War Metal

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War Metal, also known as Bestial Black Metal, is a style of metal music that fuses elements of black metal and death metal, but is considered district from more traditional black/death metal fusions and blackened death metal sounds. Though considered a sub-genre of black metal, the genre does draw extensively from death metal as well, with death metal style growling being a prominent feature of the style, compared to other types of black metal which favour a more raspy style. This can often lead to misidentification of war metal bands, especially since the style also eschews many of the black metal genre's other typical traits, such as trebly tremolo picked guitar playing, which is often replaced by fast, down-tuned power crowds. The production sound of war metal tends to come across as muddy and chaotic, rather than cold and atmospheric.

Canada's Blasphemy are commonly considered to be the first band to truly play the genre known as war metal. Other reasonably known names in the field include Archgoat and Morbosidad. The genre remains, however, a very niche style that few play and even fewer can claim familiarity with.

War metal can also draw on grindcore, especially in regard to playing speed and the tendency for artists to write short songs, with many war metal albums clocking in at under forty or even thirty minutes. Though not as associated with grindcore as it is death metal, some artists have been credited for fusing war metal and grindcore together, such as Revenge from Canada.

The name of the genre comes from the prevalent themes of war and nuclear holocaust that artists of the genre use, though like with any style of metal war metal bands can cover any kind of subject matter and in this respect the more accurate name for the style is actually Bestial Black Metal. However War Metal is the name more commonly used and as such is the name displayed on Metal Music Archives.

- Style definition written by adg211288.

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BLASPHEMY Gods of War Album Cover Gods of War
BLASPHEMY
4.28 | 5 ratings
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ARCHGOAT The Light-Devouring Darkness Album Cover The Light-Devouring Darkness
ARCHGOAT
4.25 | 4 ratings
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ARCHGOAT Whore of Bethlehem Album Cover Whore of Bethlehem
ARCHGOAT
4.14 | 8 ratings
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TEITANBLOOD Death Album Cover Death
TEITANBLOOD
4.17 | 3 ratings
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WEREGOAT Pestilential Rites Of Infernal Fornification Album Cover Pestilential Rites Of Infernal Fornification
WEREGOAT
4.14 | 3 ratings
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REVENGE Scum.Collapse.Eradication Album Cover Scum.Collapse.Eradication
REVENGE
3.92 | 4 ratings
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ARCHGOAT The Apocalyptic Triumphator Album Cover The Apocalyptic Triumphator
ARCHGOAT
3.83 | 3 ratings
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SHIT WIZARD Semonic Death Brew Chugfuxion Sewer Beeritual of Doomhell​.​.​.

Demo · 2012 · War Metal
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SHIT WIZARD! A band name that just rolls off the tongue like a dog turd that Divine just ate in a 70s hi camp film. This band originated in San Clemente, CA in 2006 and adopted one of those DIY lo-fi approaches. Consisting of drummer / vocalist Shaytanic and vocalist / guitarist / bassist Shit Wizard, this duo has summoned four spawns from hell in the form of two EPs and two albums but all are classified as demos to evoke that garage band approach.

SEMONIC DEATH BREW CHUGFUXION SEWER BEERITUAL OF DOOMHELL… came out the same year as “Shit Metal” in 2012 and i’m not entirely sure which is considered the debut but when music is this shitty, i don’t really care to investigate that deeply. SHIT WIZARD music is basically a hybrid of war metal aesthetics and thrash metal riffing. While pretending to fit into the same leagues of war metal bands like Blasphemy, Teitanblood, Archgoat and other death / black metal hybrids, SHIT WIZARD is basically a one-trick pony.

As evidenced by the ridiculous release title, this project relies on ridiculous and irony to get your attention but in the end has no talent to actually entertain you. With track titles like “Goat Anus,” “Satan’s Pussy,” “Vomit Possessed” and “Communion of Cum,” you’d expect this to be some kind of parody metal but the listening experience is more painful than hilarious. With ten tracks that race past the 14 minute mark, these cookie cutter sewage bombs all reek of sheer stupidity.

These guys have no talent basically. Simple thrash metal riffs and uninspired drumbeats are recorded in as lo-fi production as is possible. Vocals are grunts and echoey screams from beyond the din. The longest tracks are just barely over two minutes long so they are mercifully short. This is just basically a band that uses silly titles to masquerade the pointless noise that it churns out. All i can say is don’t drop out of wizard’s school. This is what you become if you don’t learn how to cast proper spells. SHIT. At least there is truth in advertising for this one.

TRENCH WARFARE Hatred Prayer

Album · 2019 · War Metal
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Coming from the dusty sagebrush scrublands of Midland, TX, the war metal band TRENCH WARFARE debuted its evil as fuck metal in 2015 with the demo “Perversion Warfare” which showed the trio of Tony Goyang Jr (guitar, drum machine), Jay Gorania (vocals) and Kelly Bogues (bass) capable of cranking out some of the noisiest mixes of black and death metal in a pure musical rage. It took four years but the band finally released it’s debut album HATRED PRAYER on the Transcending Obscurity label in 2019 which sees the three tracks on the demo, “Decimate Legions,” “Evil Shall Triumph” and “Blood Cleansing” finally ready for prime time.

Since the demo a new member has joined the unholy ranks with Lee Fisher aka Belgor on drums replacing the rather clumsy sounding drum machine of the demo. HATRED PRAYER is a blasphemous devastating release of blackened death metal churned out like a galloping grindcore garage party gone wild. Basically TRENCH WARFARE delivers a wicked and capable slice of war metal at full rampage fueled with highly caustic distorted guitar riffs and blastbeat bombast on speed but there are a few deviations from that plan. “New Lord” for example shows a slowed down approach which sits somewhere between sludgy doom metal and more caffeinated black however the band doesn’t bode well in this slower mode as the drums are fairly week and it’s obvious that this is a band about playing at full speed.

The album opens with some cinematic sound effects that sound like a laser war is being fought. It reminds me of the early Darkthrone album “A Blaze In The Northern Sky” with a slickly produced sound collage before falling into the depths of lo-fi buzzsaw guitar fueled black metal dissonance and incessant tempo bombast which is the basic modus operendi for the majority of running time with only a few breaks. Like many of these war metal bands the material starts to sound pretty generic in the long haul but at only a 33 minute playing time doesn’t become too stale. The war metal delivery system is on full steam but what really bugs me most are the slower drum parts that sound like some of those unskilled sludge metal styles that just punctuate the beat.

In the end TRENCH WARFARE delivers a competent slice of war metal with a few extra touches but with a legion of similarly minded bands going for the evil jugular, there’s really nothing that stands out on this one that hasn’t been done to death at this point either. If you can’t get enough black metal buzzsaw guitar tones with death metal vocals then this one won’t disappoint but for me it’s the drummer’s oft lazy approach that keeps this from living up to its potential. Kudos for the songwriting though as it’s a bit more abstract and tech fueled than the average war metal band these days. The band is wise to deviate from the monotony of a single tempo but the drumming style isn’t suited for anything other than full fueled rampage mode. Not a bad album and a band that certainly has potential but for my tastes a few too many flaws on HATRED PRAYER.

FORNICATADOR Nuclear Rape

EP · 2018 · War Metal
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Coming from the remote Australian city of Darwin which sits all the way at the top of Aussie territory and a vital link with Indonesia to the north, the bestial black war metal act FORNICATADOR is lurking in the shadows of Australia’s most tropical metropolis and creating unfathomable evil sounds. Like many bands in this darkened fusion of death metal brutality cross-pollinated with the black metal underground, not much is known about this one-man band whose identity is Guy Watson aka Masokist who performs all instruments and vocals. But mystery is all a part of the image i suppose.

In the war metal world, there’s a tendency to eschew the modern trends of making “pretty” black metal with hi-fi production effects or symphonic sophistication. On this second EP titled NUCLEAR RAPE, the focus is firmly placed on sounding as lo-fi fucked up as possible which makes this EP sound a lot like a demo would have in the old days and in fact some sources claim that this is indeed a demo but the fact that this is for sale on Bandcamp as an official release, i’d have to dispute those charges.

One look at the blasphemous cover art and you’ll know you’re getting a musical style that wants to push all the buttons by blending sexual perversions with anti-Christian rhetoric. While the lyrics are indecipherable (as usual) there’s no missing the fact that with track titles like “Defecated Christ” or “Penis Of Christ,” that this is music designed to piss of the religious folk but personally it’s only the music i care about so let’s move on. This is basically a typical lo-fi war metal release with emphasis on noisy and murky distorted guitar riffs that offer plenty of feedback and reverb from hell.

This is basically the sonic equivalent of a nuclear holocaust which is why the EP is called NUCLEAR RAPE as you feel you’re being assaulted for the entire time you are listening to this. The EQ is tweaked for maximum irritation, the war metal march is either slow and distorted beyond imagination or rampaging like the Hulk on a bad day. This EP successfully delivers the disturbing underground feel that its going for however like most of these types of acts, the brevity is welcome due to the fact that the one-dimensional nature is like throwing a fire log into the volcano and watching it incinerate in a microsecond. The effect wears off quickly but is quite exhilarating while it is on fire.

In all honesty, these four tracks probably feature the most feedback and noisy mess of sound that i’ve ever experienced on a metal album. While this style of music has always seemed like a musical cul-de-sac where there’s nowhere left to go, it’s amazing that this only came out in 2018 and seems to have taken the evil mind fuck to an even more disturbing level. Sub-level that is. This hypnotic dark music seems like it is designed to accompany an intense gazing session at the cover art and therefore really does evoke the very essence of black magic unlike other black metal styles. For that i’ll have to admire its sheer determination to go as black and light-free as possible. In a short duration i actually enjoy this quite a bit but this is like a ridiculously sweet dessert where after a few bites, i’m quite satisfied and ready to move on.

TEITANBLOOD The Baneful Choir

Album · 2019 · War Metal
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TEITANBLOOD has forged its own unique sound in the world of extreme metal over the years since its formation in Madrid, Spain all the way back in 2003 but hasn’t been the most prolific band out there since then. While it took six years for the debut “Seven Chalices” to hit the world in 2009, the band has only released three full-length albums since its inception. It has however filled in the cracks with several EPs and a split.

The band has undergone a few lineup changes with drummer J and vocalist / bassist / guitarist N.S.K. remaining the only original members. Emerging from the depths of hell once again to deliver a sonic slice of impending doom and destruction, the band has just unleashed the ferocious third album THE BANEFUL CHOIR onto the metal universe and like a megaton of a nuclear arsenal has made an impact crater in the psyche of a receptive audience.

While not substantially different than the band’s other two albums, TEITANBLOOD continues to defy genre classification by crafting its own brand of blackened death metal. The death metal ferocity still delivers an incessant attack of energetic dissonance and rabid riff magic with the darkened black metal gloom that bleeds into the war metal category. While war metal can come across as a bit one dimensional, THE BANEFUL CHOIR is a magnificent display of not only rampaging speedy attacks of sound but also implements slower elements such as doomy passages as well as dark ambient intros which provided the much needed contrast.

THE BANEFUL CHOIR joins a host of newer extreme metal artists that have mastered the art of metal production in the context of the ugliest brutality the music world has to offer. TEITANBLOOD exercises the segregation of sounds and hierarchy of tones and timbres to create a surreal and hellish soundtrack for the underworld and beyond. While keeping the guitar sounds in a somewhat lo-fi compression zone, this allows the thundering bass and drum bombast to emerge from the cacophonous din without affecting the murderous war march of the riffing which evokes a primeval 80s thrash attack in the vein of early Kreator or Sodom.

The vocals are steeped in black metal overtones and are set back in the mix to evoke a trapped soul trying to escape the blackened forces that imprison him in some lower vibrational prison complex. The mixing job is perfect for this kind of music and the dark ambient passages seamlessly flow and blend in with the triumphant metal bombast that constitutes the ultimate damnation in musical form. The album is strangely hypnotic as the receptive riffs pummel the senses with a smooth atmospheric backdrop which is barely audible subliminally strangles the light.

War metal is a moody beast and takes the listener into the darkest recesses that the metal world can conjure up and while many such bands come off as mere amateurs despite displaying excellent musicianship, TEITANBLOOD shows a true mastery of not only the extreme metal technicalities but also of the subtle nuances that can make or break an album of this style. Add to that the tracks are varied with some existing more in the black metal world and others like “Sunken Stars” evoking an early Morbid Angel style of death metal attack. Just when i think war metal has run its course, i’m pleasantly surprised and TEITANBLOOD has delivered some of the darkest most rampaging examples of metal so far this year.

GOATKRAFT Sulphurous Northern Beastiality

Album · 2019 · War Metal
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The war metal section of black metal seems to be growing by leaps and bounds in 2019 with not only new releases by classic bands such as Diocletian and Seges Findere but finds a whole new cast of beastial noise bringers to the mix! New releases from Esoteric Order of the Red Goat, Mothersuperior, Savage Necromancy, Ygarokk, Death Worship, Pig’s Blood, Warbrother, Morbital, Sankara, Eggs of Gomorrh, Abysmal Lord and Tetragrammacide just to name a few DEMON-strate that this little loud and obnoxious subgenre is in no danger of falling into oblivion any time soon. Add to the list is the debut album by one of Norway’s newest noisemakers - GOATKRAFT and it’s also clear that the frigid darkness of the Scandinavian northlands continues to generate angsty youths who love to take out steam through the most vile and horrific sounds possible!

Emerging from Bergen, the city of Immortal, Burzum, Gorgoroth and Taake also clearly shows that this little city on Norway’s west coast is also in no danger of losing its touch for delivering the black metal goods. GOATKRAFT formed in 2017 and quietly released its debut EP in the form of “Angel Slaughter” the following year. Now one year later in 2019 comes the band’s debut full-length affectionally titled SULPHUROUS NORTHERN BESTIALITY, a true northern brutal slice of bestial black war metal in the vein of the most aggressive and energetic miscreants this little nook in the black metal universe can muster up. Living up to the standard of the war metal world, GOATKRAFT delivers a crude slice of lo-fi black metal fortified with the rampage of death metal drenched in pure eeeeeee-vile! Steeped in the blood of the pioneers such as Blasphemy, Archgoat and Beherit, GOATKRAFT don’t reinvent the wheel but rather blow it to smithereens.

Falling into the same camp as newer bands like Weregoat, GOATKRAFT exudes a purely Satanic saturation of which the hellish album cover art is what attracted me to sample SULPHUROUS out of the many war metal albums releases as of late. While the album cover gets a full five stars for its perfecting the mysterious nature of the evil underground, musically GOATKRAFT don’t exactly top my list for epic black metal releases. While gazing towards the past to tritone based Darkthrone in its earliest second wave black metal compositional flair, GOATKRAFT does strike the perfect retro pose while adding new layers of aggression to their 21st century angst but unfortunately the album (as do many in the war metal zone) comes off as a one-trick pony with incessant power chords with tremolo picking and incessant blastbeat drumming that blurs into a continuous headache inducing machine at full speed for almost the entirety of the album’s playing time.

With a running time of just under 29 minutes, the album buzzes along on a relentless rampage with only the opening “Yawns From The Abyss” and the intermission “Invocation Of The Lord Of Huracan” providing some dark ambient ritualistic noise to demarcate some sort of contrast. Other than those two short snippets of sound, SULPHUROUS NORTHERN BESTIALITY tends to sound like a typical lashing out by a drug overdosed schizoid who screams and snarls until blood gushes out of every orifice. While the grim riffing and brutal bombast are certainly up to snuff in generating the proper degrees of musical violence and lupine savagery, the lack of any sort of deviation from the overall plan does tend to create a bit of monotony on this nihilistic journey. In the end a decent war metal album but not in the top ranks of the sub and certainly doesn’t match the majesty presented by the album cover art but nevertheless, GOATKRAFT provides a distinctly morbid brutal sound and a band to look out for in the future.

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