Review by Felix on April 28, 2021.

Welcome to another EP that combines a few new songs with extra stuff that nobody really needs. No question, 'Flame Of Malignancy' originally released on the comeback Mater Of All Evil (from 2000) kills effectively, but the live version doesn't uncover any new facets of the track. The arrangement of the Dead Kennedys' classic also leaves me rather cold, but I credit it with two plus points. Firstly (I confess ruefully), I didn't know the original and due to its snotty originality, I like that much better than Necrodeath's elaboration. Above all, I appreciate the fact that Jerry Brown, as a member of the Democratic Party, is accused of fascist ideas.... Biafra, you great poet and thinker! F**king fascists everywhere! Secondly, I admire Flegias' consistency in unexceptionally chanting something like "överalles" instead of "über alles". But who am I to make jokes about this? His German certainly still sounds much better than my Italian.

The three new pieces are another sign of life from the already not lazy Italians, but not much more. Despite some faster sections, the opener 'Inferno' seems relatively sluggish. Fortunately, Necrodeath do not become unfaithful to themselves. They continue to play sharp-edged thrash, enriched with the one or other twisted guitar tone, percussive elements and a slightly haunted atmosphere. The powerful, aggressive and agile 'Petrify' leaves the most vital impression. Finally, 'Succubus Rising' moves in the same direction.

In general there are two things you can blindly rely on with Necrodeath. On the one hand, the dudes always find the right balance between rage and melody, and on the other hand, there is nothing to complain about in the sound. The studio tracks burst out of the speakers in a razor-sharp manner. Precision is a constant factor in the Italians' cosmos, both playfully and sonically. Thus, everything remains more or less within the predictable framework, also with regard to the presentation of the digipak EP with an eight-page booklet. A good, but not essential release from the house of my favourite Italians.

Rating: 7.3 out of 10

Review by Jophelerx on April 1, 2025.

Grave Digger's classic 90s-early 2000s period, following the band's dissolution after their first three basic heavy metal albums in the 80s and subsequent stints under the names Digger and then Hawaii, is a run of albums that's often underrated, with many picking out specific albums as being uniquely worthwhile, while in my opinion, everything from The Reaper to Rheingold is a certified classic at this point (and The Last Supper is still pretty good). Of course, some are still better than others, and everyone will have favorites, with The Reaper likely to appeal more to the speed metal fan, while Heart of Darkness or The Grave Digger would probably be up your alley if you like things a bit darker. Rheingold is my personal favorite, but 1999's Excalibur is probably second. I admit I'm a sucker for Arthurian themes so that certainly contributes to my enjoyment of it, but its thematic and tonal variety put it a step above some of their other releases for me, with the album running the gamut of killer speed metal ("Excalibur"); epic, sing-a-longy power metal ("Tristan's Fate"); tender ballad ("Emerald Eyes"); and ominous brooder ("Avalon"). Alongside Tunes of War and the aforementioned Rheingold, I think this showcases Grave Digger's understated versatility, with many writing the band off as overly predictable, too simple, or writing Boltendahl off as too raspy compared to other Europower vocalists and the band as not melodic enough when I think none of those criticisms really fully do justice to the band's unique songwriting prowess and ability to mash multiple styles up into something accessible enough to feel catchy and easily digestible while still hiding enough under the surface as to be much more than they might initially appear.

Of course, calling Grave Digger something like "thinking man's metal" might be a bit of a stretch, but their breadth of lyrical themes covering various aspects of European mythos and history and their varied musical influences, ranging from classic Accept-style heavy metal to epic orchestral arrangements to ripping, Painkiller-esque speed metal gives them a level of musical sophistication I think few acts to come out of the European power metal scene ever really achieved, with other well-known acts like Blind Guardian, Helloween, and perhaps Rage being the only ones to really come to mind. As much as I respect a band like Kamelot, Sonata Arctica, or Statovarius, those acts never really incorporated the gravitas of classic heavy metal into their sounds, opting to stay solely in a more melodic, often neoclassical territory. This is fine, and deserves its spot within the scene, but there's something to be said for the 80s bands that were steeped in that classic 80s sound and evolved into something greater as heavy metal expanded - it's difficult to imitate or fake, and a band like Grave Digger's natural inclusion of newer and more diverse power metal influences as time wore on created something truly great and unparalleled for the most part.

Okay, so we've talked about the band's sound in this era - what about this album specifically? It starts off with the atmospheric keyboard intro "The Secrets of Merlin" which sets the stage for the album nicely with a slow build of medieval grandeur, leading into the ripping speed metal number "Pendragon," whose layered guitars make things immediately feel epic and larger than life while still paying homage to the band's hard 'n' heavy side, while the catchy vocal lines of the pre-chorus build perfectly into the big, dumb, multi-layered gang shouts of "PENDRAGON! PENDRAGON! STAR SPLITS THE SKY!" is a fantastic payoff and brings all these elements together in a succinct and visceral way. The solo here is also a standout for its blistering speed and intensity, while it's bookended by more low-key, wistful sections that encapsulate the multiple moods at play in this album perfectly in just one track. These shifts never feel jarring or unnatural though, with the band's often layered melodies bringing different styles together all at the same time in many cases, and the highs and lows are woven together in the overall thematic concepts at play here. Pendragon is a tragic character whose life was surrounded by love, hate, triumph, defeat, and mystery, and Grave Digger explores all of that without ever getting too into the weeds about specific story points but rather using the major beats of the concept as ways to express different emotions and styles across the album's duration.

The title track, for example, is perhaps the most straight-ahead speed metal number on the album (though even it has the sublimely loose and rockin' solo), which is appropriate given it's about Arthur's triumph of pulling the sword from the stone and the violence such a powerful weapon could represent. The one thing I would say is pretty consistent across each song is Grave Digger's trademark big, dumb choruses that usually just repeat the album's title along with one other short phrase, but I don't think this is the weakness some might think it is. Choruses are a central part of rock music, and the band makes sure they're the catchiest part of the song to keep the listener engaged while dealing with more complex thematic and musical ideas elsewhere in the songs. The choruses are never boring or overly simple; they're always chock full of the huge hooks and larger-than-life exuberance that European power metal is so beloved for, while still keeping things focused on a foundation built by heavy metal riffs and solos throughout. Sure, there are times when this can fall a bit flat, such as with the plodding, slightly repetitive "The Round Table," but for the most part, this formula works beautifully, keeping a good flow to the tracks and providing a way to keep the album's variety from feeling disconnected or too tonally jarring.

Thankfully, "Morgane le Fay" is another strong point for the album, with a slow, mysterious intro and some fantastic clean vocals from Boltendahl leading into a savage speed metal riff and some brutal, raspy growls that switch again to a melodic, understated chorus that plays well against the intensity of the verses. The dangerous yet playful pan pipes during the solo help keep the song from becoming too predictable, while the whispered "Listen, listen....to what I say..." line after the solo from Boltendahl brings a sense of humanity and fallibility to the idea of Morgane le Fay's character, helping to keep her portrayal from feeling too one-dimensional without devolving into long, spoken-word intros between songs or delving too far from the central focus of catchy, accessible power metal. "The Spell" is even softer and more human, with the protagonist of the song (I admit I'm not so familiar with Arthurian mythos that I recognize the exact story being presented here without any names - I *think* it's Arthur and Morgan le Fay but I'm not sure) expressing the wonders and pitfalls of love in a surprisingly relatable way without ever becoming sappy or trite, with the heavier and darker sections of the song devoted to the pitfalls of falling victim to blind lust, and the dangers of magic providing a metaphor for the "spell" love can cast over a person in real life. With a track like this, Grave Digger shows how myth and fantasy can provide relatable lessons and feelings for people even today, and show a deeper understanding of such themes than many bands who simply sing about specific tales or stories over a generic heavy or power metal style.

"Tristan's Fate" is another strong number, this one going all in on the big, epic chorus, which is probably my favorite on the album. Seriously, try not to sing along to MAGIC POTION CRYSTAL CLEAR, IT'S TOO LATE in the intro or anywhere else in the song. This one is a succinct power metal number that has a bit less variety than some of the other tracks but certainly doesn't suffer from it, presenting strong ideas for three-and-a-half minutes before moving on to the mid-paced heavy metal number "Lancelot." This one does feel a bit rehashed at times, echoing a track like "The Dark of the Sun" from Tunes of War or "Hate" from Heart of Darkness; they have a track like this on nearly all of their albums and I'd say this one really only stands out in the chorus, which is quite enjoyable. It's far from a bad song, but is one of the few here to fall victim to the accusations of being overly predictable and reusing the same ideas, which the band is known for. "Mordred's Song" gets things back on track with a fantastic galloping main riff, keeping things in an epic-speed metal territory stylistically similar to the title track but no less potent or headbangable. I actually would have expected this one to be a bit slower or darker given Mordred's tragic nature in the mythos, but either way, I'll gladly take this absolute banger any day of the week.

"The Final War" gives us a bigger, more measured atmosphere that's almost Manowar-ish, doing a great job of evoking battle with big, galloping riffs that never stray too far into speed metal territory, keeping the riffs at a deliberate gallop similar to that often seen in epic heavy metal to give the feeling of a broader narrative scope while still keeping the focus on the guitar work. This is a more than competent piece that also keeps its tone relatively consistent without ever becoming dull. "Emerald Eyes" gives us another ballad, though this one inexplicably sees Boltendahl mostly stick to his standard gruff delivery rather than the softer clean vocals he's obviously capable of, making for an odd juxtaposition where Boltendahl ends up sounding a bit like a muppet yowling out "YOU ARE MY QUEEEEN..." over tender, romantic keyboards. It's rather amusing but the songwriting is still quite solid so the song still works moderately well overall, just with Boltendahl feeling a bit out of place in an admittedly still enjoyable way. "Avalon" follows up with a dark, mysterious, and searching atmosphere I quite enjoy, the lyrics wondering if such a mystical location even exists. The chorus, despite being particularly understated, hits way harder than you might expect it to, with Boltendahl's earnestly introspective delivery achieving a level of enchantment and legitimate self-discovery that it wouldn't feel out of place on a progressive power metal album like Awaken the Guardian (to be clear, this is where the similarity between the two albums ends, as despite my talking the band up as more intelligent than they appear, it certainly wouldn't be fair to compare them to Fates Warning in general).

I feel like "Camelot" actually would have been a perfect closer to this album, but instead, we finish with "Parcival," a competent speed metal number that manages to actually feel quite tense and anxious, using dissonance to make the track feel unique in a sea of mostly open chords and major keys from the band (I'm not literate in musical theory so I don't know if that's exactly what the difference is here, but it definitely has a sense of conflict and musical discord I don't usually hear in a Grave Digger track). It's a pretty strong song as well, but at 13 tracks and a run time of almost an hour, the album does overstay its welcome just a bit for me. I just realized as I was writing this that it's actually a bonus track and doesn't appear on the original version of the album, which makes sense - I'd actually recommend listening to the version without "Parcival" for the best overall pace and thematic structure, though it is a good Grave Digger song that's worth hearing, so ultimately it's up to you how to listen to Excalibur. While not without some flaws, 1999's Excalibur is an excellent power metal gem from the band's discography that holds up remarkably well and is a good showcase for Chris "Parcival" Boltendahl (that's how he's credited on this album, with the other musicians getting similar characters in their names) and company's talents, and like the band's other releases from this era, should be a staple for the diet of any power metal fan who wants something beyond the overly saccharine fare seen from many bands in the genre.

Rating: 9.1 out of 10

Review by Felix on January 6, 2021.

Shit, it’s already 21 years ago that Grave Digger published Excalibur. Honestly speaking, I thought it is less than ten years, but I get older every day and I just cannot trust my brain any longer. Regardless of this miserable situation, my misjudgement is maybe a good omen, because I believe I have just listened to this full-length for a pretty long time. The reason for this is easy, I like this work.

Excalibur sounds crispy and belligerent to a certain extent. The guitars like to attack within the given traditional frame and the riffs do not sound stale, lame or tiring. Of course, the band does not put the focus on profound heaviness exclusively. There are also semi-ballads which add a slightly different flavour. 'The Spell' surprises with discreet erotic allusions (“there in the woods she taught me how to touch a girl” and we are too noble to ask for the exact female body parts) and 'Avalon' would also convince on an album of In Extremo. (That’s probably only logical when considering the bagpipes and the involvement of a guy of the equally “medieval sounding” Subway to Sally.) Furthermore, we have the pretty pompous, slightly kitschy piece called 'Emerald Eyes' or songs that offer a mix of prototypical metal parts and softer elements. This does not work very well in the title track, because the almost dreamy solo is the weak point of an actual strong composition. By contrast, the fragile motif of 'Morgane Le Fay' illustrates that the Germans are generally able to combine differently harsh sections in an intriguing manner. And I should not forget to say that this track is among the highlights of the album due to its tension-developing pattern with the emotional beginning and the relatively harsh transformation into a melodic yet double-bass driven metal attack.

Remarkable is that Excalibur differs from almost any other Grave Digger work. Usually they begin in a strong manner, but as the longer the albums last the more the quality of the songs decreases. It was always more or less predictable that the songs on position seven, eight or nine will fall short of legitimate expectations. The work from 1999 does not suffer from this scheme. Indeed, the 13 tracks are able to keep the quality high and the fleet-footed 'Mordred’s Song' is the best, but not the only good track of the album’s second half. It is based on a catchy and smooth melody which is not at the expense of speed or pressure. Especially this feature gives the full-length its character: the almost flawless integration of sleek melodies into the metallic frame. They never gain the upper hand, because the guitarists seem to be motivated and the drummer fights behind the kit like his favourite football team at the (once) famous Bieberer Berg on a Friday evening. This joy of playing is the basic ingredient for cool headbangers like 'Pendragon' or 'Tristan’s Fate'.

The cover drawing is okay and I am willing to ignore the ridiculous back cover painting. Instead, I enjoy the full, warm and reasonably muscular sound that fits speedy numbers like 'The Final War' (great bridge) as well as the less hard hitting tracks. Of course, even a good sound cannot fully make up for the deficiencies when it comes to the combination of Boltendahl's voice / emotional sections. But he sounds much better than in the ballads of the first period of the band. Thus, Excalibur does not deliver moments of pain, but almost an hour of vibrant traditional metal. So raise your sword, call yourself Sir Whatever-You-Want or buy yourself a book with the most important sagas, but don’t miss this full-length, one of the best of Grave Digger.

Rating: 8 out of 10

Review by Michael on February 4, 2021.

You like Demolition Hammer (also the "Time Bomb")? You love Sepultura's "Beneath the Remains"? Then the almost inexhaustible Belgian underground has spat out just the right thing for you with Schizophrenia. After Bütcher and Slaughter Messiah this is the third highlight of the Belgian death thrash metal 2020.

The album hits right on it and takes no prisoners. Groovy passages alternate with rough thrashing and hardly give the listener time to catch his breath. The singer rumbles through the tracks and sounds as angry as if all Belgian chocolates and fries in the country were sold out and there was only Belgian beer to drink. A pretty bad idea.

From the very beginning you get the feeling that you have been transported back in time. The songs sound like old school thrash at the end of the 80s or beginning of the 90s. The riffs remind me especially of the bands mentioned above, even though independent compositions are definitely recognizable. The voice of the singer has similarity to newer Protector albums. The guitars are played precisely and race through the songs and the drummer, who by the way also plays for Skelethal and Bütcher, thrashes his way through the EP's 20 minutes of playing time with all his might and cool blast beats and double bass. The band knows how to incorporate catchy parts and good melodies into their songs (as an example 'Perpetual Perdition' is mentioned here), but also to convince with tempo changes. Especially the opener 'Structure of Death' is a highlight of the album because of its cool arrangement, which is very reminiscent of Sepultura, also 'Mortal Sin' is another recommendable song because of its breaks and catchy melodies. Whereby it should be noted that there is also no song in the five tracks that I would call bad.

The production is also very successful. The sound is punchy, each instrument is clearly recognizable, the voice is clear and distinct. To my ears, nothing is overdriven or dully produced. There I have heard in recent times much worse produced albums (for example, "Summon the Hordes" by the already cited as a reference Protector). Thumbs up for this performance.

Unfortunately, Voices has only become an EP, because the songs should make everyone who likes old school death thrash definitely want more. I hope that the band will be back in the studio soon to record a regular longplayer that is on par with Voices. Until then, we all have to put up with the five tracks.

Rating: 8.7 out of 10

Review by Carl on December 27, 2020.

I seem to have misplaced my crystal ball, but as far as predictions go, I'm pretty sure about this one: 2020 is going to be a great year for extreme metal. New releases from decent folk like Violent Hammer, Devangelic and Perdition Temple are coming these next few months, while recent releases by Slaughter Messiah and Bütcher are already ragers of the highest order. Among these early comers is also this happy collective by the name of Schizophrenia with their very first release and it's one I've been waiting for, that's for sure.

Clocking in at 20 minutes, here we have a blast of explosive death/thrash that harks back to the late 80's and early 90's. Listening to this brings back memories of bands like Epidemic, Massacra, early No Return, Protector's "A Shedding of Skin" and especially Demolition Hammer. Aggressive riffing all around, raging solo's and gruff vocals all blend together in frantic songs that show enough variation to stay interesting even after the umpteenth listen. It's the kind of stuff that makes you want to demolish everything and everyone in sight! The person who steals the show however is drummer Lorenzo. Mo-ther-FUCK, this dude gives a utterly hammering performance, propelling the songs forward in a veritable hurricane of frenzied power. If you happen to see that guy walking around with a sledgehammer, take cover 'cuz shit's gonna get smashed! Best of all, this goodness is rolled into a crisp and powerful production that doesn't sound overproduced or plastic, the music still has the room to "breathe". I sure as hell can see myself playing this more than once. Extra mention goes out to the great artwork that gives this release the right feel, as if it was released in 1991.

There is one point I'm going to make though, and that is that the riffing really sounds a lot like Demolition Hammer, almost to the point of plagiarism sometimes. Opener 'Structure of Death' could have easily been a track on "Epidemic of Violence". Then again, complaining that a band sounds too much like Demolition Hammer is the same as whining that your girlfriend looks too much like Mia Khalifa, so you can consider this a very minor point.

Let me end this diatribe by saying that this is one hell of a banger that no fan of early 90's thrash/death can afford to miss! In this genre there are far worse bands out there that get more recognition than this lot does, so go for quality and pick this one up. Me, I'm hoping they will release a full length soon, can't wait to hear more of this.

Rating: 8.5 out of 10

Review by Chris Pratl on September 23, 2020.

It is a very rare occurrence when a band from seemingly out of nowhere manages to not only grab my attention, but dominate it for the better part of a few months. Belgium's Schizophrenia does just that with their debut EP, Voices.

Voices is a hook-filled, voracious death / thrash foray that is a fresh slap in the face to the respective genres and their fans who, while not necessarily looking for more, appreciate the finer points of both areas when designed so damn perfectly. These four guys from relative obscurity have crafted what I personally feel is best EP offering of the year, hands down. With a sharp and concise talon on the pulse of what makes for good death metal, Schizophrenia meshes the worlds of thrash and death to come up with 20-minutes of fury and hellish violence only a select few will understand and appreciate. I cannot espouse the virtues of this release enough; it's a perfect meshing of two worlds too often forced together with criminally bad results, despite the best intentions. With guitars that tap into every recess of the brain, bass and drums filling the back end with endless dissension, and vocals barking a sermon from the deepest portions of hell itself, Voices discovers the fountain of youth that de Leon himself couldn't have offered for these two genres too laden with underwhelming efforts these days.

As for the tracks, one flows into another with such symmetry and design that one wonders how it could have possibly worked out so well so easily. The vocals are the raspy growl / shriek we've all come to know and revel in, but something about these offerings over such a volatile cacophony creates intense visuals on both horrific and engaging palates. The production being crisp and very unpolished in its polish just makes the entire sonic experience fun with every instrument holding its own with veritable ease and precision. This right here is the metal genre marriage we need and want, people - from the mind-jarring cover to the impeccable tunes themselves, this is a flawless winner.

Standouts? The entire damn thing! But, if forced at gunpoint, I keep going back to 'Schizophrenia', a track with such a tremendous, albeit simple bridge hook that the tone sticks in my head for hours. Truthfully, though , if you seek out on EP this year, this band is making some serious noise. I managed to snag a copy from the band themselves, but Redefining Darkness has put out limited, numbered editions of the CD and LP (purple swirl and blood red) in numbers of 250 vinyl and 200 CD's. DO NOT sleep on this one, or cry later.

I usually don't fall too in love with a band or a particular release these days, despite there being a plethora of amazing albums being issued in seemingly record time this summer, but this is destined to be one of those sleepers that people in the local shows are going to be raving about for months to come, mark my words.

Rating: 10 out of 10

Review by Michael on February 4, 2021.

You like Demolition Hammer (also the "Time Bomb")? You love Sepultura's "Beneath the Remains"? Then the almost inexhaustible Belgian underground has spat out just the right thing for you with Schizophrenia. After Bütcher and Slaughter Messiah this is the third highlight of the Belgian death thrash metal 2020.

The album hits right on it and takes no prisoners. Groovy passages alternate with rough thrashing and hardly give the listener time to catch his breath. The singer rumbles through the tracks and sounds as angry as if all Belgian chocolates and fries in the country were sold out and there was only Belgian beer to drink. A pretty bad idea.

From the very beginning you get the feeling that you have been transported back in time. The songs sound like old school thrash at the end of the 80s or beginning of the 90s. The riffs remind me especially of the bands mentioned above, even though independent compositions are definitely recognizable. The voice of the singer has similarity to newer Protector albums. The guitars are played precisely and race through the songs and the drummer, who by the way also plays for Skelethal and Bütcher, thrashes his way through the EP's 20 minutes of playing time with all his might and cool blast beats and double bass. The band knows how to incorporate catchy parts and good melodies into their songs (as an example 'Perpetual Perdition' is mentioned here), but also to convince with tempo changes. Especially the opener 'Structure of Death' is a highlight of the album because of its cool arrangement, which is very reminiscent of Sepultura, also 'Mortal Sin' is another recommendable song because of its breaks and catchy melodies. Whereby it should be noted that there is also no song in the five tracks that I would call bad.

The production is also very successful. The sound is punchy, each instrument is clearly recognizable, the voice is clear and distinct. To my ears, nothing is overdriven or dully produced. There I have heard in recent times much worse produced albums (for example, "Summon the Hordes" by the already cited as a reference Protector). Thumbs up for this performance.

Unfortunately, Voices has only become an EP, because the songs should make everyone who likes old school death thrash definitely want more. I hope that the band will be back in the studio soon to record a regular longplayer that is on par with Voices. Until then, we all have to put up with the five tracks.

Rating: 8.7 out of 10

Review by Carl on December 27, 2020.

I seem to have misplaced my crystal ball, but as far as predictions go, I'm pretty sure about this one: 2020 is going to be a great year for extreme metal. New releases from decent folk like Violent Hammer, Devangelic and Perdition Temple are coming these next few months, while recent releases by Slaughter Messiah and Bütcher are already ragers of the highest order. Among these early comers is also this happy collective by the name of Schizophrenia with their very first release and it's one I've been waiting for, that's for sure.

Clocking in at 20 minutes, here we have a blast of explosive death/thrash that harks back to the late 80's and early 90's. Listening to this brings back memories of bands like Epidemic, Massacra, early No Return, Protector's "A Shedding of Skin" and especially Demolition Hammer. Aggressive riffing all around, raging solo's and gruff vocals all blend together in frantic songs that show enough variation to stay interesting even after the umpteenth listen. It's the kind of stuff that makes you want to demolish everything and everyone in sight! The person who steals the show however is drummer Lorenzo. Mo-ther-FUCK, this dude gives a utterly hammering performance, propelling the songs forward in a veritable hurricane of frenzied power. If you happen to see that guy walking around with a sledgehammer, take cover 'cuz shit's gonna get smashed! Best of all, this goodness is rolled into a crisp and powerful production that doesn't sound overproduced or plastic, the music still has the room to "breathe". I sure as hell can see myself playing this more than once. Extra mention goes out to the great artwork that gives this release the right feel, as if it was released in 1991.

There is one point I'm going to make though, and that is that the riffing really sounds a lot like Demolition Hammer, almost to the point of plagiarism sometimes. Opener 'Structure of Death' could have easily been a track on "Epidemic of Violence". Then again, complaining that a band sounds too much like Demolition Hammer is the same as whining that your girlfriend looks too much like Mia Khalifa, so you can consider this a very minor point.

Let me end this diatribe by saying that this is one hell of a banger that no fan of early 90's thrash/death can afford to miss! In this genre there are far worse bands out there that get more recognition than this lot does, so go for quality and pick this one up. Me, I'm hoping they will release a full length soon, can't wait to hear more of this.

Rating: 8.5 out of 10

Review by Chris Pratl on September 23, 2020.

It is a very rare occurrence when a band from seemingly out of nowhere manages to not only grab my attention, but dominate it for the better part of a few months. Belgium's Schizophrenia does just that with their debut EP, Voices.

Voices is a hook-filled, voracious death / thrash foray that is a fresh slap in the face to the respective genres and their fans who, while not necessarily looking for more, appreciate the finer points of both areas when designed so damn perfectly. These four guys from relative obscurity have crafted what I personally feel is best EP offering of the year, hands down. With a sharp and concise talon on the pulse of what makes for good death metal, Schizophrenia meshes the worlds of thrash and death to come up with 20-minutes of fury and hellish violence only a select few will understand and appreciate. I cannot espouse the virtues of this release enough; it's a perfect meshing of two worlds too often forced together with criminally bad results, despite the best intentions. With guitars that tap into every recess of the brain, bass and drums filling the back end with endless dissension, and vocals barking a sermon from the deepest portions of hell itself, Voices discovers the fountain of youth that de Leon himself couldn't have offered for these two genres too laden with underwhelming efforts these days.

As for the tracks, one flows into another with such symmetry and design that one wonders how it could have possibly worked out so well so easily. The vocals are the raspy growl / shriek we've all come to know and revel in, but something about these offerings over such a volatile cacophony creates intense visuals on both horrific and engaging palates. The production being crisp and very unpolished in its polish just makes the entire sonic experience fun with every instrument holding its own with veritable ease and precision. This right here is the metal genre marriage we need and want, people - from the mind-jarring cover to the impeccable tunes themselves, this is a flawless winner.

Standouts? The entire damn thing! But, if forced at gunpoint, I keep going back to 'Schizophrenia', a track with such a tremendous, albeit simple bridge hook that the tone sticks in my head for hours. Truthfully, though , if you seek out on EP this year, this band is making some serious noise. I managed to snag a copy from the band themselves, but Redefining Darkness has put out limited, numbered editions of the CD and LP (purple swirl and blood red) in numbers of 250 vinyl and 200 CD's. DO NOT sleep on this one, or cry later.

I usually don't fall too in love with a band or a particular release these days, despite there being a plethora of amazing albums being issued in seemingly record time this summer, but this is destined to be one of those sleepers that people in the local shows are going to be raving about for months to come, mark my words.

Rating: 10 out of 10

Review by Michael on February 4, 2021.

You like Demolition Hammer (also the "Time Bomb")? You love Sepultura's "Beneath the Remains"? Then the almost inexhaustible Belgian underground has spat out just the right thing for you with Schizophrenia. After Bütcher and Slaughter Messiah this is the third highlight of the Belgian death thrash metal 2020.

The album hits right on it and takes no prisoners. Groovy passages alternate with rough thrashing and hardly give the listener time to catch his breath. The singer rumbles through the tracks and sounds as angry as if all Belgian chocolates and fries in the country were sold out and there was only Belgian beer to drink. A pretty bad idea.

From the very beginning you get the feeling that you have been transported back in time. The songs sound like old school thrash at the end of the 80s or beginning of the 90s. The riffs remind me especially of the bands mentioned above, even though independent compositions are definitely recognizable. The voice of the singer has similarity to newer Protector albums. The guitars are played precisely and race through the songs and the drummer, who by the way also plays for Skelethal and Bütcher, thrashes his way through the EP's 20 minutes of playing time with all his might and cool blast beats and double bass. The band knows how to incorporate catchy parts and good melodies into their songs (as an example 'Perpetual Perdition' is mentioned here), but also to convince with tempo changes. Especially the opener 'Structure of Death' is a highlight of the album because of its cool arrangement, which is very reminiscent of Sepultura, also 'Mortal Sin' is another recommendable song because of its breaks and catchy melodies. Whereby it should be noted that there is also no song in the five tracks that I would call bad.

The production is also very successful. The sound is punchy, each instrument is clearly recognizable, the voice is clear and distinct. To my ears, nothing is overdriven or dully produced. There I have heard in recent times much worse produced albums (for example, "Summon the Hordes" by the already cited as a reference Protector). Thumbs up for this performance.

Unfortunately, Voices has only become an EP, because the songs should make everyone who likes old school death thrash definitely want more. I hope that the band will be back in the studio soon to record a regular longplayer that is on par with Voices. Until then, we all have to put up with the five tracks.

Rating: 8.7 out of 10

Review by Carl on December 27, 2020.

I seem to have misplaced my crystal ball, but as far as predictions go, I'm pretty sure about this one: 2020 is going to be a great year for extreme metal. New releases from decent folk like Violent Hammer, Devangelic and Perdition Temple are coming these next few months, while recent releases by Slaughter Messiah and Bütcher are already ragers of the highest order. Among these early comers is also this happy collective by the name of Schizophrenia with their very first release and it's one I've been waiting for, that's for sure.

Clocking in at 20 minutes, here we have a blast of explosive death/thrash that harks back to the late 80's and early 90's. Listening to this brings back memories of bands like Epidemic, Massacra, early No Return, Protector's "A Shedding of Skin" and especially Demolition Hammer. Aggressive riffing all around, raging solo's and gruff vocals all blend together in frantic songs that show enough variation to stay interesting even after the umpteenth listen. It's the kind of stuff that makes you want to demolish everything and everyone in sight! The person who steals the show however is drummer Lorenzo. Mo-ther-FUCK, this dude gives a utterly hammering performance, propelling the songs forward in a veritable hurricane of frenzied power. If you happen to see that guy walking around with a sledgehammer, take cover 'cuz shit's gonna get smashed! Best of all, this goodness is rolled into a crisp and powerful production that doesn't sound overproduced or plastic, the music still has the room to "breathe". I sure as hell can see myself playing this more than once. Extra mention goes out to the great artwork that gives this release the right feel, as if it was released in 1991.

There is one point I'm going to make though, and that is that the riffing really sounds a lot like Demolition Hammer, almost to the point of plagiarism sometimes. Opener 'Structure of Death' could have easily been a track on "Epidemic of Violence". Then again, complaining that a band sounds too much like Demolition Hammer is the same as whining that your girlfriend looks too much like Mia Khalifa, so you can consider this a very minor point.

Let me end this diatribe by saying that this is one hell of a banger that no fan of early 90's thrash/death can afford to miss! In this genre there are far worse bands out there that get more recognition than this lot does, so go for quality and pick this one up. Me, I'm hoping they will release a full length soon, can't wait to hear more of this.

Rating: 8.5 out of 10

Review by Chris Pratl on September 23, 2020.

It is a very rare occurrence when a band from seemingly out of nowhere manages to not only grab my attention, but dominate it for the better part of a few months. Belgium's Schizophrenia does just that with their debut EP, Voices.

Voices is a hook-filled, voracious death / thrash foray that is a fresh slap in the face to the respective genres and their fans who, while not necessarily looking for more, appreciate the finer points of both areas when designed so damn perfectly. These four guys from relative obscurity have crafted what I personally feel is best EP offering of the year, hands down. With a sharp and concise talon on the pulse of what makes for good death metal, Schizophrenia meshes the worlds of thrash and death to come up with 20-minutes of fury and hellish violence only a select few will understand and appreciate. I cannot espouse the virtues of this release enough; it's a perfect meshing of two worlds too often forced together with criminally bad results, despite the best intentions. With guitars that tap into every recess of the brain, bass and drums filling the back end with endless dissension, and vocals barking a sermon from the deepest portions of hell itself, Voices discovers the fountain of youth that de Leon himself couldn't have offered for these two genres too laden with underwhelming efforts these days.

As for the tracks, one flows into another with such symmetry and design that one wonders how it could have possibly worked out so well so easily. The vocals are the raspy growl / shriek we've all come to know and revel in, but something about these offerings over such a volatile cacophony creates intense visuals on both horrific and engaging palates. The production being crisp and very unpolished in its polish just makes the entire sonic experience fun with every instrument holding its own with veritable ease and precision. This right here is the metal genre marriage we need and want, people - from the mind-jarring cover to the impeccable tunes themselves, this is a flawless winner.

Standouts? The entire damn thing! But, if forced at gunpoint, I keep going back to 'Schizophrenia', a track with such a tremendous, albeit simple bridge hook that the tone sticks in my head for hours. Truthfully, though , if you seek out on EP this year, this band is making some serious noise. I managed to snag a copy from the band themselves, but Redefining Darkness has put out limited, numbered editions of the CD and LP (purple swirl and blood red) in numbers of 250 vinyl and 200 CD's. DO NOT sleep on this one, or cry later.

I usually don't fall too in love with a band or a particular release these days, despite there being a plethora of amazing albums being issued in seemingly record time this summer, but this is destined to be one of those sleepers that people in the local shows are going to be raving about for months to come, mark my words.

Rating: 10 out of 10

Review by Michael on February 4, 2021.

You like Demolition Hammer (also the "Time Bomb")? You love Sepultura's "Beneath the Remains"? Then the almost inexhaustible Belgian underground has spat out just the right thing for you with Schizophrenia. After Bütcher and Slaughter Messiah this is the third highlight of the Belgian death thrash metal 2020.

The album hits right on it and takes no prisoners. Groovy passages alternate with rough thrashing and hardly give the listener time to catch his breath. The singer rumbles through the tracks and sounds as angry as if all Belgian chocolates and fries in the country were sold out and there was only Belgian beer to drink. A pretty bad idea.

From the very beginning you get the feeling that you have been transported back in time. The songs sound like old school thrash at the end of the 80s or beginning of the 90s. The riffs remind me especially of the bands mentioned above, even though independent compositions are definitely recognizable. The voice of the singer has similarity to newer Protector albums. The guitars are played precisely and race through the songs and the drummer, who by the way also plays for Skelethal and Bütcher, thrashes his way through the EP's 20 minutes of playing time with all his might and cool blast beats and double bass. The band knows how to incorporate catchy parts and good melodies into their songs (as an example 'Perpetual Perdition' is mentioned here), but also to convince with tempo changes. Especially the opener 'Structure of Death' is a highlight of the album because of its cool arrangement, which is very reminiscent of Sepultura, also 'Mortal Sin' is another recommendable song because of its breaks and catchy melodies. Whereby it should be noted that there is also no song in the five tracks that I would call bad.

The production is also very successful. The sound is punchy, each instrument is clearly recognizable, the voice is clear and distinct. To my ears, nothing is overdriven or dully produced. There I have heard in recent times much worse produced albums (for example, "Summon the Hordes" by the already cited as a reference Protector). Thumbs up for this performance.

Unfortunately, Voices has only become an EP, because the songs should make everyone who likes old school death thrash definitely want more. I hope that the band will be back in the studio soon to record a regular longplayer that is on par with Voices. Until then, we all have to put up with the five tracks.

Rating: 8.7 out of 10

Review by Carl on December 27, 2020.

I seem to have misplaced my crystal ball, but as far as predictions go, I'm pretty sure about this one: 2020 is going to be a great year for extreme metal. New releases from decent folk like Violent Hammer, Devangelic and Perdition Temple are coming these next few months, while recent releases by Slaughter Messiah and Bütcher are already ragers of the highest order. Among these early comers is also this happy collective by the name of Schizophrenia with their very first release and it's one I've been waiting for, that's for sure.

Clocking in at 20 minutes, here we have a blast of explosive death/thrash that harks back to the late 80's and early 90's. Listening to this brings back memories of bands like Epidemic, Massacra, early No Return, Protector's "A Shedding of Skin" and especially Demolition Hammer. Aggressive riffing all around, raging solo's and gruff vocals all blend together in frantic songs that show enough variation to stay interesting even after the umpteenth listen. It's the kind of stuff that makes you want to demolish everything and everyone in sight! The person who steals the show however is drummer Lorenzo. Mo-ther-FUCK, this dude gives a utterly hammering performance, propelling the songs forward in a veritable hurricane of frenzied power. If you happen to see that guy walking around with a sledgehammer, take cover 'cuz shit's gonna get smashed! Best of all, this goodness is rolled into a crisp and powerful production that doesn't sound overproduced or plastic, the music still has the room to "breathe". I sure as hell can see myself playing this more than once. Extra mention goes out to the great artwork that gives this release the right feel, as if it was released in 1991.

There is one point I'm going to make though, and that is that the riffing really sounds a lot like Demolition Hammer, almost to the point of plagiarism sometimes. Opener 'Structure of Death' could have easily been a track on "Epidemic of Violence". Then again, complaining that a band sounds too much like Demolition Hammer is the same as whining that your girlfriend looks too much like Mia Khalifa, so you can consider this a very minor point.

Let me end this diatribe by saying that this is one hell of a banger that no fan of early 90's thrash/death can afford to miss! In this genre there are far worse bands out there that get more recognition than this lot does, so go for quality and pick this one up. Me, I'm hoping they will release a full length soon, can't wait to hear more of this.

Rating: 8.5 out of 10

Review by Chris Pratl on September 23, 2020.

It is a very rare occurrence when a band from seemingly out of nowhere manages to not only grab my attention, but dominate it for the better part of a few months. Belgium's Schizophrenia does just that with their debut EP, Voices.

Voices is a hook-filled, voracious death / thrash foray that is a fresh slap in the face to the respective genres and their fans who, while not necessarily looking for more, appreciate the finer points of both areas when designed so damn perfectly. These four guys from relative obscurity have crafted what I personally feel is best EP offering of the year, hands down. With a sharp and concise talon on the pulse of what makes for good death metal, Schizophrenia meshes the worlds of thrash and death to come up with 20-minutes of fury and hellish violence only a select few will understand and appreciate. I cannot espouse the virtues of this release enough; it's a perfect meshing of two worlds too often forced together with criminally bad results, despite the best intentions. With guitars that tap into every recess of the brain, bass and drums filling the back end with endless dissension, and vocals barking a sermon from the deepest portions of hell itself, Voices discovers the fountain of youth that de Leon himself couldn't have offered for these two genres too laden with underwhelming efforts these days.

As for the tracks, one flows into another with such symmetry and design that one wonders how it could have possibly worked out so well so easily. The vocals are the raspy growl / shriek we've all come to know and revel in, but something about these offerings over such a volatile cacophony creates intense visuals on both horrific and engaging palates. The production being crisp and very unpolished in its polish just makes the entire sonic experience fun with every instrument holding its own with veritable ease and precision. This right here is the metal genre marriage we need and want, people - from the mind-jarring cover to the impeccable tunes themselves, this is a flawless winner.

Standouts? The entire damn thing! But, if forced at gunpoint, I keep going back to 'Schizophrenia', a track with such a tremendous, albeit simple bridge hook that the tone sticks in my head for hours. Truthfully, though , if you seek out on EP this year, this band is making some serious noise. I managed to snag a copy from the band themselves, but Redefining Darkness has put out limited, numbered editions of the CD and LP (purple swirl and blood red) in numbers of 250 vinyl and 200 CD's. DO NOT sleep on this one, or cry later.

I usually don't fall too in love with a band or a particular release these days, despite there being a plethora of amazing albums being issued in seemingly record time this summer, but this is destined to be one of those sleepers that people in the local shows are going to be raving about for months to come, mark my words.

Rating: 10 out of 10