Review by Michael on October 20, 2021.

In existence since 2019, Polish female-fronted Shadow Warrior have released some singles and a demo before releasing their first full-length Cyberblade in 2020. Having a look at the cover with that samurai-cyber-picture one could think that they have a similarity to the technical power metal band Dragonforce but what we find here is quite classic 8os style heavy metal.

The songs are kept quite simple and there are no overwhelming solos. On one side this means that they are quite catchy but on the other it is difficult to find some outstanding tracks on Cyberblade. Don't get me wrong, the quintet is really skilled so this is not the problem, but I think they could have made much more out of it with some more variety in the tracks so they would stay in ones head for a longer time. Stylistically they can be sorted between old Judas Priest, Tank, Iron Maiden (especially when it comes to these galloping guitars like in 'Flight Of The Steel Samurai') and old Scorpions. The melodies are often very catchy and quite appropriate like in 'Cyberblade', 'Iron Hawk Rising' or the already mentioned 'Flight Of The Steel Samurai'. You cannot deny that the quintet originated in Lublin have fun playing the tracks and this style of music. Especially singer Anna has a lot of power in her voice and is very ambitious in what she is performing. The other instruments are kept quite in the background so that you get the impression that Cyberblade is focused very much on the singer. A better-balanced production would probably help out to make the album more powerful.

For sure, Cyberblade isn't a barrel burst, and I guess with some improvements on the next album, Shadow Warrior will convince much more than they do with Cyberblade. If you're a fan of the above-mentioned influences, you should definitely check the release because it is an uncut diamond in my opinion. Some cuts here and there might have been for the better, but the band has a lot of potential.

Recommendable tracks are: 'Cyberblade', 'Squadrons Of Steel' and 'Flight Of The Steel Samurai'.

Rating: 7.9 out of 10 Samurais

Review by Alex on November 26, 2021.

It was through Oceans Of Slumber's 2018 album I discovered Malignant Altar. Without delving into that album much, let's just say Dobber Beverly's performance on the drum kit was too damn good to not investigate what other bands he was associated with at the time. Did some research and found out he was also the drummer for a death metal band under the moniker Malignant Altar. There were even a few videos of the band's live performance on some media platforms that appeared very promising. Now to my utmost surprise and elation, I read they are putting out their debut full length album through Dark Descent Records. Yes, there's no doubt that Mr. Calvert heard the sounds too and recognized greatness instantly. Having only heard raw, live recordings of their music, only wonders of what can be achieved surfaced.

And here is the final result, Realms Of Exquisite Morbidity, a well above average, maverick makeup of death metal. Who would have determined otherwise especially when possessing the ranks of Dobber on the drum kit along with a vocalist who dominates in his field and guitarists+bassist able to feed off each other energies to write joyful riffs and create memorable breakdowns. Malignant Altar make listening to this genre of music a joy even when being exhausted from the overwhelming number of promos in the mail. It feels so relieving to know that there is something sitting in my inbox that isn't just another death metal album but a true effort. To contrive something that brings you back to the first moments of discovering death metal and that wowing moment when you hear the sounds; not many bands can do that, especially a new unit in these times, and even ones that are well established in the genre, and here's a fine example of an item that surpasses the faint attempts of countless others.

The individual performances on Realms Of Exquisite Morbidity have a consistency that compels you to revisit the record time and time again, however what truly sets this album apart from the rest is its fluidity and how it's formulated. Malignant Altar made a statement early on, with 'Channeling Impure Apparitions' flaunting some serious drumming gymnastics and riffing amidst a loud and hooligan-esque fronting vocalist. A very imposing presence created from its ominous melodious ringing inception, making it clear that Malignant Altar are here to collect bodies. The fun intensifies and it’s showtime when 'Usurping The Pantheon Crown' hits and the sprinting double bass from the kick drums begin to shake things up. Fairly mid paced but has an expansive feeling provided the rhythm changes on multiple occasions.

The turning point on Realms Of Exquisite Morbidity takes place with what would be the best track from my perspective, 'Belial Rebirth', which highlights the awesome chemistry the musicians involved in crafting the album have. I deem it as such due to how eclectic and well calculated the recordings begin to sound. Each musician knows his role and plays as though it's the only thing that matters, and you hear the sudden outburst of instrumental skill change the face of the album; reshaping what would be a more than decent entry to a musical marvel. From the flaring drum technicality of Dobber, to the soothing solos, timeless rhythmic transitions and atmospheric undertones and overtones, the chemistry shared in Malignant Altar stands unshakable for the remainder of Realms Of Exquisite Morbidity and introduces the listener to an ecstasy of musical mobility. Bringing me to a main point of this album's success; the chemistry shared among the musicians here is definitely a key factor responsible for this. They understand a band requires compatibility and more-so, cooperation; hence the flow of the album is so, unified.

With 'Ceremonial Decapitator' and 'Rite Of Krasue' putting the final and most exquisite touches on the record, you feel as though having shifted into a musical firework parade as the two mentioned songs would continue with compositions just as strong as or stronger (depending on your interpretation) than 'Belial Rebirth', thus bringing Realms Of Exquisite Morbidity to a convincing conclusion.

Should Malignant Altar head into the studio to record another album, they should consider keeping the same lineup as this one. They have a unit that gels well, and should one be replaced, it could potentially jeopardize their future death metal recordings.

Rating: 9 out of 10

Review by Brexaul on May 16, 2022.

Ah, Canada you magnificent bastard. One of the best places one can nowadays look for quality heavy metal and one of the to-go places for the resurgence of the classic sound! From the that magical place of snow, bears and maple syrup come the mighty Skull Fist, to reclaim their throne after a somewhat disappointing effort on their previous Way Of The Road. I really enjoy the little wordplay on the new album title as it is no secret that the band went through a lot of label hurdles and financial struggles but they are back with a vengeance.

With a significant change in the line-up and now a 3-piece, Zach Schottler had his hands full handling both the insane guitar parts and the vocals and I have to admit I’m a bit impressed with his output in both those fields. The guitars are flaming with their usual inventive riffing and excellent almost-shredding solos, maiden-ish twin harmonies and melodies flying all over the place, while the vocals boast an impressive variety channeling everything from Klaus Meine to Michael Kiske. The rhythm section is concrete solid but breathing enough to compliment that feel-good analog live feeling to the whole production.

The songs are great in their majority and there are several moments that the band “thinks” out of the box, either touching thrashier areas like on 'Crush, Kill, Destroy' or utilizing Scorpions influences like on 'For The Last Time'. There are obviously the more formulaic (read: kickass) Skull Fist moments like 'Long Live The Fist' but overall the album maintains a sense of coherency and it’s well written. The order of the songs also feels like a winning bet, starting with a bang on the two first tracks then racing through the album effortlessly but knowing when to slow down so we can catch our breath. Which brings me to my main problem of Paid In Full...

...the length. I can understand bands opting to write shorter albums for the sake of vinyl pressing or short attention spam hazards and believe me I know their music benefits from the shorter durations as a whole, but a new effort clocking at 33 minutes, especially when it features a re-recording of an old classic just doesn’t cut it. I had the exact same problem with Eternal Champion’s “Ravening Iron”, we pay for music and dammit, we demand music!

Overall this is a very solid effort and a warm welcome back to Schotter & gang with an album that can give repeated, back-to-back plays full of this carefree, silly rockstar attitude that reminds us that not all releases have to be deep thought-evoking opuses and there is still a place for (well written) catchy & easy to digest old fashioned rocking. And damn, those 33 mins just fly by.

Worthy tracks to check: 'Long Live The Fist', 'Warrior Of The North'

Rating: 8 out of 10