Review by Felix on July 16, 2023.

Schweinfurt is no nice town. Before evil Adolf’s war, it was the centre of the German ball-bearing industry and so, among other things, it had to suffer a lot from the allied air attacks. After the deadly inferno was over, Schweinfurt was in ruins and if you visit it today, you will see that nobody had a good idea how to rebuild the city. Surprisingly or maybe just logically, we find the same lack of ideas in the music of Schweinfurt’s most “famous” thrash export, Vendetta.

But let me start with another aspect. Vendetta released two albums during the Teutonic thrash metal explosion. I don’t like them very much, but let the truth be told, other people do so. Either way, the configuration of Vendetta today has only one connection to the original band. The bass player is still the one of the eighties. The other guys have occupied the name and I guess it would be more honest to call yourself “Vendetta II”, “Blood Revenge” or maybe “STM” for Schweinfurt’s Thrash Musicians or whatever. On the other hand, I admit that it makes sense that they still operate under the old banner. The material still lacks coherence – exactly like it did in the eighties (in my humble opinion).

Just have a look at the mid-paced title track in the centre of the album. It starts with a good, bone-dry riff and strong percussive elements. The voice also appears powerful, even the slightly melodic bridge has its charm. But the awkward melody in the chorus and the weak polyphonic singing, in particular at the end of the song, destroy the good approaches to a certain extent. This dilemma is no isolated case. Vendetta know the stylistic devices, the genre aesthetics (rasping guitars are omnipresent) and the general building blocks of thrash and they offer some robust parts. But they fail to successfully put the pieces together. Not always, but in a remarkable number of cases. Their own song’s name 'No Hands But A Gun' is emblematic for their own situation.

Strong tracks? The solos of 'Death Means Relief' are too long and the funky bass at the beginning tastes acidic, but it is still a cool number. 'Shoot To Kill' houses some straight sequences that create a certain intensity (by the way, the song and the vocals remain me of the faster tracks of Risk). Its characteristic chorus also hits the mark. Unfortunately there are also songs like 'AK-47' that give me absolutely nothing in view of their expressionless riffs and their non-exciting configuration. 'Stranglehold Of Terror' is better due to its fantastic, dense “Run from terror / Stop the fighting…” part, but already the following bridge sounds terrible and uninspired. By the way, its socio-critical lyrics are a little bit one-sided. But of course it makes things easier to think exclusively in black or white.

Vendetta remains a mystery to me. I appreciate their stamina, but bands that return after 20 years with an album that fails to reach the 30 minute mark or bands that call their fifth album “The 5th” are suspicious to me. However, let’s be fair: Black As Coal can rely on a powerful, straight-in-your-face production (with an audible bass!) and it reflects the ambitions of the band. Yet it also mirrors the deficiencies in terms of songwriting. Almost every song would have benefited from a shorter playtime and better interconnected individual parts. And so Vendetta are like their home town. Both cannot conceal their shortcomings.

Rating: 5.6 out of 10

Review by Felix on July 16, 2023.

Schweinfurt is no nice town. Before evil Adolf’s war, it was the centre of the German ball-bearing industry and so, among other things, it had to suffer a lot from the allied air attacks. After the deadly inferno was over, Schweinfurt was in ruins and if you visit it today, you will see that nobody had a good idea how to rebuild the city. Surprisingly or maybe just logically, we find the same lack of ideas in the music of Schweinfurt’s most “famous” thrash export, Vendetta.

But let me start with another aspect. Vendetta released two albums during the Teutonic thrash metal explosion. I don’t like them very much, but let the truth be told, other people do so. Either way, the configuration of Vendetta today has only one connection to the original band. The bass player is still the one of the eighties. The other guys have occupied the name and I guess it would be more honest to call yourself “Vendetta II”, “Blood Revenge” or maybe “STM” for Schweinfurt’s Thrash Musicians or whatever. On the other hand, I admit that it makes sense that they still operate under the old banner. The material still lacks coherence – exactly like it did in the eighties (in my humble opinion).

Just have a look at the mid-paced title track in the centre of the album. It starts with a good, bone-dry riff and strong percussive elements. The voice also appears powerful, even the slightly melodic bridge has its charm. But the awkward melody in the chorus and the weak polyphonic singing, in particular at the end of the song, destroy the good approaches to a certain extent. This dilemma is no isolated case. Vendetta know the stylistic devices, the genre aesthetics (rasping guitars are omnipresent) and the general building blocks of thrash and they offer some robust parts. But they fail to successfully put the pieces together. Not always, but in a remarkable number of cases. Their own song’s name 'No Hands But A Gun' is emblematic for their own situation.

Strong tracks? The solos of 'Death Means Relief' are too long and the funky bass at the beginning tastes acidic, but it is still a cool number. 'Shoot To Kill' houses some straight sequences that create a certain intensity (by the way, the song and the vocals remain me of the faster tracks of Risk). Its characteristic chorus also hits the mark. Unfortunately there are also songs like 'AK-47' that give me absolutely nothing in view of their expressionless riffs and their non-exciting configuration. 'Stranglehold Of Terror' is better due to its fantastic, dense “Run from terror / Stop the fighting…” part, but already the following bridge sounds terrible and uninspired. By the way, its socio-critical lyrics are a little bit one-sided. But of course it makes things easier to think exclusively in black or white.

Vendetta remains a mystery to me. I appreciate their stamina, but bands that return after 20 years with an album that fails to reach the 30 minute mark or bands that call their fifth album “The 5th” are suspicious to me. However, let’s be fair: Black As Coal can rely on a powerful, straight-in-your-face production (with an audible bass!) and it reflects the ambitions of the band. Yet it also mirrors the deficiencies in terms of songwriting. Almost every song would have benefited from a shorter playtime and better interconnected individual parts. And so Vendetta are like their home town. Both cannot conceal their shortcomings.

Rating: 5.6 out of 10

Review by Jeger on July 4, 2024.

Norwegian black metal: Darkthrone, Satyricon, Gorgoroth and Emperor - just a few of the BM heavyweights who call Norge home. Venture a bit deeper into hallowed scene soil and you’ll discover the truest Norwegian black metal as created by heritage and country-honoring projects such as Taake and Kampfar. All bands you think of whenever someone mentions Norwegian black metal, but what if I told you there was something out there a little deadlier, sexier even? Like the blackened gloss of a freshly glazed engine running smooth, loose and clean; propelling your blackened soul through death-laden pathways toward a cataclysmic future for Norwegian blackened metal. Strap yourself into retaliation’s pillion now and kickstart the motor, because Ulvehunger have arrived… 

Norway’s Ulvehunger - the latest and probably the most brutal project to have ever had one Frost’s (Satyricon, 1349) contribution. Death Black! And comprised of all things cutting edge from quality in product to dynamic range is Ulvehunger’s long-awaited debut Retaliation LP, unleashed on May 31st, 2024 via the maledictive Darkness Shall Rise Productions. 

With Retaliation, Ulvehunger cut through the bullshit and deliver the evil: blackened vocals, chopping riffs and just an overall end of days Vader and Possessed type of atmosphere as conveyed throughout the entirety of the recording. Smooth and appealing like Damascus steel are album cuts like the opener, 'Desecrator' and the following track, 'Sacrifice', as each number unfolds to the momentum of blast-beats, rolling double-bass currents, striking leads and merciless onslaughts of tempestuous riffing incursions. No dry buzz, no recorded in an abandoned basement vibes and no Burzum worship. Retaliation is for the contemporary black metal enthusiast who understands that some BM is deserving of all the luxurious sonic trim. This isn’t “A Blaze In the Northern Sky” we’re talking here, and I can imagine Ulvehunger being quite the welcomed change of pace for all genre-crossing veterans involved. 

A classically lain out work of old-school proportions as far as track arrangement and runtime; ten cuts clocking in at about four minutes in duration a piece except for the closing track, 'Covenant Of Pestilence', that properly plays out a bit longer. Ear candy melodic passages, ethereal leads and gritty black & roll swagger to define 'Castles Of Blood' in all of its classic Satyricon/Immortal-worshipping glory. Much to take in from start to finish as each track unfurls passage after captivating passage set to a variety of traditional sounds from the aforementioned black & roll vibes to some straight up death metal peppered in here and there and even a little thrash-happy riffage, particularly during the opening minutes to 'Forces Of Doom'. 

Not sure what these guys were aiming for here outside of putting together a record that’s just too big for black metal alone. Unbridled death worship through and through but not without a taste of the diabolical as well. 'The Mighty Pentagram' like some old-school Blasphemy - sick and grimy - brutality incarnate with a touch of Entombed - “Wolverine Blues” level groove. I mentioned Frost is a member of this band, right? His talents are matched, unlike his other ventures where it just feels like he’s having to dumb it down a bit (clears throat, Satyricon!). Like a well-oiled machine with each component serving the next and fluid like a piston is each brilliant passage - powerful but without the inertia of conventional blackened death metal i.e., Belphegor, Behemoth and Hate. Contemporary Norwegian brutality that tantalizes all your black metal sweet spots, all the while as you’re reminded of why you got into death metal in the first place. A very strong debut. 

Rating: 8.5 out of 10

Review by Jeger on July 4, 2024.

Norwegian black metal: Darkthrone, Satyricon, Gorgoroth and Emperor - just a few of the BM heavyweights who call Norge home. Venture a bit deeper into hallowed scene soil and you’ll discover the truest Norwegian black metal as created by heritage and country-honoring projects such as Taake and Kampfar. All bands you think of whenever someone mentions Norwegian black metal, but what if I told you there was something out there a little deadlier, sexier even? Like the blackened gloss of a freshly glazed engine running smooth, loose and clean; propelling your blackened soul through death-laden pathways toward a cataclysmic future for Norwegian blackened metal. Strap yourself into retaliation’s pillion now and kickstart the motor, because Ulvehunger have arrived… 

Norway’s Ulvehunger - the latest and probably the most brutal project to have ever had one Frost’s (Satyricon, 1349) contribution. Death Black! And comprised of all things cutting edge from quality in product to dynamic range is Ulvehunger’s long-awaited debut Retaliation LP, unleashed on May 31st, 2024 via the maledictive Darkness Shall Rise Productions. 

With Retaliation, Ulvehunger cut through the bullshit and deliver the evil: blackened vocals, chopping riffs and just an overall end of days Vader and Possessed type of atmosphere as conveyed throughout the entirety of the recording. Smooth and appealing like Damascus steel are album cuts like the opener, 'Desecrator' and the following track, 'Sacrifice', as each number unfolds to the momentum of blast-beats, rolling double-bass currents, striking leads and merciless onslaughts of tempestuous riffing incursions. No dry buzz, no recorded in an abandoned basement vibes and no Burzum worship. Retaliation is for the contemporary black metal enthusiast who understands that some BM is deserving of all the luxurious sonic trim. This isn’t “A Blaze In the Northern Sky” we’re talking here, and I can imagine Ulvehunger being quite the welcomed change of pace for all genre-crossing veterans involved. 

A classically lain out work of old-school proportions as far as track arrangement and runtime; ten cuts clocking in at about four minutes in duration a piece except for the closing track, 'Covenant Of Pestilence', that properly plays out a bit longer. Ear candy melodic passages, ethereal leads and gritty black & roll swagger to define 'Castles Of Blood' in all of its classic Satyricon/Immortal-worshipping glory. Much to take in from start to finish as each track unfurls passage after captivating passage set to a variety of traditional sounds from the aforementioned black & roll vibes to some straight up death metal peppered in here and there and even a little thrash-happy riffage, particularly during the opening minutes to 'Forces Of Doom'. 

Not sure what these guys were aiming for here outside of putting together a record that’s just too big for black metal alone. Unbridled death worship through and through but not without a taste of the diabolical as well. 'The Mighty Pentagram' like some old-school Blasphemy - sick and grimy - brutality incarnate with a touch of Entombed - “Wolverine Blues” level groove. I mentioned Frost is a member of this band, right? His talents are matched, unlike his other ventures where it just feels like he’s having to dumb it down a bit (clears throat, Satyricon!). Like a well-oiled machine with each component serving the next and fluid like a piston is each brilliant passage - powerful but without the inertia of conventional blackened death metal i.e., Belphegor, Behemoth and Hate. Contemporary Norwegian brutality that tantalizes all your black metal sweet spots, all the while as you’re reminded of why you got into death metal in the first place. A very strong debut. 

Rating: 8.5 out of 10