailing from the mighty Warsaw, Poland), Armagh are set to release their third album, Exclamation Po!nt. I have to be honest, when I saw that Hawkwind are an influence on the band, and especially the bass player Tom Cultcommander (classic metal name!), I was instantly hooked. I am a massive Hawkwind fan, and one can easily here the influence on the bass on this record.

Within Armagh, you have it all: NWOBHM, all your favourite metal bands from the 70s and 80s, and a familiar-yet-unique vocal style that is immediately comforting. In general, this album has the feeling of all things that one would love in a hard rock band. Armagh have been through some line-up changes since the last record, with Galin Soulreaper being the only original member. Exclamation Po!nt follows the style of 2022’s release Serpent Storm, and I am confident Exclamation Po!nt is going to make an impact in metal circles. Armagh have found their groove on this record and it is a blinder.

Having lived in Poland for more than a decade, I am familiar with the music scene and it is quite unique. Pop music has not been so well embraced like in other countries and the market is not oversaturated with auto-tune (not yet, anyway). There is, and has always been, a thriving underground scene in much of Poland. This is likely due to Polish musical history (a very interesting thing… if you are interested ) and alternative music has always been a force to be reckoned with. I can remember seeing pictures of Polish metal fans in the 80s in Metal Hammer, where the politics at the time were a great breeding ground for angry people to express themselves though music, and that tradition has continued to this day. Even the fact that Chopin is still so respected shows us what a truly musical nation Poland is. It is the perfect place for such bands, allowing for bands like Armagh and any emerging artists to hone their art, build a fan base, and get ready for the greater world.

Armagh are also credited with starting the “First Wave Only” movement, which connects Polish bands playing old school metal (bands such as label mates Gallower, Sexmag, Torpor, Wielki Mrok, and R.I.P.). Bands like Vader and Behemoth, who are now legends in the field, have both become two behemoths (mind the pun) in the realm of metal, which has opened doors for bands such as Armagh, and hopefully many others, to kick down some walls and put Poland firmly on the map. If Behemoth and Vader are too heavy for you, then Armagh might just be your cup of tea. You are in for a real musical treat with this release.

ROUGH EDGES
Exclamation Po!nt opens with ‘Rough Edges‘, a thrashing metal song of classic proportions with driving bass lines, which is a theme of this record (the bass is very prominent throughout the album). There are classic riffs at every intersection, big drum fills, and very warm vocals that have an Ozzy feel and sound.

This song is half thrash and half hard rock. The lower-fi production, which, I assume, is not by accident, gives this song and the album a special feel. To be honest, when the first couple of bars came in, I thought the production was not up to scratch and I think that is due to many bands having such high production standards. When a band like Armagh come about, it may seem inadequate, but it really isn’t. As the band bio states, “less is more.” In this case, the under production adds a special quality, giving it a very warm, authentic 70s sound and feel.

MASTERS OF TIME
This is the first song that is really reminiscent of Hawkwind and bands of that ilk and. In fact, the ‘Masters Of Time’ could very well have been a Hawkwind title. I think this could be one of my favourite songs (and we are only two songs in). It has a mix of Black Sabbath’s ‘Megalomania’ vs Hawkwind’s ‘Spirit Of The Age’ along with ‘Motorway City.’ Clocking in at seven minutes, it truly is an epic piece of work.

AFTERMATH
Almost immediately I was struck a NWOBHM vibe, with a touch of early Iron Maiden. The song has some excellent riffing, basslines, and fantastic drumming. Galin Soulreaper’s vocals are perfect for this sound and I particularly like his tone. Quite simply a great track. What more to say?

BETWEEN THE SIDES
Right out of the gates, this song is heavy on drums and bass, which serves to drive the pummeling rhythm relentlessly forward. Galin absolutely puts his heart, soul and emotion into this track. I really can’t put my finger on it, but, as mentioned earlier, the mix on this record is completely unique to the ears. The production really grows on you. There is something very emotive about this song, particulary with the phrasing of Galin’s vocals, which are mezmerizing. This is another new favourite (I think there will be a few by the end of this review).

THE PORTAL
The song opens with a grunge-like riff. The bass is particulary heavy (as has been the case thus far) and drives the song on to be another excellent track. I’m not sure what it is, but this track makes me think of Jethro Tull (this is another reason to love this band… but that could just my ears). Another banger of a tune with lots of different components and a cornucopia of classic rock.

RAPID STR!DE
Another track that doesn’t disappoint. The song definitely moves at a heavy stride with the drums marching forward full-on. The track is slow, yet at times becomes fast and heavy (work that out, if you can). I bet these guys are a great live. It makes me want to move back to Poland just to catch them onstage.

THIS !S NEW A
The first thing I thought of when the track kicked in is The Police‘s ‘Message In A Bottle’ (give it a listen and you’ll see why). That being said, it very quickly changes into that classic heavy rock that Armagh do so well. A steady track that again reminds me of Jethro Tull and Hawkwind, but obviously a lot heavier. This track has actually grown on me over listens and has just got better with time. Lots of time changes during this track keep things interesting. It really picks up the pace in the last third of the track, morphing into a frenzy of drums, droning guitar and bass, and those ever impressive vocals.

ENOUGH FOR NOW
The final track, ‘Enough For Now’, which, I guess, is appropriate for the last track, isn’t really enough. That said, they saved one of the best tracks just to make you crave more. It’s another thrashing, hard rocking number with pounding drums and is a fine track to finish on. A banger of a tune to ends things off.

FINAL THOUGHTS
At first listen, I thought it was a bit short. Upon further thought, back in the day when classic rock was fresh (and not yet classic), the albums were not so long… it was as much as you could fit on a round piece of plastic, basically. So, with that in mind, maybe less is more. If it isn’t quite enough, you’ll just have to listen again, won’t you? Who needs fifteen songs anyway, eh?

This is a very warm record and gets better with every listen. As the band continues to evolve, without compromising their sound, there are definitely many more great records to come. Armagh‘s approach is simple: play hard rocking music that feels good and sounds authentic.

The band member names have a touch of humour to them, in that Venom, Celtic Frost vein, but possibly easier to pronounce than their real names. Armagh’s first album, ‘Cold Wrath Of Mother Earth’, was a bit more black metal (well worth checking out ), and their asthetic was a little Venom-esque. With this in mind, maybe Galin Soulreaper took inspiration for the band member names from that period of his musical life. It all adds for good effect, I think.

To sum up, the more you listen, the better it gets. I highly recommend Exclamation Po!nt. Be sure to grab your very own copy when the album drops on March 15th via Dying Victims Productions.

ALBUM REVIEW – DARKSPACE

Darkspace – Darkspace II

Reviewed By: Jason Deaville

Review Score: 7.5

In space, no one can hear you scream. This marketing slogan for the original Alien movie (released all the way back in ’79) may be scientifically correct. Further explained, space is a vacuum, which means it contains almost no matter. The word vacuum comes from the Latin word for empty. Sound is carried by atoms and molecules. In space, with no atoms or molecules to carry a sound wave, there’s no sound. With this in mind, how is it possible that the cosmic echoes and haunting screams of Swiss psychedelic/atmospheric/spatial black metallers, Darkspace, resonate through the deepest, darkest recesses of the cosmos? Let’s find out!

The triumvirate that is Darkspace (Wroth – guitars/vocals, Zhaaral – bass, vocals, and newest member Yhs – guitars, vocals) are gearing up for their long-awaited return to earth after almost a decade since their last transmission. They will emerge from the void on February 16th via Season Of Mist with their brand new album, Dark Space-II. With them, they bring a non-stop 47-minute voyage that drifts far beyond the earthbound realm of black metal. Fractal electronic samples slice through layers of extraterrestrial drones. Vocal transmissions, like whispers from the outer reaches, seamlessly intertwine with the chilling mix, adding a haunting dimension to this celestial configuration.

Dark Space -II loosely deviates from the course set by Darkspace on their previous four albums, experimenting with different sonic textures. But while the mysterious trio still venture into uncharted aural territories, Dark Space -II never leaves their familiar realm of atmospheric, ambient black metal. The programmed drums are sequenced in such a way that it carries the music over light years, like a transmission emerging out of the depths of a stellar-mass black hole to be intercepted and dissected by beings of unknown origins. The guitars echo with a cold and clinical melody while the vocals fluctuate between a raspy, growled iciness and a cybernetic snarl.

Unlike previous albums, Darkspace-II strikes an equilibrium never before heard. Typically, the band either rage with a fury befitting a Type I Supernovae or they drift into a relatively calm region of the universe that inspires a more ambient, trippy, serene singularity. This duality of chaos and coherence serves the album well, not unlike a competent cosmic horror movie that leaves the active participant on the edge of their seat never knowing what lurks in the icy cold blackness.

It’s difficult to further dissect this album, as it contains only one continuous track. This works in its favour, as the seamless transmission never fluctuates too much, which, in turn, keeps the listener’s attention focused and immersed in the cosmic waves of blackened interstellar metal. This is an album to throw on when pondering the vastness of the cosmos, as it is the perfect soundtrack to the unknown and the unobservable of this universe we call home.

Darkspace -II will reach Earth on February 16th via Season Of Mist.

ALBUM REVIEW: NECROWRETCH

Necrowretch – Swords of Dajjal

Reviewed by: Kenneth Gallant

Review Score 9.0

You have to love it when a band can build tenure in any musical genre. When a band like Necrowretch is eating up fifteen years in the business it’s quite a feat. Now I say this having very little exposure to the band’s discography, but upon hearing their latest effort, I have to say I’m quite impressed.

The album in question is Swords Of Dajjal and it’s due out February 2nd on Seasons of Mist Underground Activists. What you get here is an album clocking in around thirty-seven minutes of the blackened-death variety and it only took three years in the making according to the band.

This is also album number five, coming upon the heels of the whole world shut down debacle of COVID, and it’s quite an interesting back story as to how this record came about. For starters, the previous release The Ones From Hell (came out in 2020) was meant to give the band a huge push right out of the gate. A European tour was put together with Kampfar and Taake, but that was quickly squashed when the pandemic erupted. The band was forced into shutdown mode, so they decided to write some new songs.

These songs gave the band a chance to upgrade their power and depth as a musical entity and according to singer Vlad, he took singing lessons to meet that challenge, along with upgrading their gear and tuning the sound. What came about afterwards is a sound of intensely written black metal, but with more variety and some death metal layering in for good measure.

This all sounds exciting, so when perusing over the press-kit materials I quickly realized the band means business on this new release. So without further adieu, here’s some of my analysis on what to expect with Swords Of Dajjal.

The guitars are out front on the opening track ‘Ksar Al-Kufar’, along with Vlad’s raspy vocal delivery in a pronounced way. He sounds immediate here and I’m liking what I am hearing. There’s some nice ominous passages that start up on ‘The Fifth Door’ right out of the gate. The commanding drone of the guitars reach my ears quickly and Vlad layers his vocals with a fiery passion. The song spirals into a meaty mid-section and I am completely enthralled with this new sound.

‘Di Mauri’ begins with a demonic passage of speech and blackened guitars that spew out a tone of nastiness. The band’s new drummer N. Destroyer is on fire and I’m getting some early-era Entombed vibes here tonally. The pace quickens on the title track Swords Of Dajjal because those riffs take centre stage and provide meaty fisticuffs before sprawling into a doom laden passage. This is definitely some serious stuff happening and we’re only half-way through the recording.

It’s hard to tell what is being said lyrically, but I suppose ‘Numidian Knowledge’ is waxing poetically on the ways of this semi-nomadic tribe known as the Numidia population. As esoteric as it sounds, the song spirals out like a group of monks deviating from their daily ritual of prayers and mediation and embarking on some bloodletting. It’s a pretty cool song for the most part and I do like the snaky passages leading up to the end of it. The next track ‘Vae Victis’ is a black metal staple with all the fixings, as the guitars drone along until the stark turn into barked out death vocals and blasting guitars. It’s such a great way to end the number.

‘Daeva’ is a short instrumental track that follows; getting punchy and straight to the point. However, it’s contrasted by the closing number ‘Total Obliteration’ as being the longest track here. You get some precision drumming and drony guitars to start out, but Vlad’s vocals are shouted out and seem to give the song some added extra dimension. There’s a smooth transition into the eerie sounds of hands sliding across the neck of the guitar strings that is a really neat effect to bring an end to the proceedings. I have to say this track concludes with a bang and it compliments the other seven tracks before it.

I have to say this is a banger of a release! It’s built upon a new and improved sound, plus it expertly straddles along the genres of both black and death metal. Vlad’s vocals are a high point for me and you can’t go wrong with a band who puts its best foot forward in earnest of improving their sound overall. Let’s see what they do on the live concert circuit in 2024.

Swords of Dajjal will be released February 2, 2024 on Season of Mist

ALBUM REVIEW – SONATA ARCTICA

Sonata Arctica – Clear Cold Beyond

Reviewed By: Georgina Strilakos

Review Score: 9.0

Finnish Power Metal combo Sonata Arctica formed in 1995, and it didn’t take long for the group to jump to the forefront of the Scandinavian scene.

The group’s complex and ambitious sound is quite remarkable, especially considering the band actually started as Tricky Beans when they were playing hard rock tunes! Needless to say, they eventually settled into a different musical identity, fully embracing their power metal persona to great effect and acclaim.

Led by vocalist and songwriter Tony Kakko, Sonata Arctica‘s music continued to evolve, embracing traditional heavy metal elements with power influences, meaning a stronger focus on melody and song arrangement. Inspired by fellow Finnish bands such as Stratovarius, the group combined their metal core with other elements, including grandiose orchestral scores, symphonic arrangements, and even synthesizers, in order to add more layers to its sound.

The group’s most recent studio work, Clear Cold Beyond, Is a perfect example of the band’s ongoing search for size and depth in its music. The album is going to be the group’s eleventh full-length, marking a huge milestone for the band.

Clear Cold Beyond features eleveb songs, including the single ‘First In Line’, which was actually released on October 12, 2023. With this record, the band expressed a desire to return to a heavier sound after exploring more of its textural side in some of its previous works. In light of a return to live performances, the group especially felt the need for some high-energy material that would have an impact on stage.

The single ‘First In Line’ is a perfect example of how the band approaches their aforementioned mission statement, as it packs a huge punch from the get-go. The fast-paced drum intro follows a melodic yet energetic segment, where orchestral elements blend in with big rhythm guitars and roaring bass tones.

The vocals come in at about thirty-eight seconds in, soaring through the big guitars and choral parts, echoing the old-school sound of the band but not necessarily going for a nostalgic vibe.

In conclusion, Clear Cold Beyond is a very diverse album, which seems to be an attempt from the band to look back on all of its era, and create something that would accurately represent all the creative nuances that made its sound and legacy so enduring.

The Clear Cold Beyond drops on March 8th via Atomic Fire Records.

The Metal Pit’s Top 15 of 2023

Obituary – Dying Of Everything
Overkill – Scorched
Primordial – How It Ends
Cannibal Corpse – Chaos Horrific
Dying Fetus – Make Them Beg For Death
Hellripper – Warlocks Grim And Withered Hags
Enslaved – Heimdal
Suffocation – Hymns From The Apocrypha
Katatonia – Sky Void Of Stars
Tsjuder – Helvegr
Incantation – Unholy Deification
Blackbraid – II
Tomb Mold – The Enduring Spirit
Tailgunner – Guns For Hire
Prong – State of Emergency

Like clockwork, each and every year metalheads compile a list of their favorite albums that destroyed their earholes for the year, and 2023 was no different.

So, what was it about 2023 and metal releases that made this year so special? For starters, it was certainly the year of death metal. Who would have thought that thirty-five years after the release of many of the classic albums that birthed the genre that we would be here today still critiquing albums from these bands?

This year saw some incredibly relevant albums from many of our death metal overlords, which included Cannibal Corpse, Suffocation, Incantation, Dying Fetus, and Obituary. In fact, all five made The Metal Pit’s year-end list, with Obituary taking the number one spot. Additionally, we had one contemporary death metal band, Tomb Mold, make our list, with many of our contributors placing it quite high. It’s good to see death metal so strong all these years later.

Similarly, black metal proper has been infecting ears over the last thirty years yet remains just as strong today as it did back in those early church burning, murderous days. This year saw some stellar releases from the Nordic contingent with albums by the mighty Enslaved and Tsjuder (the latter releasing one of their most vicious albums yet). Again, we had a couple of contemporary black metal albums make our year-end, which includes newcomers Blackbraid and Hellripper.

If The Metal Pit’s year-end list is any indication, 2023 wasn’t quite the year of thrash, with only a couple of albums making the list. That said, one of those albums, Overkill‘s Scorched, scored the number two spot. A fantastic album that showcases the consistency and relevance of this legendary, genre-defining band. We once again have to speak about Scotland’s Hellripper (who we previously mentioned when discussing 2023’s black metal releases). When it comes to thrash, Hellripper certainly fits the bill, with a ton of killer riffs that display a decidedly 80s thrash attack. Definitely a band to watch out for.

Rounding out our list we have few outliers, two of whom comfortably fit in the alternative metal category. The first of those bands is Prong. Another legendary act who released perhaps their best album since 1990’s Beg to Differ and 1991’s Prove You Wrong. An incredible album that showcases the relevancy of their crossover take on thrash and alternative metal. The UK’s Tailgunner was probably the surprise band of 2023 with their debut full-length Guns For Hire, an album chock-full of solid metal goodies. Quite the feat for a band that has only been in existence for a few short years.

The last band of our list, Swedish legends Katatonia, is a band that I’m certain makes year-end lists for each and every album they release. They truly are one of the most consistent heavy bands in existence, and this year’s Sky Void Of Stars once again proves this.

The Metal Pit is looking forward to a bevy of releases in 2024… stay tuned, as we will definitely be covering tons of metal this coming year! We thank you for supporting us and are looking forward to seeing you all in the PIT!

The Metal Pit Writers Top 15 lists.

Jim Harrison
Tom Elke
Georgina Strilakos
Dennis van’t Hoofd
Kenneth Gallant
Billy Klare
Staicha Kidd
Jason Deaville
Kim Baarda
Blake Mossey