Review by Alex on August 2, 2020.

Temple Nightside, the ghastly mage lurking the domain of suffering, everlasting pain and agony. From Condemnation to The Hecatomb to Recondemnation, the entity persists with its disregard and disrespect of all that is light. And now from the fallen, from the accursed and barren, the frigid breath of damnation surmounts to once again pull innocence from embrace and benevolence to a place of malediction and harm. Pillars of Damnation proceeds to usurp and dethrone.

Burnt amidst the contaminated, dripping smegma of sacrilege, the meek cry out in crescendo, a 'Contagion of Heresy' introduces the listener to what the band has undergone through their polished, updated sound on Pillars of Damnation. Remembering the route Recondemnation took to achieve the mastery it did in 2018, to now reimagining the sound and taking it to new heights, this riffing monstrosity is anointed with a vocal rancor and drumming demeanor all too familiar and characteristic of Temple Nightside.

'Death Eucharist', the first track that incited craze upon being heard as a promotional single assert itself as a key component to the full landscape of terror. The sudden, ritualistic thump of the toms following an initiating riff, then from the yak of a beast emerging with vigor from the abyss, howling vocals intervene and with muscular jaws, erect a sonic tower of altitudinal awe.

Still corrupt to the core, Temple Nightside on Pillars of Damnation switch between exclusive sections of black and death metal to victimize the listener all the while reconnecting itself with a combination of both in key instances. In an elusive act, a slight of hand in guitar and drumming departments is applied on tracks such as 'Morose Triumphalis' to manage this feat. Thus, it cannot go without note that the drumming on Pillars of Damnation is incredible. Songs such as 'Death Eucharist' and 'Wreathed in Agony' disperse vibrations of scholarly discipline when maneuvering and manipulating the field amidst the hurricane of riffs.

An entry being 'The Carrion Veil' or 'Blood Cathedral' embody the seemingly diseased depiction as the cover artwork easily conveying the philosophy of desecration from a graphical perspective. This is something Temple Nightside have always appeared to have no trouble doing, and on Pillars of Damnation the same follows suit. 'The Carrion Veil' most notably is conducted as a dismal ode to Grave Upheaval via its discomforting motion and advances onto the listener. With its ointments bearing the proprieties and principles of the wretched rituals in said entity, the listener is aneled from forehead to ankle in communion.

And to cast the final stone onto a near buried shrine of luminosity, execrable ideas are put into action on 'Damnation', a serment to Grave Upheaval, the most ceremonious of tracks to be fostered on Pillars of Damnation, again showing its respect for the long standing deity within the underworld of death metal. Paced like a worm, the procedure is patient as it moves about like an extraterrestrial or specter combing the field for any survivors of its attack. Externalizing the experience whilst making sure to not mitigate the temperature of the record, the entry utilizes a dominant bass and drum combination in conspiracy with the wailing guitar chord progressions, thus a funereal closure is brought to Pillars of Damnation.

Heralded emblazonment of evil/The hissing of deconsecrated canticles
'Death Eucharist'
'Blood Cathedral'
'Wreathed in Agony'

Parting ways with Innocence
'The Carrion Veil'
'In Absentia'

So mote it be
'Damnation'

Rating: 10 out of 10

Review by JD on August 20, 2018.

I have done a review on this Netherland based band before, and it had been not a good one to say the least (0.5 out of 10).  It was one of those albums that made absolutely no sense whatsoever and made no real impression other than being bad. It was one of my lowest ratings I have ever done, but as I look at the new release from Prickrott I find myself still hopeful as all fuck.

Described as industrial black metal with grindcore – this band seems to have cornered the market on influences, as they seem to have so many styles and sub genres rolled up into what they do. It ended up creating a confusing and unappealing record last time but I was hoping this now four piece would have straightened the ship from the last most horrible release.

From the first full track, there was some change. They seem to have streamlined their sound into a more focused direction and using those influences better. Tracks like "Pest Control" and "A Dead Audience" show some strides and actually are pretty damn good, yet other tracks still hold that confusion card that seems to muddy everything. It is heavy as fuck, but even that sometimes seems to never save those songs.

I gave Prickrott a very low rating last time (0.5 out of 10), and rightfully so. This time, they have earned a completely respectable rating – not super high by any stretch of the imagination, but it shows the band has addressed some things and are on the road to being a very solid band in the not-so-distant future. 

Rating: 5.3 out of 10

Review by JD on October 5, 2010.

Laughing like some madman or a drunkard on a bender, it is clear that I have already looked at the name of this group. After laughing myself nearly silly, I pick myself off the floor and return to the computer, needing to be coherent and sane to complete this review of Australian metal outfit... The Loving Tongue.

Right off, it is clear that they are old school, down and bruising metal. They are situated dead center into the 80's NWOBHM movement, and are not unafraid to be like that. They sound somewhat cliché and dated at first listen... but it is strange that it still sounded so good beside that fact. It makes you simply want to hear more.

The main singer is also a member of Raven Black Night and that tells you that this is a pure and honest romp into the old school ways. Songs like the potent ‘Marching On’ and the amazing and honour filled cover of Black Sabbath’s ‘Heaven And Hell’ shows that they are damn good musicians as well. Because they are somewhat sounding like so many of that era’s legends most people just might dismiss them as just a rehashing of the music. One honest listen, will change anyone’s mind. They still bring fire to the old ways.

So what if it sounds like it is some stereotyped throwback to the 80's?. You can’t argue that it is fun, exciting and just plain good music. The Loving Tongue will not change the world, but they do show that the old school metal is still relevant even in the new millennium. More bands need to hear this album, so they can hear where heavy metal is rooted. This is simple and heavy music delivered with fire.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 9
Production: 8
Originality:6
Overall: 9

Rating: 8.2 out of 10

Review by JD on October 5, 2010.

Laughing like some madman or a drunkard on a bender, it is clear that I have already looked at the name of this group. After laughing myself nearly silly, I pick myself off the floor and return to the computer, needing to be coherent and sane to complete this review of Australian metal outfit... The Loving Tongue.

Right off, it is clear that they are old school, down and bruising metal. They are situated dead center into the 80's NWOBHM movement, and are not unafraid to be like that. They sound somewhat cliché and dated at first listen... but it is strange that it still sounded so good beside that fact. It makes you simply want to hear more.

The main singer is also a member of Raven Black Night and that tells you that this is a pure and honest romp into the old school ways. Songs like the potent ‘Marching On’ and the amazing and honour filled cover of Black Sabbath’s ‘Heaven And Hell’ shows that they are damn good musicians as well. Because they are somewhat sounding like so many of that era’s legends most people just might dismiss them as just a rehashing of the music. One honest listen, will change anyone’s mind. They still bring fire to the old ways.

So what if it sounds like it is some stereotyped throwback to the 80's?. You can’t argue that it is fun, exciting and just plain good music. The Loving Tongue will not change the world, but they do show that the old school metal is still relevant even in the new millennium. More bands need to hear this album, so they can hear where heavy metal is rooted. This is simple and heavy music delivered with fire.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 9
Production: 8
Originality:6
Overall: 9

Rating: 8.2 out of 10