Review by Arek on November 11, 2020.

After several years of playing together and a few local concerts, four maniacs of strong sounds, fun and high-proof drinks followed with some herring decided to embody the repertoire created and played here and there. They embodied it on August 4th this year. The album features 11 pieces of lively grind core tinged with many influences and a large dose of humor.

Speaking of Śledzie Zagłady and grind core, it is as if we wanted to put Napalm Death's work into the same drawer. It is true that Śledzie achievements do not venture into industrial regions, but it's the early grind core activity of the Englishmen that is extremely close to them. It was reflected in the cover of ‘Unchallenged Hate’ from Napalms' second album. However, I must explain right away that this is the only track that maintains the grind core structure as a whole. All the other tracks are quite free play with musical styles from punk rock to black metal with a grind character. In terms of sound, I would place them in Scandinavia between the late Nasum and Rotten Sound.

In Śledzie's work, the lyrics that perfectly fit into this lively music are no less important. Here, however, it is worth adding a warning that playing Śledzie Zagłady's music in front of minors may result in too fast of a linguistic education in the backyard Latin regions. Unfortunately, or maybe for the better the book does not contain lyrics of individual songs, although it would be worth reading them to learn the stories of Onan, Rudy or King Edzio. The very title of Śledzie W Kosmosie indicates that this position should be approached with a grain of salt, preferably twice applied. It will be perfect for events strengthened with the high proof liquids and such. From my own experience, I can add that it is difficult to sit still at their concerts. After just a few sounds the leg taps, the head nods, and then it turns out that you are already jumping in front of the stage.

Ending my arguments, I would like to encourage all metalheads, who do not mind aggressive sounds while dancing, to reach for the debut of Śledzie Zagłady. This somewhat budget digipak, decorated with a cover by Marcin "Kryszpin", can turn out to be quite a useful gadget for both music and general entertainment.

Rating: 7.5 out of 10

Review by Carl on August 3, 2021.

I don't remember where I've read it exactly, but in a comment section somewhere there was a guy who wrote that a violent hammer is better than a pacifist hammer. This statement makes as much sense as the band's name, which is none, but I just wanted to share this with you, the reader. And in all fairness, as a band name it really gives a good idea of what the music is going to sound like. That Creed cover band your sister's husband formed to get through his midlife crisis isn't going to be called Violent Hammer, that's for sure.

The band immediately kicks it into high gear right from the start, not wasting any time to get the point across. This is savage, primitive and pummeling black/death metal intent on breaking bones and mangling bodies. A major influence is the death metal infused black metal style of a band like Archgoat or Conqueror, with fast primitive battering and raw tremolo picking alternating with slower sections designed to pummel and pound, all within a frame that has no place for melody or any other musical subtleties. Some guitar leads do pop up throughout, but these mostly are violent bursts of fast picked a-melodic insanity in the best Blasphemy tradition, so no Yngwie Malmsteen shit here. The vocals are gruff and cavernous sounding reverb-drenched bellows, that complement the sonic assault very well, although they are pretty one-sided in execution. As a whole the band reminds me of a rougher, tougher version of what a band like Bestial Mockery did in the early 00's, being a high-octane crust punk fueled black/death metal band with some thrash leanings added. It's harsh in execution, utterly primitive in sound and the album's over before you know it, so basically everything you could want from a band in this style.

This is some great no-frills black/death metal, but a few minor points of criticism remain. As mentioned above, there are the somewhat one-sided vocals, but the individual tracks come roaring by in a way that sounds like it's one long song. I had this album on my Mp3 player on a loop, and it was kinda difficult to discern where the last track ended and the first one commenced. Still, this is extreme metal primitivism that has no need for any niceties, as it is meant to pummel the listener into submission with raw power, and in that it well and truly succeeds.

This is recommended listening for all who like it raw, primitive and belligerent.

Rating: 8 out of 10

Review by Alex on May 23, 2020.

I wonder, does this record come with a lyric sheet? It'd be quite interesting and amusing for that matter, to read the script in an attempt to make sense of what's being exclaimed, when lining it up with the vocal savagery on Riders of the Wasteland by Violent Hammer. Also, I think 'Raiders' of the Wasteland would have been a more suitable title for an album this sort, judging by both the cover artwork's artistic direction and overall music accompanying it.

Barbaric, prehistoric, caveman remnants; impulsive at its core, Riders of the Wasteland displays no restrain; some song influences, can be traced back to fellow countrymen Archgoat, a tiny bit of Beherit and maybe a slight touch of Crurifragium. However, the band's own DNA can be heard through the shabby production and the vicious attack, predicated by all facets but primarily the vocals. You pick a random word associated with this genre and it would be an accurate description of the foul mentality represented. Bestial howls, deranged drumming and psychopathic riffing, Riders of the Wasteland is a face-down hammering, nail to nail, stone to stone.

Riders of the Wasteland is not the kind of record you could rate based on diversity, song-structure or any of that nerdy shit; instead, this is the kind of thing you'd find more comfort and gratification in when making comparisons to a fucking ogre. 'Death Squad' is an undomesticated advance made towards all witnessing the musical mauling. Already devastated by the clobbering, 'Annihilation (Victims of Bomb Raid)' proceeds to add salt to a still bleeding wound with a dreaded downpour of mostly mid-paced doomy snare punctures. '(Trapped) in Depths', treats you like a fat slob of bloody stake and rips you apart with a Polynesian shark-tooth sword after being tenderized by a hand-crafted Neanderthal club.

The album as a whole is primitive; take the vocals for instance, analyze the way it gives some account of how the first words uttered by man were so undeveloped and fossilized. Meanwhile the guitars and drums bare resemblance to a mud-hut put together overnight. Not to say the musicians lack the virtues of composing technically and/or rhythmically enjoyable songs, but that has no purpose on something this sort and Violent Hammer gets that.

Riders of the Wasteland is not meant for you to sip tea to or have a vegan lunch over, this is for the men that live in the gym, have a high intake of calories and despise shaving or anything that has to do with appearing presentable, approachable/hygienic. Metal for Man. A true ancestral beat down. Sasquatch would be proud.

Rating: 8.8 out of 10