"Electric Messiah" is the 8th full-length studio album by US heavy metal act High on Fire. The album was released through eOne Music in October 2018. It´s the successor to "Luminiferous" from 2015 and features the same trio lineup who recorded the predecessor. Kurt Ballou (Converge) was once again involved in the recording process (like he was on the last couple of albums).

And consistent is probably also the first word which comes to mind while listening to "Electric Messiah", which features a similar heavy metal/stoner metal sound to the sound found on the last couple of releases. The sound production is also relatively similar sounding, and it seems High on Fire have locked into a groove these days, and there isn´t much development of sound or style anymore. This is more or less how they´ve sounded since "Death Is This Communion" from 2007. To my ears the choice of Ballou on this album and the two preceding it, has meant that High on Fire´s music has not shone like it could have (and did on "Death Is This Communion (2007)" and on "Snakes for the Divine (2009)"). He is a skilled producer, but his production style just doesn´t suit High on Fire´s music that well. Why for example place Matt Pike´s vocals so low in the mix or drench them in effects, when you´re dealing with such a raw and powerful vocalist, who can easily hold his own. Put him up front so we can marvel in his caustic aggression and commanding delivery...oh well that was not to be.

The rather flat an undymanic sound production can´t completely hide that there are some quality material featured on "Electric Messiah" and as usual we´re treated to a combination of heavy mid-paced tracks with a stoner metal edge and faster more aggressive tracks. Think of a mix of Black Sabbath, Motörhead, and early Slayer, and you´re not too far off. A few more memorable riffs and hook laden vocal phrases would have been nice, and it becomes even more obvious how much more great the music could have been with a little more melody, when you hear Pike sing just slightly more melodic on a track like album closer "Drowning Dog", and as a result that track becomes an album highlight.

I know I sound a little negative, and probably also a little more negative than intended, but I generally hold High on Fire and especially Pike in high regard, and high expectations warrants high quality delivery, and "Electric Messiah" to me is only a good quality album. It doesn´t reach the sky like I expect when I listen to a High on Fire album. A 3.5 star (70%) rating is still deserved, but I expect the band to make some changes on the next release before rigor mortis begins to set in (yeah that´s probably a bit too dramatic...let´s just use the word stagnation).

"The New Age of Terror" is the 3rd full-length studio album by US, California based thrash/speed metal act Hirax. The album was released through Deep Six Records in May 2004. It´s the band´s first album release since "Hate, Fear and Power" from 1986 although after their comeback in 2000 they released the "El Diablo Negro" EP in 2000 and the "Barrage of Noise" EP in 2001. Only lead vocalist Katon W. de Pena is left from the lineup who recorded "Hate, Fear and Power (1986)".

Hirax have opted to include the title track from the "El Diablo Negro (2000)" EP, but the remaining 10 tracks on "The New Age of Terror" are new originals which are exclusive to this release. Stylistically Hirax pretty much continue where they left off in the mid-80s, although the tracks are generally a little more heavy and the more contemporary sounding production also contributes to the heaviness of the recording in a positive way. de Pena was always an aquired taste, and personally I wasn´t that fond of his nasal wailing on the early albums, but he varies his voice and vocal style a bit more on "The New Age of Terror", and I can´t deny that he is quite the unique sounding singer. There´s personality in his delivery and a great passion too, which should always be praised.

The tracks are generally memorable, raw, and effectful, and Hirax are a well playing act too. As mentioned above "The New Age of Terror" features a well sounding production, which suits the material well, so upon conclusion it´s a welcome comeback for Hirax. A 3.5 star (70%) rating is deserved.

"Wrath Of The Reaper" is the 4th full-length studio album by US, San Francisco, California based metal act Hexx. The album was released through High Roller Records in September 2017. Hexx originally formed in 1983 and released three full-length studio albums before disbanding in 1995. They developed their sound greatly over the years, starting out playing US power/heavy metal and ending in technical death/thrash metal territory on "Morbid Reality" from 1991. So what does Hexx sound like 26 years down the line...

...well they sure didn´t continue the technical death/thrash metal sound of the predecessor, and "Wrath Of The Reaper" definitely have more in common with the first two US power/heavy metal releases by the band ("No Escape" from 1984 and "Under the Spell " from 1985), although "Wrath Of The Reaper" is generally a bit harder edged (even touching thrash metal territory once or twice). Stylistically this is more or less the epitome of the US power/heavy metal style and if I have to make a comparison that as many people as possible can relate to, it would be an act like Metal Church. At times this actually sounds so much like Metal Church that I´m doubt if it´s that band in disguise playing on "Wrath Of The Reaper" (it´s almost eeire at times how much lead vocalist Eddy Vega sounds like a slightly more pissed Mike Howe). So in that respect "Wrath Of The Reaper" isn´t the most original sounding album out there, but it has other qualities which still make it a high quality US power/heavy metal release.

Despite not being the most unique sounding material, the tracks are very well written. Powerful and memorable heavy metal tunes with heavy raw riffs, well played guitar solos, an energetic and solid playing rhythm section, and the above mentioned raw snarling vocals on top. Hexx are a skilled and well playing unit and they have crafted a potent release with "Wrath Of The Reaper". Fans of the style (and Metal Church in particular) are recommended to give this one a listen. A 3.5 star (70%) rating is deserved.

"Hornets of the Pogrom" is the 3rd full-length studio album by US death metal act Arghoslent. The album was released through Drakkar Productions in March 2008. It´s the successor to "Incorrigible Bigotry" from 2002 and features a couple of lineup changes since the predecessor as bassist Kommando has been replaced by Einzelganger and lead vocalist Von Demonicus has been replaced by The Genocider. Arghoslent have not toned down their lyrics dealing with neo-Nazi/white Supremacy topics, endorsement of the transatlantic slave trade, and hateful rants against jews, so consider yourself warned before reading on/listening to the album.

"Incorrigible Bigotry (2002)" was quite a few steps up in quality from "Galloping Through the Battle Ruins (1998)" and "Hornets of the Pogrom" actually accomplishes being an even better quality release. Stylistically this is melodic death metal with a great drive and some convincing aggressive growling vocals. The album is loaded with killer riffs (both fast tremolo riffs and heavy riffs), harmony guitar melodies and leads, and a great raw and brutal energy/power. While this is old school influenced death metal to the bone, there is a strong traditional heavy metal influence in the music too, which is both audible in the way some of the riffs are constructed but also because of the many melodic elements featured on the album.

The musicianship is strong and I especially enjoy how the drums are played, driving the music forward with great aggression and power. The growling vocals are relatively one-dimensional in nature, but they are well sounding, brutal, and fairly intelligible, suiting the instrumental part of the music perfectly. "Hornets of the Pogrom" features a powerful, detailed, and overall very well sounding production, which does exactly what the best productions do...provide the material with a golden platform to shine.

White Supremist lyrics and image aside, "Hornets of the Pogrom" is a high quality death metal album with strong melodic sensibilities. Arghoslent are even relatively unique sounding, although the elements they use to create their sound are hardly original. They manage to combine all elements to a sound of their own though, and the final result is pretty damn brilliant. A 4 star (80%) rating is deserved.

"Incorrigible Bigotry" is the 2nd full-length studio album by US death metal act Arghoslent. The album was released through Drakkar Productions in October 2002. Almost to the day four years after the release of the band´s debut full-length studio album "Galloping Through the Battle Ruins (1998)".

The lyrics and the band´s image are as controversial as ever with neo-Nazi/white Supremacy topics, endorsement of the transatlantic slave trade, and hateful rants against jews. As a reviewer you can take two stances on such topics, which is a purely subjective one, condemning Arghoslent for their hateful output, or the more objective one, and mainly talk about the music, which is the one I´ll take...

...and there are plenty to talk about other than the controversial lyrics, as Arghoslent are a very well playing band, performing their music with great technical skill and a burning passion and conviction. Stylistically the material on "Incorrigible Bigotry" continue the melodic death metal style (not melodeath) of "Galloping Through the Battle Ruins (1998)", but it´s audible that Arghoslent have spent the four years between the two releases honing both their playing and their songwriting skills, because "Incorrigible Bigotry" is not just one step up from its predecessor but rather two or three steps up in quality. The same goes for the sound production, which is professional, raw, and powerful and suits the material perfectly.

The music features tempo changes, heavy riffs, fast galloping riffs and rhythms, blistering leads and harmonies, and some really convincing snarling growling vocals in front. This is high quality death metal and there´s even a touch of originality to the sound which you don´t always hear on death metal releases from artists few people have ever heard about. Usually there is a good reason only a few people have heard about a band and even fewer call themselves fans, but that´s not the case with Arghoslent, who could easily have been more recognised had it not been for their ideological choices.

So upon conclusion "Incorrigible Bigotry" is a quality melodic death metal release by Arghoslent and as I have chosen to look past the lyrical content and not let it affect my rating of the album, I´ll rate this album purely on the quality of the output, which I think is somewhere between a 3.5 star (70%) and a 4 star (80%) rating. I know some people will question why a reviewer who doesn´t share the opinions of an artists like Arghoslent would review their releases, and thereby in part support their music/cause, but I don´t see it that way. As I said above I´ll review anything with an objective mindset, and I´ll let the reader decide if this is something they´d spend their time listening to.