Review by Fernando on September 10, 2024.

One of the most interesting aspects of the Finnish black metal scene is how it embraces its elder statesmen as well as hungry newcomers, provided they show the same level of devotion and dedication mandatory of black metal. Today we have an interesting case of the former in the form of Förgjord. The band had developed a reputation as “your favorite Finnish black metal band’s favorite Finnish black metal band”, and they'll unleash their new record Perkeleen Weri, through the infamous cult-favorite label, Werewolf Records on September 9th, 2024.

Förgjord (at least according to Metallum) seems to have existed for as long as mainstays of the country’s luminaries like Horna and Behexen, but for whatever reason, and some name changes, didn’t release anything until the turn of the century, and since then, they have steadily released music at a relatively consistent pace. Throughout that time, the band was releasing albums, EPs, and splits where they carefully and meticulously crafted their sound, and Perkeleen Weri is another step forward for the band, that also hearkens back to the glory days of black metal.

The album opens with the raucous ‘Silmäinkääntäjä’ which starts with an eerie guitar melody accompanied by some equally ominous spoken word and dripping water, perfectly setting the tone of the album, and then the band bursts into some aggressive doomy riffs and rapacious growling vocals, followed by some classic Finnish black metal; fast, melodic and raw. And from there, the band kept building upon that start and never let up.

The whole album plays like some bizarre greatest hits record in the sense that each song feels distinct and unique from the last, but at the same time, the music as a whole flows organically and with cohesion from beginning to end. The band doesn’t waste a single second and tries their hand at every styling of black metal they can within their own unique brand of raw and melodic Finn black metal, from groove and riff-oriented rock bangers to punkish thrash, depressive and atmospheric dirges, and even combining them all in a single song, all the while keeping a tight and concise runtime of 35 minutes, there isn’t an ounce of filler or a wasted track. More impressively the band achieves this while keeping a minimalistic approach to the instrumentation, and a raw sound that perfectly elevates the music while being just crisp enough that you can hear each instrument and even some subtle flourishes of complexity in the guitar work, and subdued synths to reinforce the dark atmosphere.

Overall, the whole album is an excellent display of classic yet refreshing black metal, and while the band is still playing to their strengths and giving due reverence to the stylings of the early 90s, they do so with so much personality and confidence that you can’t help but just jam with it. This is a bit weird considering the lyrical content deals with the darkest and most violent chapters of the Savo region where the band is from, presented very matter-of-factly, so as to document those horrors, and the music is a perfect soundtrack for them.

Rating: 9 out of 10

Review by Fernando on September 10, 2024.

One of the most interesting aspects of the Finnish black metal scene is how it embraces its elder statesmen as well as hungry newcomers, provided they show the same level of devotion and dedication mandatory of black metal. Today we have an interesting case of the former in the form of Förgjord. The band had developed a reputation as “your favorite Finnish black metal band’s favorite Finnish black metal band”, and they'll unleash their new record Perkeleen Weri, through the infamous cult-favorite label, Werewolf Records on September 9th, 2024.

Förgjord (at least according to Metallum) seems to have existed for as long as mainstays of the country’s luminaries like Horna and Behexen, but for whatever reason, and some name changes, didn’t release anything until the turn of the century, and since then, they have steadily released music at a relatively consistent pace. Throughout that time, the band was releasing albums, EPs, and splits where they carefully and meticulously crafted their sound, and Perkeleen Weri is another step forward for the band, that also hearkens back to the glory days of black metal.

The album opens with the raucous ‘Silmäinkääntäjä’ which starts with an eerie guitar melody accompanied by some equally ominous spoken word and dripping water, perfectly setting the tone of the album, and then the band bursts into some aggressive doomy riffs and rapacious growling vocals, followed by some classic Finnish black metal; fast, melodic and raw. And from there, the band kept building upon that start and never let up.

The whole album plays like some bizarre greatest hits record in the sense that each song feels distinct and unique from the last, but at the same time, the music as a whole flows organically and with cohesion from beginning to end. The band doesn’t waste a single second and tries their hand at every styling of black metal they can within their own unique brand of raw and melodic Finn black metal, from groove and riff-oriented rock bangers to punkish thrash, depressive and atmospheric dirges, and even combining them all in a single song, all the while keeping a tight and concise runtime of 35 minutes, there isn’t an ounce of filler or a wasted track. More impressively the band achieves this while keeping a minimalistic approach to the instrumentation, and a raw sound that perfectly elevates the music while being just crisp enough that you can hear each instrument and even some subtle flourishes of complexity in the guitar work, and subdued synths to reinforce the dark atmosphere.

Overall, the whole album is an excellent display of classic yet refreshing black metal, and while the band is still playing to their strengths and giving due reverence to the stylings of the early 90s, they do so with so much personality and confidence that you can’t help but just jam with it. This is a bit weird considering the lyrical content deals with the darkest and most violent chapters of the Savo region where the band is from, presented very matter-of-factly, so as to document those horrors, and the music is a perfect soundtrack for them.

Rating: 9 out of 10

Review by Felix on July 4, 2024.

I cannot say that I am familiar with the scene of Indonesia. I wish I had the time to monitor all national metal communities on my radar, but this is simply not the case. Now I would like to apologise a little with this review. Spot on for The Uneathly Funeral Chant, the fourth full-length of Proceus – and after this introduction, it goes without saying that I do not know any of their first three albums. But maybe this is no big deal after a hiatus of five years and a massive line-up change. Probably the new form of Proceus cannot be very well compared with the previous ones. No musician of the debut is still involved in the band.

Proceus present seven tracks with a playtime of more than 42 minutes. The average length of six minutes is not extraordinary when it comes to black metal, but they provide enough space to integrate a lot of ideas in each and every song. This is slightly problematic in the case of the Indonesian trio. Why? Well, they have not yet reached perfection in putting these ideas all together in the most song-friendly way. For example, the nearly mechanized vocals, mostly typically raw and throaty, follow every now and then a different approach, but the more or less clean singing (for instance at the beginning of 'Eclipse Of The Ancient Throne') is nothing that enriches the work. Or take the break in the opener 'Ancient Descent' at 4:08 minutes. It gives the song a completely strange aroma for some seconds and does not go hand in hand with the other parts of the track. Perhaps no big deal, but definitely not the best way to arrange this song.

Another problem is that I miss the clear contours from time to time. 'Eternal Embrace Of Enchantment Rage' sounds like an Indonesian answer to some old Darkthrone killers, but a shortly appearing sacral choir adds a strange touch and is somehow inadequate here. It is still a good song, with a great riff after six minutes that forms one of the best breaks of the album. And please get me right, I am German and I always need something to moan about. So let’s come from the details to the big picture: Proceus do not lack courage or creativity, their song-writing is (despite the aforementioned minor deficits) pretty exciting and the devilish aura of black metal is nearly omnipresent. Tracks like 'Honoured Of Death' or in particular 'Enrapted Fragnance' deliver an intensive sound experience and I begin to regret that the album seems to be only a digital release so far. That’s a pity for a materialist like me, but nevertheless it is fun to dive into these non-perfect, but stormy and vehement compositions. Scandinavian bands do not have the monopole on coldness – there is also a very fresh breeze in Indonesia.

Equipped with a not overly transparent yet acceptable production, The Unearthly Funeral Chant does not need to fear the international (European) black metal competition. Yes, the album is not able to revolutionize the genre and it fails to pulverize its eternal monuments, but nobody with a healthy mind expected that and at the end, we get seven robust songs with really great moments from time to time. In this context, I recommend to be aware of the fantastic, sharp riff that appears at the ending of the title track. Or take the ominous beginning of 'Enrapted Fragnance' which leads to a hyper-fast section of sustainable devastation. If Indonesia has more interesting albums like The Unearthly Funeral Chant, I have to come back quickly to the metallic side of this country.

Rating: 7.6 out of 10

Review by Felix on July 4, 2024.

I cannot say that I am familiar with the scene of Indonesia. I wish I had the time to monitor all national metal communities on my radar, but this is simply not the case. Now I would like to apologise a little with this review. Spot on for The Uneathly Funeral Chant, the fourth full-length of Proceus – and after this introduction, it goes without saying that I do not know any of their first three albums. But maybe this is no big deal after a hiatus of five years and a massive line-up change. Probably the new form of Proceus cannot be very well compared with the previous ones. No musician of the debut is still involved in the band.

Proceus present seven tracks with a playtime of more than 42 minutes. The average length of six minutes is not extraordinary when it comes to black metal, but they provide enough space to integrate a lot of ideas in each and every song. This is slightly problematic in the case of the Indonesian trio. Why? Well, they have not yet reached perfection in putting these ideas all together in the most song-friendly way. For example, the nearly mechanized vocals, mostly typically raw and throaty, follow every now and then a different approach, but the more or less clean singing (for instance at the beginning of 'Eclipse Of The Ancient Throne') is nothing that enriches the work. Or take the break in the opener 'Ancient Descent' at 4:08 minutes. It gives the song a completely strange aroma for some seconds and does not go hand in hand with the other parts of the track. Perhaps no big deal, but definitely not the best way to arrange this song.

Another problem is that I miss the clear contours from time to time. 'Eternal Embrace Of Enchantment Rage' sounds like an Indonesian answer to some old Darkthrone killers, but a shortly appearing sacral choir adds a strange touch and is somehow inadequate here. It is still a good song, with a great riff after six minutes that forms one of the best breaks of the album. And please get me right, I am German and I always need something to moan about. So let’s come from the details to the big picture: Proceus do not lack courage or creativity, their song-writing is (despite the aforementioned minor deficits) pretty exciting and the devilish aura of black metal is nearly omnipresent. Tracks like 'Honoured Of Death' or in particular 'Enrapted Fragnance' deliver an intensive sound experience and I begin to regret that the album seems to be only a digital release so far. That’s a pity for a materialist like me, but nevertheless it is fun to dive into these non-perfect, but stormy and vehement compositions. Scandinavian bands do not have the monopole on coldness – there is also a very fresh breeze in Indonesia.

Equipped with a not overly transparent yet acceptable production, The Unearthly Funeral Chant does not need to fear the international (European) black metal competition. Yes, the album is not able to revolutionize the genre and it fails to pulverize its eternal monuments, but nobody with a healthy mind expected that and at the end, we get seven robust songs with really great moments from time to time. In this context, I recommend to be aware of the fantastic, sharp riff that appears at the ending of the title track. Or take the ominous beginning of 'Enrapted Fragnance' which leads to a hyper-fast section of sustainable devastation. If Indonesia has more interesting albums like The Unearthly Funeral Chant, I have to come back quickly to the metallic side of this country.

Rating: 7.6 out of 10

Review by Death8699 on January 15, 2019.

It's good that Destruction never sold out or changed their style of music, but their past several releases have been sub-par. The music just isn't very catchy and the energy is lacking. Mike doesn't put forth very good leads, so they usually have someone else as a guest lead guitarist. As a 4-piece during the Release From Agony days, Harry shredded. I'd have to say that The Antichrist was their last solid release.

The riffs that Mike puts forth here aren't very admirable. It's just getting worse and worse sadly. The song "The Price" is probably the most notable one. The Dio cover also slayed. "Stand Up and Shout" simply ruled. But out of the 53 minutes of this album, I'd say it's the worst one going back about a decade. It's been great to have Schmier on vocals/guitar after all this time, but these guys aren't offering good metal that's worth checking out.

Musically Mike is stuck and his riffs are boring plus lack in any dimension. Every succeeding album they keep on leaving off from where they left off previously with no progression. D.E.V.O.L.U.T.I.O.N. also wasn't very solid, maybe a little bit more than this one. All Hell Breaks Loose and The Antichrist is where it's at. Thrash Anthems is a good compilation album that definitely rips. But Day of Reckoning falls short from many different aspects.

The songs aren't well founded with riffs that stick to you. A lot of gallops and palm muted guitar, but they're just boring. You can listen to this repeatedly and have the same opinion. The lyric writing is where it always had. Mostly anti-religion and politics. Nothing that's really interesting if you ask me. Destruction has never really been a band that sings about anything that's intriguing.

Good mixing with the rhythm/lead guitars, bass, vocals and drums. That was the strongest part of the album. It was long awaited, but fell short by far much. I've tried several listens to this one and my opinion hasn't changed whatsoever. Download some songs and form your own opinion. Again "The Price" is a good tune, but overall these songs are the pits. Thrash metal at it's one of Destruction's worst.

Rating: 6 out of 10

Review by Kate on March 17, 2011.

German Thrash Metal legends, Destruction, have returned to make your ears bleed with their latest release, “Day Of Reckoning”. Having been in the metal scene since the early eighties these guys have pumped out some killer albums such as 1985’s “Infernal Overkill”, 1989’s “Cracked Brain” and 2001’s “The Antichrist”. After that Destruction kind of disappeared off the radar until they came out with 2008’s release “D.E.V.OL.U.T.I.O.N” which once again had headbangers throwing the horns up in the air. Now “Day Of Reckoning” has been unleashed among the masses with 11 tracks of adrenaline pumping thrash that will do any metalhead’s little black heart good.


Starting out with 'The Price', Schmier sets the mood for this track by giving one of his classic screams not twenty seconds into it followed by some of Mike’s chugging riffs. 'Hate Is My Fuel' begins at neck-breaking speed that is followed by Schmier spitting out his words with pure hate and brutality; the only unfortunate thing about this is that it keeps going in the same direction and does become a little repetitive after awhile. 'Armageddonizer' breaks the monotony with more of groove and nice harmonizing vocals. Plus, Schmier gets to squeeze in a little bass action in the middle here that we don’t hear too often. There’s a good solo that shows off more of Mike’s talents instead of the constant chugging that he provided for us in the last couple of tracks. 'Devil’s Advocate' is another great track that heads more into the headbanging speed with some vicious guitar playing that shows off what Mike is really capable of. 'Day Of Reckoning' is the only thing I’m disappointed with. There’s nothing here that really stands out or makes it special which I personally believe is something a titletrack should carry. 'Church Of Disgust' is probably one of my favorite tracks, taking off at full speed and hails back to old days of Thrash Metal. Schmier’s vocals are powerful that keeps the intensity at top notch. 'Sheep Of The Regime' keeps your adrenaline pumping and headbanging all the way to the end, a perfect finish for this album.

Destruction isn’t breaking any new ground but it is an impressive album that I think metalheads and fans from the old days, like me, will always appreciate. I recommend you picking up a copy and checking “Day Of Reckoning“out!

Categorical Rating Breakdown

Musicianship: 8.5
Atmosphere: 7
Musicianship: 8
Originality: 6.5
Overall: 7

Rating: 7.4 out of 10