Review by Vladimir on September 28, 2023.

Not long ago, I had the opportunity to check out the US black metal band Woe, while having the pleasure of reviewing their third album Withdrawal from 2013. That album was a pleasant surprise and it exceeded my expectations, but what really got me excited was their upcoming album Legacies Of Frailty, which marks the band’s fifth full-length album and it is set to be released on September 29th via Vendetta Records. Although my past experience with this band turned out to be great, the real question is, would this experience also prove to be as successful or even more so? Let’s find out… 

The band once again uses the traditional elements of black metal such as tremolo picking riffs alongside some melodic guitar work, double-bass drums, blast beats and harsh guttural vocals by Chris Grigg, which already kicks things off from the first track 'Fresh Chaos Greets The Dawn'. The second track 'Scavenger Prophets' brings back some of that classic Woe stuff like breakdowns and the maniacal shouting vocals. Some other interesting bits that you’ll find are the alternative picking chord riffs and also some reverse blast beats on the third track 'The Justice Of Gnashing Teeth'. The songwriting on this album seems pretty simple and straightforward, songs are mostly consisted of your traditional elements of modern-day black metal, which won’t give you a hard time while transitioning from one song to another. Although I did manage to find something worth the attention on this album, something that was evidently missing were some of the special moments that made their past works one of a kind. First off, the signature hardcore elements are somewhat absent on this album and there is very little presence of their trademark sound which made them stand out, especially on Withdrawal. The band this time opted for a different approach which both vocally and instrumentally leans towards some modern black metal outfits like Gaerea or Mgla, even the songwriting feels a bit too formulaic and isn’t as dynamic as it used to be. I admit that I did not follow up on the band’s change of style and sound in the meantime after hearing Withdrawal, but despite that, I still felt craving for those moments from their third album that left me speechless. No one says that it is forbidden for bands to mature or move past their established grounds, yet there are times when the band’s do it the right way that won’t make the fans feel like the band lost their touch or completely erased their magic. On the positive side, one of the highlights of this album would definitely be the cover art titled “Anguish and the Great Fire”, which was done by Khaos Dictator Design, whom you may also know as Atterigner from bands such as Triumfall and Nadsvest, mostly known for singing on Gorgoroth’s album "Instinctus Bestialis". Even in the past I adored his artworks, but this one just hits differently and it’s amazing to look at, especially because it reminds me a bit of “Fall of Rome”, almost like a modern interpretation of that art. The sound production is very high quality, although a bit too sterile for my personal taste, which makes the album sound a bit overproduced. 

In the end, I will say that I do feel a bit guilty for having these mixed feelings about Legacies Of Frailty, but looking aside these personal nitpicks that I mentioned, I think that this still comes off as a solid album that you should still give a chance to if you're interested. It may not be as good as I hoped it would be, but on the other hand, I didn’t feel utterly underwhelmed from the entire output that Woe cemented on this album. This album is suitable for modern black metal fans who enjoy this kind of simplistic and straightforward approach, so feel free to give it a go if you still haven’t checked it out yet. 

Rating: 7.6 out of 10

Review by Carl on November 10, 2024.

Unholy Grave are an institution. They've been around for about a century or so by now, remaining active almost constantly, dishing out rabid grindcore completely going by grandma's recipe. For a band like this, I can only have the utmost respect, but that doesn't mean that I can't be critical about them.

So let's just throw it out there: the production here sucks, sounding as if it was recorded in a shed somewhere. There's nothing wrong with a rough and gruff soundmix, especially when we're talking grindcore, but when it sounds as thin and dry as it does here, that's going to affect the power that music like this is supposed to emanate. Unfortunately, that's indeed what has happened here. Unholy Grave's primal, old-school grinding madness is for a good part getting neutered by the thin percussion and complete lack of bass, and let's just face it: for a band in the fine tradition of Agathocles, Brazil's Rot and Napalm Death's "Scum", that's just a damn shame. This is the kind of music that needs to come across as a full-force slap in the face, not like someone stepping on your toes and apologizing for it.

Good thing that the music itself manages to pull some of the furniture out of the fire here. What Unholy Grave has on offer is grindcore the way the progenitors showed us: simple distorted guitar riffing colliding with savage blasting and the occasional d-beat, while a raving lunatic is roaring and screaming his woes all over it. The songs are short and violent, while speeding right ahead for the majority of the time, aiming primarily for impact instead of intricacy. There is little to no place for any window dressing like guitar wizardry and melody, Unholy Grave only does fast and loud, and that's about it, really.

Despite the meager overall production on offer, I still like this album quite a lot, because besides being fast and outrageous, this is also thoroughly honest music. I can't imagine a lot of people outside of grindcore circles taking much interest in Unholy Grave and their doings, but those 'on the inside' will know perfectly well what these guys stand for, and that's what counts in the end.

Rating: 7 out of 10

Review by Vladimir on September 28, 2023.

Not long ago, I had the opportunity to check out the US black metal band Woe, while having the pleasure of reviewing their third album Withdrawal from 2013. That album was a pleasant surprise and it exceeded my expectations, but what really got me excited was their upcoming album Legacies Of Frailty, which marks the band’s fifth full-length album and it is set to be released on September 29th via Vendetta Records. Although my past experience with this band turned out to be great, the real question is, would this experience also prove to be as successful or even more so? Let’s find out… 

The band once again uses the traditional elements of black metal such as tremolo picking riffs alongside some melodic guitar work, double-bass drums, blast beats and harsh guttural vocals by Chris Grigg, which already kicks things off from the first track 'Fresh Chaos Greets The Dawn'. The second track 'Scavenger Prophets' brings back some of that classic Woe stuff like breakdowns and the maniacal shouting vocals. Some other interesting bits that you’ll find are the alternative picking chord riffs and also some reverse blast beats on the third track 'The Justice Of Gnashing Teeth'. The songwriting on this album seems pretty simple and straightforward, songs are mostly consisted of your traditional elements of modern-day black metal, which won’t give you a hard time while transitioning from one song to another. Although I did manage to find something worth the attention on this album, something that was evidently missing were some of the special moments that made their past works one of a kind. First off, the signature hardcore elements are somewhat absent on this album and there is very little presence of their trademark sound which made them stand out, especially on Withdrawal. The band this time opted for a different approach which both vocally and instrumentally leans towards some modern black metal outfits like Gaerea or Mgla, even the songwriting feels a bit too formulaic and isn’t as dynamic as it used to be. I admit that I did not follow up on the band’s change of style and sound in the meantime after hearing Withdrawal, but despite that, I still felt craving for those moments from their third album that left me speechless. No one says that it is forbidden for bands to mature or move past their established grounds, yet there are times when the band’s do it the right way that won’t make the fans feel like the band lost their touch or completely erased their magic. On the positive side, one of the highlights of this album would definitely be the cover art titled “Anguish and the Great Fire”, which was done by Khaos Dictator Design, whom you may also know as Atterigner from bands such as Triumfall and Nadsvest, mostly known for singing on Gorgoroth’s album "Instinctus Bestialis". Even in the past I adored his artworks, but this one just hits differently and it’s amazing to look at, especially because it reminds me a bit of “Fall of Rome”, almost like a modern interpretation of that art. The sound production is very high quality, although a bit too sterile for my personal taste, which makes the album sound a bit overproduced. 

In the end, I will say that I do feel a bit guilty for having these mixed feelings about Legacies Of Frailty, but looking aside these personal nitpicks that I mentioned, I think that this still comes off as a solid album that you should still give a chance to if you're interested. It may not be as good as I hoped it would be, but on the other hand, I didn’t feel utterly underwhelmed from the entire output that Woe cemented on this album. This album is suitable for modern black metal fans who enjoy this kind of simplistic and straightforward approach, so feel free to give it a go if you still haven’t checked it out yet. 

Rating: 7.6 out of 10

Review by Alex on September 23, 2020.

Sandbreaker impressed lots of folks with their self titled debut EP in 2019, it displayed the band's intent in making a slightly loose form of stoner doom with death metal influences. Majority of that EP walked a fairly straight line in terms of death/doom even though the stoner metal mannerisms would appear frequently. In 2020 however, they have managed to release a matured full-length amidst the shitstorm of things, titled Worm Master. This album came as a surprise to me, I didn't think the Polish ploughers would have a crop ready for us so soon, however, it's here and damn is it one tasty reap.

Sandbreaker was a very well written and assembled album, Worm Master is all that Sandbreaker was and more. Firstly it seems their sound has gotten even heavier than before hence the addition of the new guitarist to the lineup. New-comer Krzysztof Całka along with Bartłomiej Czech arrive as ready and more than competent craftsmen for the job at hand. Thus said, they not only deliver on what's expected of them, but they add a more definite layer of musicianship. As time would pass-by with the opening song 'Upside Down World' ideally setting the stage, you'd begin to notice there's much more of an adventurous overtone working. The guitars are spacy and sound more atmospheric than on their debut EP. This bit of growth is good to see as it shows that Sandbreaker are definitely not afraid to progress respectfully with their sound. This element goes well with the bouldering basslines of Arkadiusz Dzierżawa and the monstrous growls and ominous thumps of Mirosław Cichy. Altogether creating a truly cohesive bit of music that envelops you slowly as you listen to tracks like the terrifying 'Navigator Lost' and 'Aqua Karma'. Also its great to hear those sprawling, deserted rock and roll guitar solos laid-down, they expand the feel of the tunes and really add to the experience of listening to Worm Master.

I can hear a bit of Ahab and Black Hole (Italy) particularly in the drumming, riffing and placement of those abyss-dwelling vocals on songs such as 'Golden Path (Metamorphosis)' and self titled track 'Worm Master' though being shy of deep melody. Thus, if Sandbreaker should double-down on the melody I think they would be even more effective as a unit playing stoner/death/doom. The production brings together all of the components of their atmospheric doomed out stoner death metal with nothing appearing to be too dominant. The best moments are made noticeable, which I would say are the swelling, sloth-like guitar solos and again the vocal malevolence of Doombardier. The artwork matches what I hear on the record and elevates the obscurity of where Sandbreaker as a band may be heading next as it appears to be drawn from the similar artistic concept behind their debut EP.

I hope Sandbreaker are able to further explore and take their music to greater heights with each following release. As for now I can honestly say that Worm Master is a commendable bit of growth demonstrated by the band, hopefully to continue their journey.

Rating: 8.2 out of 10