Review by Felix on October 11, 2020.

Hit the shit out of the pit, here comes the skeleton again. Germany’s thrashing trio Skeleton Pit is back after a promising debut. The bar is set high. Belgian chocolates, Swiss clockworks and Teutonic thrash raise expectations which are not easy to meet. However, the stage-setting intro with its gloomy touch makes clear that the explosion is not long in coming. Rasping guitars and an appropriately pissed off lead shouter are incited by a powerful rhythm section. All components have found their rightful place in the angry sounding, maybe slightly too modern production. Nevertheless, the technical implementation leaves no important wishes unfulfilled, but what about the song material?

The band does not constantly strive for high velocity and this approach gives them a somewhat US American note. Pro-Pain came to my mind during the mid-tempo parts, although the marginally insane pitch of Patrick cannot be confused with that of Gary Meskill. But both philanthropic guys master the art of hate speeches in an impressive way. (Some anonymous internet trolls will turn their head in shame.) Every now and then, pinpoint background shouts support the lead vocals – they only go wrong in 'Thrashorcism' – the “ohoho” sounds rather amateurish.

Patrick is also responsible for the riffs and in their best moments they get my speakers to glow. 'Like Vultures', for instance, channels the energy of the band very convincingly and Gary Holt can be proud of his influence on this kind of riffing. Skeleton Pit worships the old school and it’s not only the beginning of 'Awaken the Claw' that catapults the listener back in time. That’s a nice trip, because Skeleton Pit pummel the listener with a destructive energy that does not need to fear the comparison with Sodom’s “M-16” album. However, Sodom were a bit more clever in arranging the song list, because Skeleton Pit swing their axes after the intro over the distance of eight neckbreakers without any break. The listener has to wait until the first tones of the closer for a shortly occurring different mood. I don’t say that the album suffers from uniformity, but I guess it would have won with another track order or one or two additional gloomy moments. Yes, perhaps it may seem as if I am seeking the fly in the ointment, but I just want to give my five cents in order to help the band to exploit its full potential on the third album (even so I am sure that the dudes do not need any advice from my side…).

But be assured that the only real weak point of the album is its artwork, another multi-coloured visual insult of the thrash movement. When did the scene lose the really vicious vibes of covers like “Bonded by Blood” or the individuality of artworks like Nasty Savage’s “Indulgence”? I cannot answer this question right now, but I know that highlights of Lust to Lynch - 'Plague of Violence', 'Skull Splitting Attack' (what was first, this title or the artwork?), 'Like Vultures' and many more slice with precise vehemence. No doubt, the skeleton knows how to hit the shit out of the pit – and out of your brain, at least for some pleasant hours.

Rating: 8 out of 10

Review by Alex on June 27, 2019.

From what I understand Hellvetron is band comprised of mainly 2 full time members whom also play in highly revered covens such as Black Witchery, Nyogthaeblisz and Nexul. The name had arisen many times during conversations, but I never got to examining any of their recordings. Now being able to give Hellvetron a go at the speakers, it is indeed exciting. Making this an even more exhilarating outing, is the fact the members involved in Hellvetron partake in the ceremonies of the bands mentioned, which I have high regard for; hence my expectations for this sophomore full-length release (since 2012’s Death Scroll of Seven Hells and Its Infernal Majesties)  peaked to almost unrealistic levels, levels Hellvetron theurgic ally seemed to be clawing at. The music on Trident of Tartarean Gateways can be described as a ritualistic, trance-inducing, form of death, black and funeral doom metal with an extensive insistence on milieu. When I first caught-eye of the total album length, my suspicions about the music grew, as I know often times, bands make the mistake of loading their output with more interludes and samples than actual music, primarily on lengthy recordings, that’s a turn away for me. In some cases, it works in adding sagacity but also comes across as lazy if not balanced by convincing instrumentation and vocals. I was not let down here, all customs performed on Trident of Tartarean Gateways are musical showings, that even when intertwined with samples and sound effects, display precedence of decisive musicianship. Therefore, for a 51-minute ceremonial bestowal, Trident of Tartarean Gateways is already modeling favorable qualities.  

The sensations here expel that of a rather equipoised effort, something suggesting the ideal amount of each genre utilized was incorporated in producing this final result. Though being a surgical chronicle of sorts, a benighted emanation cloaks every musical note. As meticulous, majestic, crepuscular, erotic and elementary, the music and samples may be, a dagger of sweeping barbarity is unsheathed and put to work through a sanguine and intolerant vocal delivery, adding significant depth whilst exhibiting traits heard on Nexul invocations. As a matter of fact, with one complete playthrough of Trident of Tartarean Gateways, the production with vivid clarity sticks-out in baring striking similarities to that of Nexul’s "Paradigm of Chaos"; even-so, in many ways Trident of Tartarean Gateways is a more diabolical, ancestral vivification of Xaosforos and Alal’Xhaasztur. This latest scroll of spells is of a higher draconian pedigree despite the speed at which it’s played, as its tempo is rarely ever advanced; rather, embracing a constant cogitating velocity to sharpen the immersion. Arriving with this gift are the nefarious blessings of past sins stretched in expansion and ascension of the visions these ailing souls have kept imprisoned. Quaking; however, carnal the resonance of ‘II. Initiation - Lustful Watchers’ is in portraying the marriage of fornication, trepidation and funereal quiddity. This orgy is a most dreadful one, set to befoul and bathe the underground in transgressions no amount of requital can appease.

Trident of Tartarean Gateways has with it an antiquity that can be matched by only a handful of releases both past and present. Much of this can be attributed to the weight and comprehensively elaborate subject contextualized. By aid of haunting samples and effects, a throne of esoteric elitism is established further embedding gemlike features of Hellvetron’s compositions. This almost hour-long voyage through the purgatorial realms of expiation does not come without a demand for patience, as songs are lengthy, therefore implying a dominant air of seriousness, completion and consummation; one that holds a reward for those who wholeheartedly commit and embrace the volume of excellence projected through the sonic conduit. Consecutive listens have only amplified my thirst for this material exponentially; with ‘I. Opening - Queen of the Void’ serving as a near perfect inauguration, until being supervened and usurped by ‘II. Initiation - Lustful Witchcraft’, ‘III. Blessing - Anointed Under a Burning Throne’ and the liturgical, jacitating grandiloquence of ‘IV. Evocation - King of Thaumiel’. With every ritual-working on Trident of Tartarean Gateways being met with punctilious results, it becomes increasingly difficult to select a standout track; each scripture is presented in the most sincere and dignified manner imaginable; however, if it were up to me to appoint one, it would be ‘VI. Offering - Solar Dark God’; the leading riffs and samples on that summoning speak of an evil that is alien to mankind. However, it only wins that spot by a slim margin, as every entry exudes qualities worthy of the position. 

As mentioned earlier, only a handful of records can challenge the caliber of Trident of Tartarean Gateways; with Nocternity’s "Harps of the Ancient Temples", Hell’s Coronation "Unholy Blades of the Devil" and recently Encoffination’s "We Proclaim Your Death O' Lord" being among worthy candidates. Ominous scriptures festoon these contorted compositions in an attempt to incubate and birth the chimerical into existence. This effort from Hellvetron sees them stomp on anything that is below the standards set here. So many succumb to mediocrity for the sake of convenience, whilst Hellvetron and a select prestigious few such as Inquisition (Colombia) and Mitochondrion, ladder themselves up and penetrate the peak of the hierarchy, to the point of creating a new exorbitant criterion existing beyond the periphery, appearing unachievable and quixotic to the acquiescent. Trident of Tartarean Gateways is of an ancient tablature, a testimony kneeling before the tumors of empyreal torture and solace. 

Of sortilege and condemnation 

• I.Opening - Queen of the Void
• II. Initiation - Lustful Witchcraft
• IV. Evocation - King of Thaumiel 

In adoration of impiety/Crimes at the peak of pleasure 

• VI. Offering - Solar Dark God
• VII. Rite - Tartarean Gateways
• iX. Transformation - Altar of Scorpions

Rating: 9.5 out of 10

Review by Alex on June 27, 2019.

From what I understand Hellvetron is band comprised of mainly 2 full time members whom also play in highly revered covens such as Black Witchery, Nyogthaeblisz and Nexul. The name had arisen many times during conversations, but I never got to examining any of their recordings. Now being able to give Hellvetron a go at the speakers, it is indeed exciting. Making this an even more exhilarating outing, is the fact the members involved in Hellvetron partake in the ceremonies of the bands mentioned, which I have high regard for; hence my expectations for this sophomore full-length release (since 2012’s Death Scroll of Seven Hells and Its Infernal Majesties)  peaked to almost unrealistic levels, levels Hellvetron theurgic ally seemed to be clawing at. The music on Trident of Tartarean Gateways can be described as a ritualistic, trance-inducing, form of death, black and funeral doom metal with an extensive insistence on milieu. When I first caught-eye of the total album length, my suspicions about the music grew, as I know often times, bands make the mistake of loading their output with more interludes and samples than actual music, primarily on lengthy recordings, that’s a turn away for me. In some cases, it works in adding sagacity but also comes across as lazy if not balanced by convincing instrumentation and vocals. I was not let down here, all customs performed on Trident of Tartarean Gateways are musical showings, that even when intertwined with samples and sound effects, display precedence of decisive musicianship. Therefore, for a 51-minute ceremonial bestowal, Trident of Tartarean Gateways is already modeling favorable qualities.  

The sensations here expel that of a rather equipoised effort, something suggesting the ideal amount of each genre utilized was incorporated in producing this final result. Though being a surgical chronicle of sorts, a benighted emanation cloaks every musical note. As meticulous, majestic, crepuscular, erotic and elementary, the music and samples may be, a dagger of sweeping barbarity is unsheathed and put to work through a sanguine and intolerant vocal delivery, adding significant depth whilst exhibiting traits heard on Nexul invocations. As a matter of fact, with one complete playthrough of Trident of Tartarean Gateways, the production with vivid clarity sticks-out in baring striking similarities to that of Nexul’s "Paradigm of Chaos"; even-so, in many ways Trident of Tartarean Gateways is a more diabolical, ancestral vivification of Xaosforos and Alal’Xhaasztur. This latest scroll of spells is of a higher draconian pedigree despite the speed at which it’s played, as its tempo is rarely ever advanced; rather, embracing a constant cogitating velocity to sharpen the immersion. Arriving with this gift are the nefarious blessings of past sins stretched in expansion and ascension of the visions these ailing souls have kept imprisoned. Quaking; however, carnal the resonance of ‘II. Initiation - Lustful Watchers’ is in portraying the marriage of fornication, trepidation and funereal quiddity. This orgy is a most dreadful one, set to befoul and bathe the underground in transgressions no amount of requital can appease.

Trident of Tartarean Gateways has with it an antiquity that can be matched by only a handful of releases both past and present. Much of this can be attributed to the weight and comprehensively elaborate subject contextualized. By aid of haunting samples and effects, a throne of esoteric elitism is established further embedding gemlike features of Hellvetron’s compositions. This almost hour-long voyage through the purgatorial realms of expiation does not come without a demand for patience, as songs are lengthy, therefore implying a dominant air of seriousness, completion and consummation; one that holds a reward for those who wholeheartedly commit and embrace the volume of excellence projected through the sonic conduit. Consecutive listens have only amplified my thirst for this material exponentially; with ‘I. Opening - Queen of the Void’ serving as a near perfect inauguration, until being supervened and usurped by ‘II. Initiation - Lustful Witchcraft’, ‘III. Blessing - Anointed Under a Burning Throne’ and the liturgical, jacitating grandiloquence of ‘IV. Evocation - King of Thaumiel’. With every ritual-working on Trident of Tartarean Gateways being met with punctilious results, it becomes increasingly difficult to select a standout track; each scripture is presented in the most sincere and dignified manner imaginable; however, if it were up to me to appoint one, it would be ‘VI. Offering - Solar Dark God’; the leading riffs and samples on that summoning speak of an evil that is alien to mankind. However, it only wins that spot by a slim margin, as every entry exudes qualities worthy of the position. 

As mentioned earlier, only a handful of records can challenge the caliber of Trident of Tartarean Gateways; with Nocternity’s "Harps of the Ancient Temples", Hell’s Coronation "Unholy Blades of the Devil" and recently Encoffination’s "We Proclaim Your Death O' Lord" being among worthy candidates. Ominous scriptures festoon these contorted compositions in an attempt to incubate and birth the chimerical into existence. This effort from Hellvetron sees them stomp on anything that is below the standards set here. So many succumb to mediocrity for the sake of convenience, whilst Hellvetron and a select prestigious few such as Inquisition (Colombia) and Mitochondrion, ladder themselves up and penetrate the peak of the hierarchy, to the point of creating a new exorbitant criterion existing beyond the periphery, appearing unachievable and quixotic to the acquiescent. Trident of Tartarean Gateways is of an ancient tablature, a testimony kneeling before the tumors of empyreal torture and solace. 

Of sortilege and condemnation 

• I.Opening - Queen of the Void
• II. Initiation - Lustful Witchcraft
• IV. Evocation - King of Thaumiel 

In adoration of impiety/Crimes at the peak of pleasure 

• VI. Offering - Solar Dark God
• VII. Rite - Tartarean Gateways
• iX. Transformation - Altar of Scorpions

Rating: 9.5 out of 10