Review by Fran on June 6, 2023.

Because this record is fucking ballistic! The band’s drummer uses a double bass drum pedal on some sections to help build rhythmic tension but he plays the pummeling d-beat on the fast sections as if he had just one pedal, contributing to the Texas hardcore influence on the band's sound. Double bass drum parts are never as fast as in machine-like modern metal, so the old-school spirit is right there at all times. The bass guitar doesn't have enough definition to actually stand out by itself but it adds a nice metallic touch to the riffs on the mid-high frequencies and of course, it helps anchor the drums with the guitars on the low end. A slightly distorted bass that you can feel rather than hear seems like a normal choice for a band trying to achieve a cavernous sound, though.

The riffing itself is super influenced by Jeff Hanneman's chromatic sense of melody as well, especially when they try to add higher pitches to the fast guitar parts. But when the breakdowns kick in you can feel the hardcore influence takes a central role, you can feel that groove from Prong, Merauder; that kind of influence. Overall, the execution of the riffs is clean as a katana's cut. They are relatively simple in shape but with that level of execution, they sound so clear you can almost see them coming out of your headphones. Lead guitars are pretty simple too, there aren't lots of solos on Enforced music anyway and you get to that part they usually rely on tremolo picking and that's it. The vocals are strongly influenced by Riley Gale as well, with the same mid-pitched raspy and angry voice that still lets you understand every word.

Enforced fate is to fill Power Trip's shoes, the similarities between both bands' sounds are uncanny. Being formed in 2016, after the release of "Manifest Decimation", you can even say that Power Trip was a big influence on this Richmonder quintet. But, instead of merely copying the style from the Texan band; Enforced took it to a different level, on the verge of death metal. More fuzz and distortion on the strings and vocals, and a meaner approach to the same hardcore punk undertones distinguish Enforced from its competitors. That's why they label themselves as Pure Crossover Death, a tag they have definitely earned.

Rating: 9 out of 10

Review by Greg on April 19, 2023.

'It’s almost ten minutes shorter than our last record and packs ten times more of a punch.'

I wish I could just drop this phrase from frontman Knox Colby and leave it like that, as it tells almost everything you need to hear about Enforced's latest effort War Remains. Note the emphasis on that 'almost' though, 'cause it's not that the band suddenly got all that pissed off – their previous offering Kill Grid was a personal disappointment, especially when compared to all the expectations I built upon its apparently universal acclaim, but if there's one thing it didn't lack at all, it was pure rage. Granted, you can't just release a stripped-down, rude crossover thrash album while also sounding friendly and non-threatening, but they always appeared convincing enough in what they did nonetheless.

Fast forward to 2023, and the band returns, doubling down on that factor, but also, and mostly, bringing to the table their best and most inspired set of riffs to date. Their heavy Power Trip/Slayer influence is still there, with a slight reduction of the latter (thus, less dissonant, squealy solos, luckily), yet Enforced appear determined to tread more extreme grounds here, certainly helped by Colby's delivery, now more and more confidently ferocious in his Max Cavalera impression, with the occasional nod to the unforgotten Riley Gale (R.I.P.). Reprising the quote at the top, War Remains is short and concise, already solving one of Kill Grid's main drawbacks. Also, having abandoned the idea of beating Power Trip at their own game, there's a lot more experimentation with tempos, and most songs take their time to build up before going full throttle – almost as if they stretched the blueprint for the predecessor's final triplet to the whole LP, much like a modern equivalent of "Realm Of Chaos". Songs like the title-track and 'Starve' sound simply menacing right out of the gate, launching into rapid-fire attacks shortly thereafter, with the occasional breakdown tailor-made for the live setting as well ('Hanged By My Hand').

All this, of course, does not mean that War Remains doesn't hit you like a goddamn freight train at full speed, my naive friend. Should bangers like 'The Quickening' or 'Avarice' seem, for some reason, not outright fast enough for you, look no further than the very first track, for starters. 'Aggressive Menace' is a truly explosive opener, an even more immediate and condensed version of the already volatile 'The Doctrine', and I was sold almost instantly. Not to mention later highlight 'Ultra-Violence', which can possibly wipe out the (once good) Italian band of the same name in its mere 2 minutes. And to reiterate: this stuff isn't just intense, frontal assault all the way through. Even marginally weaker cuts like 'Empire' are still jam-packed with excellent, breakneck riffing that simply hurts. It's not a surprise that the only completely mid-tempo number ('Nation Of Fear') failed to win me over, but it's a short detour, if nothing else.

If you, like many, thought that Kill Grid was already AOTY material, this review is probably of no use for you, as you'll already be patiently waiting for your pre-ordered copy to show up in your mailbox. But if you were somewhat unimpressed with the band so far, War Remains might just finally change your mind. It goes without saying that we can finally listen to a worthy successor of "Manifest Decimation" and "Nightmare Logic". A fair step below, but there nonetheless.

Rating: 8.4 out of 10

Review by Michael on April 9, 2023.

Slayer is dead, long live Slayer ehh Enforced! The quintet from Richmond bangs from the first second on their third album War Remains and has a lot of anger in the belly. Already the grim opener 'Aggressive Menace' swings the acoustic crowbar and lets the listener feel it violently. What the guys deliver here is incredibly intense and brutal thrash, which is made even more intense by Knox Colbys' rough and mega pissed vocals.

Stylistically, not much has changed compared to the two previous albums, which is good, because At The Walls and Kill Grid were both already strong. Maybe the songwriting has become a bit catchier and more varied, as for example the pre-released song 'Hanged By My Hand' proves. This song is a gripping thrash grenade that Slayer couldn't have written better. Their influence can be heard everywhere, be it in the hook lines or in the solos. However, Enforced also takes the foot off the gas pedal here and there, which does not detract from the brutality. Thus, a creeping song like 'War Remains' with its tough opening riffs but very much for a certain tension and gives the listener the expectation that something is about to happen (which it does). Between these two extremes, there are of course a few mid-tempo stompers, which are also really fun and also give the listener a good beating. 'Nation Of Fear' is a good example of this, the song impresses with its catchiness and still remains ultra brutal due to the shouted out vocals. Likewise the closer 'Empire', which reminds of the very old Slayer from the vocal lines and partly reminds of the guitars even quite after Death in "Leprosy" times. Brutal and uncompromising! I could rant for hours about the other songs, but I think everyone should make his own listening impression of the album and before I give away too much, I'll leave it here.

However, just to mention the production, it is well done as it was on the previous albums - everything here is where it belongs. No underproduced instruments or anything that is overdriven, this is a modern but timeless and punchy balanced affair. So, I can confidently say that Enforced once again put out a great album with many varied songs and a wide range of speed and with War Remains are a hot contender for the thrash throne of the year. The only point of criticism is the short playing time of just under 33 minutes, which goes by twice as fast as normal due to the quality of the album and you are forced to press the repeat button on the stereo. But who likes "Reign In Blood", will love War Remains, I'm sure. Now crowbar and schnapps out and the whole thing again!

Rating: 9.5 out of 10

Review by Lawrence Stillman on January 1, 2024.

Another trip down memory lane, another story time: I used to be this kid high on depression due to having autism and girls being able to see them from a mile away, so as a result I was bullied... a lot. And one day I heard that DSBM is an actual genre and decided to get some depressive therapy and suicide fuel, and Prison of Mirrors was the first result. The One Man Metal documentary also helped me get into DSBM.

They say that the most creative works come from the most demented minds, and I agree with this when it comes to Xasthur. Malefic is known to be a really misanthropic individual, and it shows, as no one personifies their lyrics about isolation and despair like him. His music is truly one of a kind, endless walls of guitars and mournful keyboards, topped off by drawn out, pained screams that sound nothing like Nattramn or Kim Carlsson.

I've always said that DSBM is not this mythical genre of evil where they can persuade someone into self-harm or suicide (despite being in the name), but instead it is a really versatile genre where it can serve as a therapy for sorrowful souls, or be the musical equivalent of white noise to meditate yourself to. It is because of this reason that at one point in high school I listened to nothing but DSBM, hoping the despair-inducing wall of noise could finally coax myself to end my life, but I did not. Subliminal Genocide shows this very well, in fact it might be one of the best DSBM records precisely due to this reason, while keeping the usual DSBM characteristics like long, drawn out and droning riffs, Xasthur also incorporated some diversity in this album, making every song feel different and familiar simultaneously.

The album begins with a dark ambient-y synth intro before transitioning into Prison of Mirrors, this song immediately blasts you with the signature wall of guitars that Xasthur is known for that sucks out every bit of happiness you feel, forcing you to listen to this album with the intended mood that Malefic had in mind. This kind of composition is honestly genius, making the listener listen to your album on your own terms. I don't know how many albums utilize this technique, but holy shit is it rare and very satisfying when you hear an album that does this.

The songwriting here is similar to most DSBM projects (or one man DSBM but I have never heard of another DSBM project where more than one man handles the instruments, besides Lifelover), a drawn out riff that spans the entire song regardless of song length, and simple, droning drums that you swear are done by a machine due to how simple they are. The entire thing mixes clean keyboard/ambient parts and harsh guitar walls, the duality of these parts makes both sound more distinct thanks to the contrasting, enhancing the atmosphere and emotion of misanthropy and despair in the music. Everything is covered in a layer of noise to make sure it blurs out the instruments just enough to create this dreadful and depressing soundscape and make the simple droning riffs hit harder than they are supposed to be.

The vocals and lyrics here are absolutely unhinged and demented, and as I mentioned at the top of the review, Malefic is pretty demented himself when it comes to world views and approach to music. His vocals have this raw and unfiltered misanthropy and hatred that is unmatched by any other DSBM project, with the closest equivalent being Dragged Into Sunlight, but both kinds of misanthropy are in very different spectrums so the context and meaning differs greatly between both projects. It is very oppressive, suffocating, and the negativity within can pierce the listening device and driven straight into the listener, and the production seems to support this, as the vocals are pushed to the very front, making sure the vocals will be as loud and powerful as the listening device allows it, while the instruments are mere backing pieces to this misanthropy exhibition. As for the lyrics, well, just read this line from Prison of Mirrors:

You are all... all that you hate,
Force fed memories, suffer humiliation,
Victim of darkness, of the inner hidden kind,
I am the eye within the gleam,
Shatter before a mirror that stares into (a shallow soul).

Damn, this really hit hard when I first read it, it perfectly encapsulates what self-loathing is like: hating every aspect of yourself, and being willing to do everything to make yourself to never resemble who you are now, even if it means taking your own life. Maybe Malefic had similar experiences that led him to create this uniquely dark and depressing piece of work to express his Hatred For Mankind (get it?).

I firmly believe that every genre exists for a reason, and no matter how small it is, there will be a crowd for that genre. DSBM is no different, it is a music for those with miserable souls, or are in miserable circumstances. And if you are among those people, this album might be just for you, and hope you will get a better life, be it in the future, or in the next life.

Damn I was such a wuss... At least until I snapped (read the Holy Grail review for context).

Highlight: 'The Prison of Mirrors', 'Trauma Will Always Linger', 'Malice Hidden In Surrealism'

Rating: 10 out of 10

Review by Frost on December 3, 2021.

Depressive Suicidal Black Metal (or DSBM for short) is certainly a genre that took me a long time to grasp. It's cold, isolationist, and introverted nature was a huge leap from what I had come to expect having a bit of experience with black metal as a genre and its representation within the metal world. While black metal itself is tapered to draw in some of the craziest people whose beliefs can be about as extreme as you can get, DSBM also tends to lure in a very specific group of people. It draws in withdrawn, sad, hurting, creative individuals. I say individuals because most bands within the genre are usually administrated by just one person. Occasionally there may be session musicians hired here and there to provide more instrumentation or help provide a conduit for expanding the atmosphere, though, 90% of the time, one person is handling every single aspect of the production of their band.

Silencer was my first exposure to the sub-genre, but because I was so new to black metal at the time, I immediately discarded it as unlistenable dreck. I never looked back for a long time. I remained content with my Mayhem, my Emperor, and my Darkthrone. Very safe havens for a newbie like me who was too afraid to branch out into this new world of depression and sadness brandished like a serrated knife to the flesh, whet with the desire to shed its own blood instead of mine. Some years later, I grew experienced enough to take the plunge into the gloomy world of DSBM. Funnily enough, my ongoing battle with anxiety and depression fuel my appreciation for these sad, morbid melodies.

Xasthur is one such band that I grew to appreciate. The now defunct one-man band formerly headed by Malefic (a.k.a. Scott Conner) lured me in with this album. At the time, which was maybe ten months ago, I couldn't resist the allure to actually own a physical version of something like this in my music collection. I snatched it up at one of the record stores I frequent and put it on my music player immediately. I already knew what to expect as bands like Make A Change... Kill Yourself, Fornicatus, Shining, Happy Days, Thy Light, Strid, along with the aforementioned Silencer just a name a few, had already firmly established in my memory their buzzing riffs, fuzzy production, and soul tormenting vocals as something to use as a benchmark going forward with this band.

Safe to say I was not disappointed. In fact, I was quite impressed. Subliminal Genocide is just as ugly, blighted, and woe begotten as the artwork that adorns the front of the CD case. The songs within, all eleven of them, are all equally tortured anthems to despondency, isolation, depression, and pure unadulterated contempt for everything that draws breath. There is no light at the end of this tunnel. A moment of respite, nor a brief glimmer of sunshine can't hope to be found as songs like 'The Prison Of Mirrors' and 'Arcane And Misanthropic Projections' work their mastery in convincing the listener the best way to achieve any solace from the pain is to, well, you know. Definitely the listener won't be feeling very good as soon as the album begins with a sinister piano melody that channels directly from the most bottomless abyss not of this world, nor of any other world beyond the reaches of Malefic's twisted genius of an imagination; and by the time the album closes, that void will have already consumed the listener whole in otherworldly sorrows.

As far as the instruments go, everything is covered in fuzz. Like with Leviathan, drums are handled with an electronic drum kit with certain parts being programmed. The guitar riffs on this album are incredibly minimal and repetitive. In fact, there's only a small handful of structures that make up the guitar compositions. They're repetitive to the point of being unlistenable but, honestly, that's the point. The riffs Xasthur creates are memorable and, in a sense, put you in a trance. To the ear not tempered for black metal already, these riffs will feel noisy, grating, unapproachable, and unlistenable. However, they're quite the opposite to someone deeply entrenched and well-versed in the genre. These riffs are insanely memorable and are composed with careful precision. The bass is obviously buried behind the foggy production and the guitars that are can be a little loud here and there. That's something that's common with metal as a whole, though. Here is no different. Malefic's vocals are, without a doubt, the loudest and most powerful force here. They are deliberately so pushed to the fore. Utterly suffocating. Dripping with malice. Seething with hatred. Unmasked disgust. They are raw, powerful, and punishing, seemingly sounding as if Malefic is screaming directly at the listener through the speakers (or through headphones).

The absolute best songs aren't hard to accidentally stumble across, in my opinion. 'The Prison Of Mirrors', 'Trauma Will Always Linger', the title track, and the closer, 'Malice Hidden In Surrealism', stand out as the gems here. Every song is good and worth your time. These four, however, are the ones I'd choose as the best songs to best represent this album and, probably, Xasthur itself. I know there's far more of this band to explore and just these four songs are probably not the best representations of what others might consider the absolute best this band has to offer. Besides, there are dozens of songs of Xasthur scattered out there among his discography. There might be ones better than these four or any of the ones I didn't mention on Subliminal Genocide. Who knows? I'm new to this band's work as a listener. I've got more digging to do.

While metal isn't for everyone, almost every genre of metal, even black metal, has something made for someone. DSBM is made for no one. It's a creation made by the broken, the isolated, the lonely, the wistful thinker, the contemplative soul, the tortured artist who makes art only they can enjoy, served cold on a plate formed of the shattered pieces of what used to be their own dreams and aspirations, to themselves. However, even the blackest, most oppressive art can be found beautiful, and even welcoming to kindred spirits. Xasthur accomplishes this task by making art that appeals to me. This album speaks to me in my darkest hours. When I'm feeling shitty, when the world is on my shoulders and I feel like giving up, when I feel like nobody hears me, when I feel like there's nothing that sounds or feels the way I feel, all I have to do is turn on this album and I feel better. Or worse. It all depends. It's just good to know somewhere out there in this dark, dead world, there's someone who can put exactly how I feel into song, regardless of if I'm the only other one who can stomach its sound.

You know what? I wouldn't have it any other way.

Favorite tracks:
'The Prison Of Mirrors'
'Trauma Will Always Linger'
'Subliminal Genocide'
'Malice Hidden In Surrealism'

Rating: 9 out of 10