ARES KINGDOM conjure the vitriol of their collective work on “By the Light of Their Destruction”

Harnessing the legacy of past and present potency, US Death\Thrash veterans Ares Kingdom return with their 4th and strongest album to date By the Light of Their Destruction. From the onset this album exudes power. Introduced with a cosmic soundscape, the exalted opening chords ring out of “The Hydra Void” shortly after. The track further affirms itself and sets the precedent for the album, unleashing ripping pace and delivery which continues throughout. Track by track the pulverising momentum charges forth, unrelenting until the trudging of “Allegory”.

Following the well positioned reprieve, the onslaught continues with the second half of the album pounding forth with renewed vigour. Expanding on the merciless atmosphere and further establishing dominance with standout tracks such as “The Bones of All Men” and “Iconologia”. In wake of the blazing trail lit throughout, the fire subsides much in the way it came, with the outro complimentary to the beginning.

The mix is well balanced overall with an emphasis on visceral aggression synonymous with their sound. Vicious call and response vocals seer, guitars gnash and mangle with precision, reinforced by the bass to create a dense and swamping atmosphere. The battering drums also stand out, with Mike Miller’s signature pinging snare and kick drums that actually register a bass frequency.

The tracks are well composed, expertly balancing blunt force riffing, entwined with lashes of melody and memorability reminiscent of genre stalwarts such as Slaughter Lord, Bolt Thrower and Ares Kingdom’s seminal forebears Order from Chaos. Whilst their songwriting prowess is firmly set in the old school, it isn’t at all reductive and retains a strong identity of its own.

Ares Kingdom have managed to accurately capture the spirit of Death/Thrash Metal with convincing prowess and assertiveness. There are no meaningless frills, convoluted, over-intellectualised pomp or need to please and impress the fickle. They achieve what they set out to do and present something that is intelligent, fiery and reeks of the confidence and surety that comes with experience. The result is one of the standout albums of this style in years past.

NUCLEAR WAR NOW! RECORDS shall be responsible for the release of this modern legendary release on all formats.



DEATH WORSHIP snuffs any last shred of hope on the apocalyptic “End Times” EP

You don’t have to look too hard to feel a tremor of doubt  for the future of the species. In a time where the only real ‘good guys’ are those we fabricate in fiction, and we find ourselves surrounded on all sides by people we care nothing for or loathe entirely, Death Worship’s latest EP, End Times feels aptly named, and gives an added layer of significance to the four track sonic holocaust that comprises it. Indeed, every track is its own self contained apocalypse.

Going into any Ross Bay Cult project, there is a sense of expectation in what you’re getting into, and Death Worship are absolutely no exception. End Times retains all the hallmarks of what makes up the bestial style, but maintains its own individuality in an exceedingly saturated subgenre. Taking a stance of sovereign creative control through Death Worship, apart from his role in Blasphemy, R. Forster reminds us why the Canadian war gods took him into their ranks in the first place.

It cannot be understated the difficulty to work within a paradigm as specific in its sound as what is known as “war metal”. Whereas a term like black metal has come to span a vastness of tangential sounds, this degree of bestial metal is a defined and much more specific niche. It’s no bullshit, full charge, maximum violence, and oftentimes, bands lose themselves in the primitive execution, either relegating themselves to an uninspired rehash of past ideas or failing to make anything worth listening to in the first place. But Forster helped make the genre what it is through an equal grasp of style and substance. In Death Worship he seems to be taking elements of his own past work in Conqueror and his current place in Blasphemy to find a middle ground between the two that can stand on its own.

Once again recruiting his co-conspirator in Conqueror, and Revenge mastermind, J. Read on drums, Forster makes a slave of the listener, entrancing them with rabid guitar and bass as Read stomps them into the mud. Every track is masterclass in primal riffing and anarchic solos that disregard all pretenses of order and theory. At times leaning more on the side of classic Slayer, or else grating like cold razor wire as both Forster and Read had first done back in 1992 with War. Cult. Supremacy., they remain constantly in motion.

While End Times rarely loosens its grip on the listener, arguably the most brutalizing of the four tracks is the third, “Slaughtersiege”, which emulates the multi layered nature of poliorcetics through the constant shifting in drumwork as Read schools the listener on the breadth and power of the hammer blast, impressing the crush of a battering ram, while Forster’s tangled solos instill rampant paranoia. Vocals consist of a dual roar from both Forster and Blasphemy’s own Nocturnal Grave Desecrator And Black Winds, each with their own unique tone, and which merge into the voice of one possessed. From a production standpoint, the vocal element seems to be at odds with the sound of the instruments. But rather than detract, this actually enhances the music’s aura of conflict as the shrieks and bellows strain to be heard amid a clashing maelstrom of noise.

In End Times, Death Worship isn’t revolutionary or innovative and doesn’t try to be, but Forster maintains his reputation of consistent quality, exercising will uncompromising. Instead, End Times fulfills the ancient urge for savagery that lurks in the basest recesses of the psyche.

Your end of days is available through Nuclear War Now! Productions on vinyl & CD.



DEPARTURE CHANDELIER craft an ode to imperial evil on “Antichrist Rise To Power”

March on, march on! The bells of Corsica ring again and the demon of wrath returns. Departure Chandelier brings forth the violence and despair of the Napoleonic Wars into the 21st century, bellowing the eternal Emperor’s battlecry from the bloodstained France of yore. “Antichrist Rise To Power” is an eternal reminder of the legacy of Napoleon Bonaparte’s cruelty and majesty. Departure Chandelier’s raw and blistered take on what is almost instantly recognized as French black metal invokes power, glory, and the cratered hands of defeat.

The album opens up with the somber scene of Napoleon’s death, the guitars buzz with sorrow and absolution, but death is only the beginning of the emperors immortality. The keyboards play an important part in setting the scene, obstructing your thoughts with a funerary veil, adding to the atmosphere of life slipping away.

As he dies, Departure Chandelier boldly claims they are “Forever Faithful To The Emperor”. Guitars crackle with anger across the war torn landscape, as triumphant keys lead your charge across the bridge of Arcole and into the cannonfire; swayed by the omnipresent words of a demigod. His Emperor’s glory is only proceeded by his evil. DC pulls you into the “Catacombs Beneath the Castle of the Marquis”. Occult and malicious riffs transitioning into ethereal leads leave you standing awestruck at the Crypt of the Sepultural Lantern, face to face with the bleached bones of those sacrificed to the rule of the dark lord of France.

Further you are entrapped within the marble epitaph with the self titled dirge “Departure Chandelier”. No sooner are you thrust back into the battlefield with “A Sacrifice to the Corsica Antichrist”. Whether it is on the frozen plains of Russia or marching the glacial alps, the raw and rime covered tone dub you but a pawn destined for the mausoleum for the conquest of the black king. The final riff on “Re-establish the Black Rule of France” stirs the spirit of revolution inside of you; Decidedly symphonic, There is no denying the feeling of glory above all else.

“My downfall leads me to even greater heights.” 
-Napoleon Bonaparte

A tyrant born on the day of the feast of assumption, one who rose to the power he despised, fueled by scorn; only to cackle upon the gates of hedonism and rise above his fellow man to an infernal throne of pleasure. Departure Chandelier resurrects the spirit of the true antichrist. With a ghostly aura thanks to the intangible keys and a guitar tone encased in centuries old natron, “Antichrist Rise to Power” keeps the French ideal of radicalizing tradition while weaving a tale of one of history’s most brutal autocrats. Following in the footsteps of Les Légions Noires, the March of the Black Holocaust will be led by the black emperor himself.

Due out on vinyl & CD by Nuclear War Now! Productions on February 28.