Have you ever noticed how much music just rules? (Well, most of it, anyway.) We here at Last Rites World Headquarters And Lawnmower Repair Emporium certainly have. We’ve dedicated our every waking moment to listening to music, writing about music, arguing about music, thinking about music, eating, sleeping, breathing, pooping music… Well, maybe not the last part. BUT the point is: We like music, and even as we spend all that time with it, some of it still gets by us, every year. Some of those that get by us at first find their ways into our ears and minds and hearts a little later, and these are those, the ones that almost got away, the ones that we missed and are now catching up on… Read on, dear reader, and let us know in the comments what may be your favorites of the first half of 2023.
RUIM ‒ BLACK ROYAL SPIRITISM – I.O SINO DA IGREJA
released May 26; Peaceville
The journey of one Rune “Blasphemer” Eriksen through the metal realms has felt both fruitful and somewhat unfulfilled—he’s almost always known as a great, unique part of someone else’s band. His best known roles were as Euronymous’s replacement in Mayhem and ripping away in Aura Noir, while he also spent time playing with Alan Averill (Twilight of the Gods), Dave Vincent (Vltimas), and Nader Sadek, among others. Always a crucial member of the band, but never the leader.
Ruïm sees Blasphemer finally acting as the band leader, both as still one of the more unique guitarists in black metal, and now also as lone songwriter, bassist, and vocalist (César Vesvre completes the band on drums). The result is Black Royal Spiritism – I. O Sino da Igreja, an album that won’t be too much of a surprise to fans of what he did with Mayhem, but still allows his simultaneously technical and slightly psychedelic riff style to really shine. The album has neck-wrecking rhythmic shifts, oodles of hyperblast passages, riffs that range from the expected black metal dissonance and thrashy impacts to trippy quiet touches and fiery tremolo lines, and a occasionally stream-of-consciousness songwriting style at times. The latter aspect should feel pretty familiar to fans of Blasphemer’s best and last work with Mayhem, Ordo Ad Chao. But where Ordo was eerie, creepy, and muffled, Black Royal Spiritualism has a much punchier sound and violent intent, all without losing that dynamic breadth.
As a vocalist, Blasphemer has no problems taking the place of the much more famous singers he’s worked with. His typical black metal rasp is strong, as are the half-growled spokal parts and the odder theatrical moments that he undoubtedly inherited from his old pal Attila. Most importantly, like his music, he shows a willingness and ability to use his voice to enhance the album’s dynamics.
Black Royal Spiritism doesn’t quite top Blasphemer’s best Mayhem material (again, that would be Ordo), but it’s better than anything his former band has done since his departure, and is overall a wicked fun display of his unique talents. It’s also, somewhat oddly, a promising project, despite its visionary being a nearly 30-year veteran of the scene. [ZACH DUVALL]
SPEECH ODD ‒ ODD WORLD
released March 12; Coxinha / Mangoe / Shitresist
Influenced by classic powerviolence and hardcore, the Thai trio Speech Odd balances blasting bits against groovier breaks, going from ripping rage to circle-pit stomp in the span of seconds. Drummer Bom and guitarist Nampan swing in tight lockstep throughout all of Odd World‘s fourteen minutes, shifting those tempos on a proverbial dime. The blasts are relentless, pounding, and the grooves in tracks like “Fucx Coup,” “Control,” “Suffer,” and “I Don’t Know” are wide enough to drive a tank through. Still, as killer as the crushing hardcore is, Speech Odd’s defining characteristic is the manic, throat-tearing screech of vocalist Pam, balanced with some occasional background shouts. Pam’s voice juts out atop the blasting and churning like a klaxon call, a high midrange icepick guaranteed to get your attention, and keep it. Pair it with these eleven tracks, all of which are of uniform high quality, hard-hitting and hooky in equal measure, and you get Odd World, fourteen minutes of full-on fury that swings fists the size of boulders.
Uncultured American that I am, of course, I don’t speak Thai, so the sound samples and some of the lyrics are lost on me, though I know from what I do understand (and from what information is available out there in the great cyber void) that Odd World‘s focus is directed at the Thai government. Still, anger is a universal language, as is frustration, and disgust. Most of Odd World is written in English, so I can understand it, and those sentiments are all there in the lyrics, spit with nearly palpable venom, but more importantly, that anger and frustration comes through in the music itself, in the performances, in the overall package. Hardcore is supposed to be pissed off; this first full-length from Speech Odd gets it very, very right. Long may they rage. [ANDREW EDMUNDS]
WYTCH HAZEL ‒ IV: SACRAMENT
released June 2; Bad Omen
Fun? Check. Guitar harmonies? Check. Solid rhythm section? Check. Plus-level vocals? Check. Radical reinvention of themselves? No.
Wytch Hazel returns with their latest album doing exactly what it is they do best: rock out with warm tones, sweet riffles, and endless fun. While they didn’t take steps forward since their last work (reviewed here), which was a staple on year-end lists in 2020, they have added ten super solid tracks that will enhance their reputation. Think of IV: Sacrament as a sort of second disc for III: Pentecost.
Let their religious fervor be your unholy guide. [WILLIAM OF UR-SAG]
VHS ‒ QUEST FOR THE MIGHTY RIFF
released May 19; Wise Blood
Despite only releasing their first demo in 2015, Quest For The Mighty Riff is VHS’ seventh full-length among an absurd number of EPs and splits in a brief eight years. This prolific approach to writing is likely due to two primary factors:
1.) They draw heavy inspiration from deep-cut schlocky movies, mostly horror, from the 80s, and there’s no shortage of fantastic options there.
2.) They write short songs with straightforward riffs that focus on being fast and fun above all else.
The majority of their past releases are horror, gore and sleaze riddled with ridiculous samples, similar to someone like Embalmer. Quest For The Mighty Riff, however, has more of a Pick Of Destiny mentality, pushing the Ontario trio into concept album territory, and the source material is classic fantasy movies instead. Fret not, dear reader, this won’t be appearing in one of Captain’s beloved We Have The Power columns anytime soon; VHS is still cranking out pure classic death metal filled with thrash-indebted riffs and punk energy.
Whether aiming to be triumphant (“Ilias And His Magic Bow”), thrashy as hell (“Cleave ‘Em and Leave ‘Em”), trad (“Adventurers, Heroes, Brothers”), or just letting the guitars wail and sing (“Hail King Arthur”), mighty riffs do indeed abound. Just listen to that opening to “Dagoth Must Die” and tell me you don’t want to hit repeat and start shouting along while banging your head. Or try listening to “Eternia Needs A Heroe” without a big fat grin on your face; you can’t.
Certainly doesn’t hurt having guest appearances from members of Exhumed, Hellripper and Molder either.
[SPENCER HOTZ]BLAZON RITE ‒ WILD RITES AND ANCIENT SONGS
released April 14; Gates Of Hell
I’ll make no bones about my love for Blazon Rite. They check all my trad boxes: Fun riffs. Fantasy lyrics. Tight songs. Awesome cover art. There’s not a shortage of things to love here. And as promising as the Dulce Bellum Inexpertis EP was in 2020, the band’s debut full-length, Endless Halls of Golden Totem, was an improvement on all fronts.
Wild Rites And Ancient Songs continues that upward trend. Doesn’t hurt, of course, to have a battle-ready opener like “Autumn Fear Brings Winter Doom” up your sleeve. Or a follow-up as addictive as “Salvage What You Can of the Night.” And a deftly executed change of pace like “The Fall of a Once Great House.” There’s a specific rhythm Blazon Rite has developed that just clicks. A chemistry. A confidence. And the slightly fuller sound of Wild Rites brings that confidence to the forefront.
Though it feels very much like a natural progression from Endless Halls, Wild Rites is slightly more diverse and varied in pace. For that reason it makes for a perfect jumping on point for new listeners, particularly given the relatively short 36-minute run time (see the aforementioned “tight songs” box). Clearly, the craft has been honed.
It’s hard not to appreciate a band that developed its aesthetic early. Though battle themes hardly qualify as unique, Blazon Rite’s sound is as much a part of that aesthetic as the lyrics, and the noodly bounce is their calling card. Here’s hoping this isn’t the last we hear from them. [CHRIS C]
