Review by Alex on January 16, 2020.

Speed metal a fusion of traditional heavy metal and thrash but way more interesting than the latter and faster than former; say it ain't so (regarding the interest factor)? Then give Bütcher’s follow-up album 666 Goats Carry My Chariot a listen. Forget horses, they’re so outdated and overrated if you ask me, goats do a far better job of transportation plus if ever you get thirsty on the way to whichever kingdom is up next for total domination, you’ve got a large supply of goat milk (666*8 ounces or so) which I’ve heard has more nutritional content than that of cow’s milk. Hence, the brave warrior is set for battle with far more than the average infantry.

Need a stamina or momentum boost during battle? No problem, your goats have you covered, simply scout out a lane for retreat, locate your chariot of goats and squirt the energizing lactose into your mouth, thus re-entering the battlefield rejuvenated and ready for the next random opponent. The last few speed metal releases I enjoyed were by Black Viper (Norway) Hellions of Fire, Aphrodite (Canada) Lust and War and more recently an EP titled "Rot ‘Em Roll" by Victim of Fate (Mexico). Let’s go ahead and add 666 Goats Carry My Chariot to my small list of speed metal albums that keep the rubber burning and the trail blazing.

Let’s inaugurate the steel and baptize it with the blood of enemies, no surprise there given the band name. A path of carnage is carved out immediately after the ceremony of knighting, Bütcher goes on a rampage with ‘Iron Bitch’ and '45 RPM Metal'. Nothing is safe in the way of these licks; battle screams and a hampering drum tantrum dismantle the battlefield with pleasure. Opening with a cracker of a song ‘Iron Bitch’, Bütcher are live and direct, unhindered and ready to do battle. The high-pitched screams and snarls of a front man sounding like he broke loose from a mental institution are backed by gyrating guitar licks all over like an ant’s nest. Speed and ruthlessness are put to test by Bütcher; however, don’t be mistaken, the songs here though carrying a chaotic criterion make certain provide a rhythm and harmony. ‘45 RPM Metal’ is a slug to the face and at the same time a warm soaked warm sheet to massage the wound.

‘Sentinels of Dethe’ does the same through well introduced, conducted and played guitar sections, sometimes leaving the listener with an impression they may be a distortion pedal short from becoming a black/ death metal band. Speaking of, the Belgians best song comes in the form of the title track ‘666 Goats Carry My Chariot’ that you could say has a Bathory-esque feeling adding to the fact most of the songs have a strong first wave black metal conductivity; merely one of the many surprises on the record. The album is all over the good places and there’s no telling what next the Belgians will do, so be prepared for some surprises you don't want to miss out on.

The music created on 666 Goats Carry My Chariot is what comes to mind whenever I think of speed metal, fast enjoyable tracks with tons of headbang effect, but this executes more than the standardized generic formula, there's lots of variation inclusive of not just technicality, soft Viking metal like passages and numerous odes to cornerstone bands make you want to revisit the album endless times. Speed metal from Belgium, I'm down to hear more.

Rating: 8 out of 10

Review by John B. on April 28, 2024.

So I’m missing one album in between, but still it is obvious that Mra Waze is great progress from the already quite impressive debut full-length Ko Yby Ore. Across the board, all the native Brazilian folk ideas and the folk-black metal ideas have crystallized in the five years that have passed.

I wish the album credits could be found, because the musicians here deserve their honours. What I am sure of is that Arandu Arakuaa continues to be mostly the Zandhio Huku show, as he offers his talents both on vocals and multiple instruments. This time around, his tribal chants are more warlike, both due to his own improved technique and the more effective deployment of the grim backup vocalist. When this was Saulo growling along with ex-singer NaJila’s black metal croak, it was fine enough. But on Mra Waze, the contrast of the unnamed growler and traditional chanting just hits harder. Check this out on “Iasy” and especially on “Guiapia”. Fantastic stuff!

This album is instrumentally heavier too, while still managing a cleaner fusion of the folk and metal sides. The drummer is equally at ease doing an all-around-the-kit onslaught of fills and cymbals to start “Jurupari”, as he is with a spirit-march type thing to carry along the tribal chants. The subdued latter style nicely complements the maracas too.

Guitars are heavier this time around too. Arandu Arakuaa are doing for the Amazonian scene what some of the more cheerful bands like Thyrfing or Ensiferum have done in Scandinavia. Then there are the slower heavy tracks like “Huku Hemba”, which reminds me of the more ornate songs of the Slavic pagan scene leaders. I very much welcome AA using a similar guitar tone to Belarussian pioneers Znich. Just a really great balance of bounce and crunch.

Zandhio also seems to play his Brazilian guitar, the viola caipira, in a more aggressive way too, while still keeping that instrument’s traditional relaxed upbeatness. Check out “Rowahtu-Ze” for the best of the laid-back and the energetic caipira in the same song. Starts off happily picking away with the maracas and serene female vocals; then later he can play a speedy solo right off a grinding electric guitar riff!

I really hope more comes of this aboriginal folk metal stuff. The Mexicans have been cranking out quite a scene of Aztec and Mayan influenced folk-black metal lately, but Arandu Arakuaa are kind of alone doing it in the Amazon. Would be nice if the style caught on!

Rating: 8 out of 10