| ⭐⭐⭐⭐ |
Harkening back to the glory days of 80’s thrash, blending that with the death-defying guitar work of speed metal, and spreading a nice even layer of blackened muck over the top is Scotland’s very own Hellripper. Since 2014, James McBain has been the lone songwriter of this project, showcasing the sort of proficiency offered by extreme metal as a multi-instrumentalist. One might look at certain other acts in this sphere like Panopticon and Leviathan, who are similarly helmed by a single mere mortal, as potential points of inspiration for James. Black metal music in particular seems to attract this kind of isolated ambition, perhaps it’s an extension of the genre’s insular disposition. I digress though. Hellripper is attractive in the sense of it materialising as a one-man-band, sure. That does not necessarily a good album make, and Coronach proves to us that there is always more to the music than the personnel crafting it.
Because out of the blue, and without second-guessing itself remotely, this record splits the middle with a seamless fusion of crust and thrash on “Hunderprest”. Possessed by the spirit of bands like Venom and Motörhead across the board, the devilish chugs and blistering lead guitars open up a time portal to an era of metal music that made the dastardly seem like a Saturday. Scuzzy because it was, not because it wanted to be. As insistent on its recognisable formulas as this album can be, it is the focused intensity and accuracy with which James pulls this sound off that makes this such a special listen. The tone is set at the top, and as such, the rest of the album’s tracklist is elevated to this level. Even in moments of perceived cleanliness, almost calm, like the initial impressions of the closer and title track, James has a more-than-solid grasp on the art of anticipation. Before you can even become derisive at the lull in tempo, the pace creeps back in through the side door. The cohesion isn’t lost though, as the almost symphonic starter is a perfect marriage against the epic, sprawling guitars in the backend. They ascend and descend almost chromatically, arm in arm, achieving transcendent harmony. There’s a very different feel between these two bookends, and it’s a progression that is rewarded most by what occurs within the frame.
“Kinchyle (Goatkraft and Granite)” is a quintessential blend of all of this record’s inclinations. The subtle dissonance in the guitar-work, plus the suffocating atmosphere screams black metal. The acoustic bridges usher in folk spirit, tying into the album’s penchant for mythology. The empowered riffing is thrash through and through. Elsewhere, “Blakk Satanik Fvkkstorm” charges full speed into the smog, placing several jagged riff passages one after the other, causing an all-consuming cascade. Similarly, “Sculptor’s Cave” extends the momentum of the previous cut into its blaring first act, before finishing on something even more vicious than it started with. It’s this continual upping of the ante that makes ‘Coronach’ as an album such an emphatic statement. If you preferred James’ more punk-centric prior material, I can concede to you that this is a concussive change of pace. The mix of influences going into this latest effort requires a taste for a lot more. Aesthetically speaking, there are sounds being incorporated that haven’t maintained fans in the same way as other metal subgenres. Factoring all of this in, having those first impressions be shifted so radically could be off-putting. If the blends mentioned in this review contain the sort of ingredients you look for though, do not miss what Hellripper are attempting here.
Dan Will Review 