Review by Greg on July 15, 2024.

Five full years after their first EP, Envenomed finally managed to reach the debut stage with 2014's Evil Unseen. Considering that this is the record that led the band to be signed (albeit shortly) by Punishment 18 Records, with no prior knowledge you would expect an aggressive thrash record, but it really isn't that different from said EP, which showcased a brand of melodic thrash with way more emphasis on the first term than on the second.

A good part of this is on the shoulders of the frontman Mav, whose voice manages to be simultaneously the most distinctive trait about the band, and its limit – the former since, well, he's a great vocalist per se, perhaps too close to your typical metalcore singer, but I usually dig his performances on every Envenomed release, and here it's no different. The latter is, sadly, because I don't think he manages to put his voice to full use most of the time, meaning that you're always left wanting for that refrain capable of getting stuck in your head for several days, while it never arrives and you're left with something like 'Spoils of Victory' where you don't even understand where the verse ends and the chorus begins at first listen, or 'Burn the Sun' that revolves around literally one single note for the most part... let's say I'm fine with having a less aggressive approach on your music, but I'm also expecting some more thought-out melodic line in its place, especially when you seriously have a dead ringer for Bullet for My Valentine's vocalist at the mic (although now with a sprinkle of Joey Belladonna on the higher notes – turns out that casual Anthrax mention I made earlier wasn't so casual after all).

Evil Unseen's biggest shortcoming is perhaps the fact that its (many) songs aren't exactly interchangeable, but they're still pretty hard to distinguish from one another. I singled out the two above because I'd noted their names while listening, otherwise you can bet I wouldn't have been able to remember which ones they were. There are a few exceptions in the de facto opener 'Will of Man', which isn't half bad and delivers yet another great solo in the band's career, and 'Falling' or 'Mechanical Enemy' containing a couple of the more successful refrains. I also think 'Disobey the Beast' works decently for what it tries to be, despite being a potential outlier with its tough midtempo formula and guest growled vocals. But apart from those, stuff like 'Within Me', 'The Shadowland', or the pointless instrumental 'Spirit Machine' do little more than string out the album length, to the point that attention loss is almost guaranteed.

A couple of generally faster cuts at the very end arrive maybe a bit too late to salvage the whole thing (although 'Global Deception' surely ends up on a high note), and as a result Evil Unseen is the kind of album that contains good stuff, when you come to think about it, but you really need to be in the right mindset to scavenge for it. I can definitely see myself enjoying Envenomed's recipe, but not as things stand here yet.

Rating: 6.6 out of 10

Review by Felix on January 1, 2023.

Yes, I have seen the very high average for this album. Nevertheless, “Orgasmatron”, this seems pretty clear to me, is definitely no spectacular album and, honestly speaking, with the exception of the irresistible drive of “Ace of Spades” (the song), Motörhead has never been a spectacular band. But firstly, it’s the 28th of December and therefore I feel the duty to upload another Motörhead review nobody has been waiting for. And secondly, life itself also does not hold a lot of spectacular moments. Therefore, Lemmy’s gang was always authentic and down-to-earth and this is probably of higher importance than any kind of spectacular song experiences.

“Orgasmatron” delivers some leisurely rocking tracks. Frankly, the only songs I really liked back in the speed-thrashing eighties were “Claw” and “Riding with the Driver”. Here the four-piece (!) does not hesitate, the tunes go straight ahead and both choruses have a raw yet catchy touch. It took me some time that almost every song scores with a solid degree of catchiness. But do not get me wrong, catchiness was not the most important feature for me back in the golden decade of (thrash) metal. Drunken by the violence and precision of acoustic riots like “Bonded by Blood” or “Hell Awaits”, a song like the powerless “Built for Speed” was nothing but music for old men (unbelievable, but I was just 18 years old) and “Deaf Forever” marked a decent but lame opener. Motörhead had been the epitome of antisocial brutality just a few years ago, now they were a toothless tiger, overran by the thrash hordes from the Bay Area, Germany and so on.

Today I still think that there is no basis to call “Orgasmatron” an underrated classic. Some of its pieces lack energy and dynamic. But I have better understood the special charm of Lemmy (R.I.P.) and his comrades. If I disregard the idea of competition for the hardest record in the world, Motörhead’s work from 1986 holds a collection of solid-to-good tracks. “Mean Machine”, for example, gives you a proper does of aggression and velocity, “Ain’t My Crime” makes you sit up and take notice thanks to a good flow and the title track (Lemmy: this is a song about the three things I hate most - religion, politics, war) delivers the entire portfolio of wickedness. Our icon’s usually monotonous voice expresses an enormous portion of cynicism and contempt with the consequence that the sinisterly stomping hymn to evil has become a little classic.

Finally, the production lacks pressure. It puts the focus on Lemmy’s voice (strange decision, haha), while the instrumental section sounds almost blurred. I miss sharp guitars and thundering drums. Maybe it is easier to like the production and the entire album if one has discovered it some years after its release, because the work sounded antiquated right from the beginning. In 1986, Motörhead looked like a fossil from the metallic Stone Age. At least, Lemmy had not lost his inner compass and therefore “Orgasmatron” is no outstanding, but an honest work.

Rating: 7 out of 10

Review by Fernando on July 9, 2019.

From Down Under comes Consummation, a black metal band from Queensland following in the steps of many excellent acts from Australia. Consummation after impressing with a demo and an EP unleash their debut album The Great Solar Hunter on Profound Lore Records and for a debut album, Consummation are a force to be reckoned with.

The band flexes with a punishing style of black metal that heavily borrows from primitive death metal and various atmospheric and even experimental tinges from black metal bands. This is a punishing and relentless album that starts at strong and never loses its focus. The album as a whole creates a relentless atmosphere, an explosive cacophony of aggression, a perfect ode to its namesake.

At 5 tracks this album is an experience you ought to sit down and pay attention to. The tracks are very long and the first half of the album is absolute aggression. The band uses all their assets here, speed is the name of the game and it shows. After the first 2 tracks the album takes a much more ritualistic streak while not losing the initial momentum, the third track “Phosphor Libation” is the transition song. It starts as fast as the previous tracks and then slows down into a dreadful dirge and then back to the speed; its schizophrenic in the best way possible but then ends with the slower pace which perfectly sets the tone for the track “Apotheoses” where the slower much menacing atmosphere is fully embraced in an 8 minute death march with breaks where the drumming speeds up for maximum effect, reinforcing the tone the band set. The final track of the album “The Eminent Fires of Sacrifice” is the perfect culmination of everything the band displayed with the previous songs. Everything that I mentioned before is here, the speed and the dread, and it all concludes in exquisite violence, a fitting end that is reminiscent of the apocalypse described in the lyrics.

All the performances here work in perfect sync and all in service of creating the hellish and apocalyptic atmosphere. The vocals by guitarist Craig Young are cold growls that echo demonically through each song; the guitar work here is excellent and we have a rare instance of 3 guitars which help in creating that atmosphere of dissonant chaos. Consummation's chosen style of black metal has a very clear death metal influence, the emphasis is put on speed and aggression which are complimented by a forceful bass courtesy of Joel Rademaker (who also adds the third guitar), while not as prominent as the guitars it serves its purpose in the rhythm section, serving as the foundation for the wall of sound created by the guitars. The biggest standout performance that sells the music here alongside the guitars is the drumming by David Haley who replaced original drummer Necros Craigos. Haley steals the show; his drumming is equal parts lightning fast and destructive and ritualistically primal, seamlessly transitioning from the faster parts into the slower parts. Haley succeeds in being a worthy replacement and his talent elevates this album higher.

Overall, Consummation has released a solid and extremely well crafted album and easily a top contender for album of the year. Australia once again surprises with another excellent band, this all aided by a production that perfectly displays the band’s strengths and has the perfect balance of sounding good and keeping the grit that every good black metal album should have.

Best tracks: “Ophidian Crown”, “Phosphor Libation”, “The Eminent Fires of Sacrifice”.

Rating: 9.8 out of 10

Review by Fernando on July 9, 2019.

From Down Under comes Consummation, a black metal band from Queensland following in the steps of many excellent acts from Australia. Consummation after impressing with a demo and an EP unleash their debut album The Great Solar Hunter on Profound Lore Records and for a debut album, Consummation are a force to be reckoned with.

The band flexes with a punishing style of black metal that heavily borrows from primitive death metal and various atmospheric and even experimental tinges from black metal bands. This is a punishing and relentless album that starts at strong and never loses its focus. The album as a whole creates a relentless atmosphere, an explosive cacophony of aggression, a perfect ode to its namesake.

At 5 tracks this album is an experience you ought to sit down and pay attention to. The tracks are very long and the first half of the album is absolute aggression. The band uses all their assets here, speed is the name of the game and it shows. After the first 2 tracks the album takes a much more ritualistic streak while not losing the initial momentum, the third track “Phosphor Libation” is the transition song. It starts as fast as the previous tracks and then slows down into a dreadful dirge and then back to the speed; its schizophrenic in the best way possible but then ends with the slower pace which perfectly sets the tone for the track “Apotheoses” where the slower much menacing atmosphere is fully embraced in an 8 minute death march with breaks where the drumming speeds up for maximum effect, reinforcing the tone the band set. The final track of the album “The Eminent Fires of Sacrifice” is the perfect culmination of everything the band displayed with the previous songs. Everything that I mentioned before is here, the speed and the dread, and it all concludes in exquisite violence, a fitting end that is reminiscent of the apocalypse described in the lyrics.

All the performances here work in perfect sync and all in service of creating the hellish and apocalyptic atmosphere. The vocals by guitarist Craig Young are cold growls that echo demonically through each song; the guitar work here is excellent and we have a rare instance of 3 guitars which help in creating that atmosphere of dissonant chaos. Consummation's chosen style of black metal has a very clear death metal influence, the emphasis is put on speed and aggression which are complimented by a forceful bass courtesy of Joel Rademaker (who also adds the third guitar), while not as prominent as the guitars it serves its purpose in the rhythm section, serving as the foundation for the wall of sound created by the guitars. The biggest standout performance that sells the music here alongside the guitars is the drumming by David Haley who replaced original drummer Necros Craigos. Haley steals the show; his drumming is equal parts lightning fast and destructive and ritualistically primal, seamlessly transitioning from the faster parts into the slower parts. Haley succeeds in being a worthy replacement and his talent elevates this album higher.

Overall, Consummation has released a solid and extremely well crafted album and easily a top contender for album of the year. Australia once again surprises with another excellent band, this all aided by a production that perfectly displays the band’s strengths and has the perfect balance of sounding good and keeping the grit that every good black metal album should have.

Best tracks: “Ophidian Crown”, “Phosphor Libation”, “The Eminent Fires of Sacrifice”.

Rating: 9.8 out of 10

Review by Fernando on July 9, 2019.

From Down Under comes Consummation, a black metal band from Queensland following in the steps of many excellent acts from Australia. Consummation after impressing with a demo and an EP unleash their debut album The Great Solar Hunter on Profound Lore Records and for a debut album, Consummation are a force to be reckoned with.

The band flexes with a punishing style of black metal that heavily borrows from primitive death metal and various atmospheric and even experimental tinges from black metal bands. This is a punishing and relentless album that starts at strong and never loses its focus. The album as a whole creates a relentless atmosphere, an explosive cacophony of aggression, a perfect ode to its namesake.

At 5 tracks this album is an experience you ought to sit down and pay attention to. The tracks are very long and the first half of the album is absolute aggression. The band uses all their assets here, speed is the name of the game and it shows. After the first 2 tracks the album takes a much more ritualistic streak while not losing the initial momentum, the third track “Phosphor Libation” is the transition song. It starts as fast as the previous tracks and then slows down into a dreadful dirge and then back to the speed; its schizophrenic in the best way possible but then ends with the slower pace which perfectly sets the tone for the track “Apotheoses” where the slower much menacing atmosphere is fully embraced in an 8 minute death march with breaks where the drumming speeds up for maximum effect, reinforcing the tone the band set. The final track of the album “The Eminent Fires of Sacrifice” is the perfect culmination of everything the band displayed with the previous songs. Everything that I mentioned before is here, the speed and the dread, and it all concludes in exquisite violence, a fitting end that is reminiscent of the apocalypse described in the lyrics.

All the performances here work in perfect sync and all in service of creating the hellish and apocalyptic atmosphere. The vocals by guitarist Craig Young are cold growls that echo demonically through each song; the guitar work here is excellent and we have a rare instance of 3 guitars which help in creating that atmosphere of dissonant chaos. Consummation's chosen style of black metal has a very clear death metal influence, the emphasis is put on speed and aggression which are complimented by a forceful bass courtesy of Joel Rademaker (who also adds the third guitar), while not as prominent as the guitars it serves its purpose in the rhythm section, serving as the foundation for the wall of sound created by the guitars. The biggest standout performance that sells the music here alongside the guitars is the drumming by David Haley who replaced original drummer Necros Craigos. Haley steals the show; his drumming is equal parts lightning fast and destructive and ritualistically primal, seamlessly transitioning from the faster parts into the slower parts. Haley succeeds in being a worthy replacement and his talent elevates this album higher.

Overall, Consummation has released a solid and extremely well crafted album and easily a top contender for album of the year. Australia once again surprises with another excellent band, this all aided by a production that perfectly displays the band’s strengths and has the perfect balance of sounding good and keeping the grit that every good black metal album should have.

Best tracks: “Ophidian Crown”, “Phosphor Libation”, “The Eminent Fires of Sacrifice”.

Rating: 9.8 out of 10