Nuctemeron – Demonic Sceptre Review By Mark Z.

There’s a big problem with today’s metal scene: There aren’t enough fukkin bands that sound like Nifelheim. Every time I listen to those crazy Swedes, I want MOAR of their scalding black-thrash riffs, MORE of their pummeling blast beats, more of the unhinged ferocity that feels sorely lacking in today’s scene, when it seems like every band needs to have clean vocals and mix at least three genres. While Nifelheim vocalist Hellbutcher did release a very good album in 2024 via his eponymous band, his main project’s frantic intensity has gone largely unreplicated. Fortunately, Nuctemeron are here to change that. Over the past decade, this German group has kept the black flame burning with a slew of splits and EPs that bear titles like Beastfuck and Rape from the Grave, all while clad in enough spikes and leather to make them the favorite customers of their local BDSM shop. With their debut album, Demonic Sceptre, the group has continued following Nifelheim’s burning warpath, unleashing a barrage of frenetic riffs, scathing vocals, and battering rhythms that would make those Swedes proud.

Yet at the same time, calling Nuctemeron mere Nifelheim clones is hardly accurate. Perhaps most notably, the band’s aptly-named vocalist, “Lunatic Aggressor,” avoids mimicking Hellbutcher’s manic rasp by instead delivering a larynx-shredding shriek that somehow turns songs like “Burn My Skin to Leather” into singalong anthems. And, as hinted at by the cover art’s apparent homage to Destruction’s Eternal Devastation, the music here shows that these Germans have heard plenty of thrashy bands besides Hellbutcher and Co. Take the instrumental opener, “Fresh Blood for the 13th Coffin,” which is an ambient synth piece with vaguely medieval vibes that recall Desaster. Said influence continues with the Hellfire‘s Dominion-style guitar melodies that open the first proper track, “The Bat,” before the slicing verses began slashing into your neck like a sharpened scythe. Likewise, “Under Devil’s Command” features a terrific, olde school main riff that evokes the glory days of 80s speed metal, while the harmonized guitars of that song’s bridge serve as a saccharine throwback to metal’s golden age.

Demonic Sceptre by Nuctemeron

That said, it’s clear that Nifelheim is a massive influence here. And fortunately, Nuctemeron absolutely nail that band’s sound with a slew of the wildest black-thrash cuts I’ve heard in a long time. Early highlight “After Violent Storm” basically functions as a complementary vasectomy, as the ricocheting guitar line in that song’s refrain is hot enough to turn whatever genitals you have into something that looks like a charred pork rind. “Fuck Off!!! (In the Name of Evil)” uses Nifelheim’s infamous two-word mantra as the basis to unleash a shitstorm of bouncy, frantic guitars that culminates with the sound of a skipping record repeating that titular proclamation over and over. Later, the aforementioned “Burn My Skin to Leather” sounds like a lost cut from Servants of Darkness with its squealing guitar lines, while “Metallic Thunder” uses a rapid, tapping guitar line to great effect.

My only real criticism here is that some of the songs repeat their main riffs a bit too much, but that feels like a minor quibble in light of the sheer inspiration on display. The aforementioned “Lunatic Aggressor” shrieks his head off like a banshee the whole time, and the way he pronounces his V’s as W’s is positively endearing. Guitarist “Exterminator” unleashes riff after riff of pure maniacal energy, and his searing, fast solos are a perfect complement to the band’s relentless nature. As shown on the closing track, “Brandish the Hammer of Hell,” the group also aren’t afraid to mix things up, as the song concludes with crooning clean vocals that mimic a melodic guitar line. The production is also great, sounding raw and powerful while remaining clear and retaining plenty of dynamic range.

Demonic Sceptre is exactly what your psychotic inner black-thrash fan has been craving. This is the first group I’ve heard that truly embodies Nifelheim’s unhinged, frantic style, and yet they mix things up just enough to avoid being a mere worship act. What’s more, the band constantly exude a sense of furious inspiration, yet for how extreme they are, their songs sure are fukkin catchy. For me and anyone else bold enough to brave the group’s scorching fury, Nuctemeron’s debut may just be the best black-thrash record we hear this year.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: I Hate Records
Websites: nuctemeron-blackspeedhell.bandcamp.com | facebook.com/blackspeedhell
Releases Worldwide: March 13th, 2026

#2026 #40 #BlackMetal #DemonicSceptre #Desaster #Destruction #GermanMetal #IHateRecords #Mar26 #Nifelheim #Nuctemeron #Review #Reviews #SpeedMetal #ThrashMetal

Abysmal Winds – Magna Pestilencia Review

By Mark Z.

In the last few years, one of my favorite strains of death metal has been the “dark” variety. It’s not really a subgenre or even a wave, but more of a feeling that certain bands exude. I’m thinking specifically of groups like Cruciamentum, Mortem, Sadistic Intent, Grave Miasma, and other bands of their ilk. These are groups that offer a musty and ominous approach to death metal, groups whose atmosphere makes it feel like no matter how many times you listen to them, there is always something black and slimy lurking undiscovered in some hidden corner of the world they create. Thus, when I saw that Abysmal Winds describe themselves as “dark death metal” and count both Sadistic Intent and Grave Miasma among their influences, I couldn’t wait to check them out. Formed in 2020, this Swedish group brings experience from a whole host of obscure metal bands, with Avsky, Corpsehammer, and Omnizide probably being some of the bigger names. Following their 2022 demo Doom Prayer, the group are now releasing their debut album, Magna Pestilencia.

Listening to Magna Pestilencia, it’s obvious that Abysmal Winds have a particular affinity for Grave Miasma. Like that British group, these Swedes use a lot of groaning tremolos that writhe and hum beneath gruff growling vocals and steady driving rhythms. Things never get too aggressive, with the band instead focused on creating malevolent and cavernous compositions that still manage to have discernible riffs. In keeping with their origins, the group also have a distinct Swedish death metal flair, though that influence surprisingly comes from the drums rather than the guitars. Often, these songs are propelled by the same punky Swedeath beats used by Dismember, Entombed, and the millions of Swedeath bands that came after those two. They also throw in the occasional blast beat or slower moment, though things never get particularly fast or doomy.

The biggest problem with Magna Pestilencia is that it sticks very rigidly to its formula. Most of these songs simply cruise forward on mid-paced Swedeath beats, and the occasional blast beat or slower moment simply does not offer enough variety to make for a wholly engaging listen. By the album’s second half, I’m practically begging for some sort of crawling doom break, sinister melody, or big crunchy riff that will get my noggin moving. Interestingly, the intro song “Incantation” is actually the most distinct track here, with its basic cavernous melody at least offering something different. Perhaps because of the album’s rigid adherence to its formula, the record also never seems to feel as atmospheric or threatening as the band’s influences.

Fortunately, Magna Pestilencia does some things right. The 31-minute runtime keeps the record from overstaying its welcome, and many of these songs still manage to work in some pretty distinct riffs. Early highlight “Obliteration” shows just how effective the band’s formula can be, with its slow and strained chords sure to earn the appreciation of Grave Miasma fans. “Blood Prison” and “A Slumbering God” feature a faster pace, with “Blood Prison” especially standing out due to its winding main tremolo riff. The closing title track also ends the record well with its particularly harrowing riffs, as if you’ve finally reached the lowest point of some deadly cavern. Finally, the production works well, with splashy cymbals and a smooth sound that still manages to have a raw edge.

When I submitted my application to write here over a decade ago (!!!), the review I included as part of my application package was for Nunslaughter’s Angelic Dread, which I gave a 2.5/5.0. Today, I love that fucking record and would easily score it a point higher. I hope Magna Pestilencia enjoys the same fate. Even though I can’t heartily recommend this album to anyone who isn’t already a huge fan of the style, there’s something genuine about it that keeps me wanting to come back. While the score below reflects how I feel about it today, I have a nagging feeling that this could be the type of album that insidiously grows on you for years to come. If nothing else, it still leaves me very curious to hear what Abysmal Winds will give us next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: I Hate Records
Website: facebook.com/abysmalwinds
Releases Worldwide: June 21st, 2024

#25 #2024 #AbysmalWinds #Cruciamentum #DeathMetal #Dismember #Entombed #GraveMiasma #IHateRecords #Jun24 #MagnaPestilencia #Mortem #Nunslaughter #Review #Reviews #SadisticIntent #SwedishMetal

Abysmal Winds - Magna Pestilencia Review | Angry Metal Guy

A review of Magna Pestilencia by Abysmal Winds, available June 21st worldwide via I Hate Records.

Angry Metal Guy

2022 - THE UPCOMING TERROR!⚔️
➡️December 9th, 2022⬅️

THE TEMPLE - Of Solitude Triumphant🇬🇷🔥

2nd album from Thessaloniki, Greek Doom Metal outfit🔥

BC➡️https://ihate.bandcamp.com/album/of-solitude-triumphant🔥

#TheTemple #OfSolitudeTriumphant #DoomMetal #IHateRecords #TheUpcomingTerror22 #KMäN