Review by John B. on April 28, 2024.

Brazil’s prominence in the grimier style of thrash bordering on death and black metal overshadows the country’s contributions to other subgenres. And in the case of these classic heavy metallers Azul Limao, that’s a real shame. The instrumental and vocal talent shown here is astonishing, and they keep some strong social commentary in the lyrics too.

Ordem & Progreso starts with a cover of Vivaldi’s famous “Primavera” piece. Short and sweet, and it’s this blend of simplicity and high artistry that shines throughout Azul Limao’s EP. I would normally not be impressed with songs whose choruses are just the title repeated a few times. But Rodrigo’s piercing falsettos on “Ordem! Progresoooo!” more than make up for it. Simple yet powerful in its sarcastic take on Brazilian politics - “order and progress” is the nation’s motto. It’s clear the band thinks their leaders are sadly heavy on order and not so much on progress, with this verse: “Walking in obscurity, they maintain order. Can progress be achieved where dreams come to die?” Then his voice switches to heartbreaking in “Solidao” (loneliness). You really feel the anguish in the repetition of that one word. He reminds me of Dan Beehler from Exciter for sheer unrestrained over-the-topness.

Apart from the intro “Tema do Primavera”, I point to “Brilho” as the high point of the instruments on this EP. The speed of Marcos’ guitar coupled with the best jangly thumping of bass from Vinicius, make this song flashy (hence the title “brightness”) but also down-n-dirty in the best NWOBHM tradition. I’d put it right up beside “Murders in the Rue Morgue”.

“Brilho” also best shows off Azul Limao’s mastery of balancing an entertaining, technically dazzling sound, with a serious feel. On one hand, there’s fun fantastical 80s lines like “I feel all sped up when the light hits me at the end of the night”. But there’s also “free from this stage of life, I hope for an eternal world to meet you in Hell”.

If there’s one complaint I have, it’s that the cover of Dorsal Atlantica’s “Princesa do Prazer”, while executed very well as usual, just doesn’t fit the character of the rest of the EP subject-wise. A sleazy song about princess of pleasure, stands out from Azul Limao’s cool mix of energetic metal cliches and heavy social commentary. Maybe something like “Nosso Futuro” or “Complexo Urbano” by Metalmorphose would have been more up their alley.

Azul Limao are a shamefully neglected star in the wide constellation of Brazilian heavy metal. If you haven’t checked them out, get on it!

Rating: 8.5 out of 10

Review by Jeger on March 3, 2025.

"Proudly banned on all digital platforms"? Thank you, sir, I'll have another… And out of nowhere, for no other reason than to fuck everything you thought you knew about black metal in the ass, France's Ad Hominem has returned; armed with a fresh cache of sonic weaponry in its latest LP, Totalitarian Black Metal, released on February 28 via Osmose Productions/Goatfucker Records. Yes, Ad Hominem has a staunch reputation for expressing disagreeable opinions about things that feeble humans hold dear like their precious Abrahamic religions, but AH is also known for warmongering and for a general hatred towards humanity as expressed through six and very-soon-to-be seven true-to-the-cause studio LPs.

Like that perfect buzz I had that one time… It was a blissful combination of whiskey, Oxycodone and weed. You don't forget a buzz like that, and that's exactly what Totalitarian Black Metal feels like. It's exactly the way black metal is supposed to be: aggressive, abrasive, controversial, brutal and fit for a fucking Molotov riot. Black metal that cuts through the bullshit straight to the truth of the matter. So much so that Ad Hominem's music has of course been labeled as, let's just say, troublesome to the herd. Fanning the flames of chapel fires and keeping black metal dangerous is visionary, Kaiser Wodhanez. With album tracks titled "Snort The Ashes Of God", "Gas Mask Devastation" and "Stairway To Oven", if you're a seasoned enthusiast, you know exactly what you're getting yourself into. The time for leniency and mercy killings is over. Black metal war! And the charge is on with ballistic rhythms, laser-precise riffs and panzer-dozing momentum. And yeah, the instruments just somehow sounded like sirens… Red fucking alert as the titular track is unleashed to furious energy comparable to that of a machine gun rampage - a calculated one though - in real time and yet always one move ahead of your prey as you mow 'em down. Relentless and unforgiving black metal of uproarious proportions.

This isn't your dusty dry buzz, nutless basement black metal. Heavy as fuck, well mixed and just rough enough around the edges. The hatred is palpable during the entirety of "The Nuclear Solution". Full-scale global meltdown in the form of unbridled instrumental cacophony like being subjected to a blitzkrieg in the nude: indescribably terrified and yet helplessly awed by its power. Carpathian Forest and Svarttjern vibes all day. But I'm also reminded of Marduk, particularly during "Dekontamination". Ad Hominem exploring some of the same compositional territory as the Swedes as far as tempo, the reciprocal nature of the guitarist's riffing patterns and the tonality of both the guitars and drums. Anthem after anthem it's been thus far, and I could listen to it all day. A lesson and a reminder of how a true black metal band conducts their business in the studio.

We always need this… Shit that gets banned from streaming and artists that get banned from venues, even entire countries. Black metal projects like Ad Hominem are what keep the genre in its true form alive and thriving! So long as Kaiser and cohort artists continue to make their voices heard, so long as they're still finding ways to repulse and so long as truth continues to be seen as hate, then there will always be a future for true black metal. Hail!

Rating: 8.5 out of 10