Review by Chris Pratl on October 23, 2018.

This writer has been a Darkthrone fan since 1992, and I know most of you reading this know well the Darkthrone history of black metal-into-crusty-punk that left the fan base a camp divided over the last few years. So it's with casual hesitancy that I venture into The Underground Resistance. I bear in mind the black metal days are long over, and I suggest you faithful readers assign a like-mind to that as well. You may be very surprised.

Off the top, the ugly and raw speed-metal-meets-NWOBHM cloak that Fenriz is so wrapped in rears its very impressive theads, shadowing over the legions of dark minions and boldly claiming residence in the new era. The guitar tone in the opener “Dead Early” is thick, heavy, and undeniably potent as Nocturno Culto growls and bellows his sermon. I'm pleasantly surprised right off the bat, and I have a feeling this may only lead to better places. Upon entry into “Valkyrie” and hearing those soaring vocals that remind me of any chosen NWOBHM vocalist worth his salt, I'm convinced that the new Darkthrone era has not only been cemented into the earth but lays waste to the notion that the band's better days are long behind it. The main riff in “Valkyrie” is so heavy and memorable that I couldn't shake it until “Lesser Men” pops into my ears and I immediately picture a young and hungry Mercyful Fate in some Danish studio going for it on all cylinders, influencing a young Norse band (and a host of countless others) for years to come. As the song progresses, old farts like myself will be treated to a mixture of Fate and early Celtic Frost ala Morbid Tales with that deadly, albeit blueprint vocal of Tom G. Warrior barreling through the tempo. Hearing some high vocals neatly mixed into the fray without being overdone sets a new standard for Darkthrone's upgraded style. Being disciples of the old school of heavy metal, this album encompasses all of the finer elements of said era to a proverbial apex of near perfection. 

The “leaked” track “Leave No Cross Unturned” definitely grew on me upon repeated listens, and it moves along like an Agent Steel speed metal trek ala Unstoppable Force, which really tends to burrow into your brain and take root. “Come War, the Entire Doom” is a more sludgy doom-inspired metal that balances between abrasiveness and accelerated solemnity. All through the record, the guitar tone takes immediate control of the reins and is akin to a sharp implement poking around in random order; it's just a simplistic and fluid sound that grabs you and, while void of flair and dramatics, simmers underfoot. Fenriz' drumming is really on the mark throughout as well, and it's clear he took special pains to grab that antiquated sound and make it viable for the current day. His occasional vocals are a pretty good effort as well; you'll know where he comes in and either dig them or dismiss them, but I'm betting on the latter. 

There is a gaunt stylistic approach to the haphazard feel of the record; that is, the 'patterns' followed here don't necessarily subscribe to anything you might consider “clean” or “neat” by definition. It's primitive and unpolished to the trained ear, but while it might appear easy to bash the effort simply due to the Under a Funeral Moon contingent pushing and upset apple cart it's not a fair presumption. The Underground Resistance is a galloping jaunt through the past glories of some of the genre's more impressive bands and artists, which might assuage some of the oldsters in need of a nostalgic fix and impress the younger generation enough to open its collective mind a bit. 

I am pleasantly surprised at how entertaining this record is throughout. Yes, it's not your father's Darkthrone, but the corpsepainted faces are thankfully gone to time and dust. NC and Fenriz have managed to tap into the recesses of Heavy Metal 101 and issue an homage of heavy, tongue-in-cheek subservience to the aged art of thrashy speed metal in the New Wave fashion. When I say this Darkthrone record has something for everyone, it's simply the truth.

Rating: 8 out of 10

(Originally written for www.metalpsalter.com)

Review by Felix on January 13, 2021.

Some bands can excite me a lot, but leave me relatively cold the next moment (read: song). You guessed it, Deströyer 666 is one of them. The euphoria of the first two critics does not really set in with me in the case of Terror Abraxas, because the general phenomenon of the Australians is reflected on this EP. It is not only the bland, expressionless and somehow tired sounding cover version at the end of the CD that clouds the overall impression.

Deströyer 666 always have the best songs to offer when they sound as evil as if the Grim Reaper himself is grinding his too-long fingernails over the blackboard of first graders. But that happens too rarely here. 'A Breed Apart' certainly has a fine measure of poignancy, bloodthirstiness and cruelty. Admittedly, it already becomes clear here that the drum sound is at a loss compared to the guitars. But some nasty melodies give the opener a scratchy, nasty character. After that, however, malice has its lunch break.

Of course, it was never a one-dimensional speed kills approach that the gentlemen from down under pursued. Similar to their faded compatriots from Assaulter, Mr. Warslut and colleagues can also be real bullies without having to set all musical levers to full attack. Nevertheless, the vocals, the melodies and the aura of the tracks lack a bit of the pitch-black element for me here. The anthemic 'Trialed by Fire' does not fall under easy-listening metal, but there are certainly enough pieces in the studded-wristbands-and-leather-jackets direction that challenge the listener more. No question, the band does not commit any serious mistakes. But when it comes to intensity, meanness and hostility, the last ten percent is missing, not only in the melodramatic, seven-minutes-mark-crossing title in the centre of the song list. It may be that the band itself noticed this during the recording. That could explain the partly hefty rumbling in 'Terror'. Unfortunately, the guitar lines die in this track before they can leave an impression. In contrast, they do not miss their effect in the other (self-composed) songs. No one should say that everything is bad here, it's just that not everything is good either. As a result, Terror Abraxas presents itself as a quite nice, but by no means essential EP, which would have deserved a few percentage points more with a less dull sound.

Rating: 6.6 out of 10

Review by Felix on January 13, 2021.

Some bands can excite me a lot, but leave me relatively cold the next moment (read: song). You guessed it, Deströyer 666 is one of them. The euphoria of the first two critics does not really set in with me in the case of Terror Abraxas, because the general phenomenon of the Australians is reflected on this EP. It is not only the bland, expressionless and somehow tired sounding cover version at the end of the CD that clouds the overall impression.

Deströyer 666 always have the best songs to offer when they sound as evil as if the Grim Reaper himself is grinding his too-long fingernails over the blackboard of first graders. But that happens too rarely here. 'A Breed Apart' certainly has a fine measure of poignancy, bloodthirstiness and cruelty. Admittedly, it already becomes clear here that the drum sound is at a loss compared to the guitars. But some nasty melodies give the opener a scratchy, nasty character. After that, however, malice has its lunch break.

Of course, it was never a one-dimensional speed kills approach that the gentlemen from down under pursued. Similar to their faded compatriots from Assaulter, Mr. Warslut and colleagues can also be real bullies without having to set all musical levers to full attack. Nevertheless, the vocals, the melodies and the aura of the tracks lack a bit of the pitch-black element for me here. The anthemic 'Trialed by Fire' does not fall under easy-listening metal, but there are certainly enough pieces in the studded-wristbands-and-leather-jackets direction that challenge the listener more. No question, the band does not commit any serious mistakes. But when it comes to intensity, meanness and hostility, the last ten percent is missing, not only in the melodramatic, seven-minutes-mark-crossing title in the centre of the song list. It may be that the band itself noticed this during the recording. That could explain the partly hefty rumbling in 'Terror'. Unfortunately, the guitar lines die in this track before they can leave an impression. In contrast, they do not miss their effect in the other (self-composed) songs. No one should say that everything is bad here, it's just that not everything is good either. As a result, Terror Abraxas presents itself as a quite nice, but by no means essential EP, which would have deserved a few percentage points more with a less dull sound.

Rating: 6.6 out of 10