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Plague Curse – Verminous Contempt Review

By Spicie Forrest

We’ve all been told, once or thrice, not to judge a book by its cover. As a species, we’re pretty good at doing it anyway. In metal circles, band logos and album art often follow certain tropes that let us quickly identify what we’re about to hear and set expectations accordingly. Except when they don’t. When I first saw the cover art for Verminous Contempt, I thought I had it pegged. I mean, rats? Green mystery fluid? Skulls? This was sewage-drenched death metal for sure. I was, of course, wrong. For their debut, Plague Curse instead offers a highly polished platter of blackened death metal. Irregardless of genre, however, the only question that matters here is, does it slap?

The heart of Verminous Contempt beats death, but its blackened influences are plenty vital. Bolt Thrown riffs, courtesy of Joe Caswell (Burden of Ymir), and Neil Schneider’s fully automatic drums offer a tank tread massage on “In the Shadow of Hate” and “Procession of Dead,” while “Amidst the Devastation” and “Hate Fuck Of Fornication and Malice” get their meat hooks in you like Cattle Decapitation in an asylum. Guitar licks in the skeletal, dissonant veins of Morbid Angel or Pestilence add a hunted sense of unrest (“Nocturnal Cruelty,” “Callous Abomination”). This would make for a decent record on its own, but well-placed blackened tremolos coalesce and melt away throughout the album like specters in a fog. “Umbrage Earned” and “Of Fornication and Malice” open with hellish, blackened salvos of Archspired urgency, but what’s particularly noteworthy about the former—and true to varying degrees across all of Verminous Contempt—is the way the band twists and warps death metal instrumentation to fit over black metal structures. While much of this record sounds like death metal, “Umbrage Earned” reminds me more of Watain from a compositional standpoint. Verminous Contempt isn’t just black metal and death metal played next to each other; Plague Curse creates a true blend of the two.

The instrumentals on Verminous Contempt are nothing to sneeze at, and neither is Nick Rossi’s vocal performance. His lows evoke Suffocation or Septicflesh, while highs are closer to Cattle Decapitation or Mental Cruelty. Rossi even gets brutally low on “In the Shadow of Hate” and “Callous Abomination.” He’s got an impressive toolkit. And whether low, high, or somewhere in between, he’s phlegmy and wet, not unlike Lik. It brings an unrefined, unhinged edge to an album whose production is otherwise pretty clean. The added grit does wonders for Plague Curse’s sound, creating much-needed texture across Verminous Contempt. Rossi’s standout performance is occasionally a detriment, however, as a few instrumental sections struggle to hold their own in his absence (“Procession of Dead,” “Reigning in Ruin”).

Verminous Contempt is an energetic and dynamic album. Riffs abound, both searing like Spectral Wound (“Most Vile”) and crushing like Immolation (“Callous Abomination”). Whether slinging neoclassical hooks (“Most Vile”), creating blackened tension (“In the Shadow of Hate”), or expertly shifting tempo (“Reigning in Ruin”), Caswell can count on Schneider and bassist George Van Doorn to provide a solid foundation upon which to drive each track. Transitions are well-timed and flow seamlessly, making the album an enjoyable and smooth listen end to end. Even tastefully and sparingly added dissonance incorporates well into the broader picture (“Reigning in Ruin,” “Nocturnal Cruelty”). But with such obvious songwriting prowess and tight construction, it’s a little frustrating to trudge through several minutes that should have been left on the cutting room floor, including the last third of “Reigning in Ruin” and the entire outro “Oderint Dum Metuant.”

I picked up Verminous Contempt expecting Foetal Juice, but was instead treated to an impressive mix of some of metal’s meanest sounds. Like being blindsided with a brick, Plague Curse comes out swinging and, with the exception of a couple of competent slowdowns, never lets up. Between noteworthy vocals and frenetic yet controlled instrumentation, Verminous Contempt is an enjoyable and easily consumed album. On their debut, Plague Curse establish themselves as a vicious but accessible contender in blackened death circles. With a more enthusiastic scalpel and a little more attention paid to instrumental passages, Plague Curse could easily be a future cornerstone of the genre.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Adirondack Black Mass
Websites: Bandcamp | Facebook
Releases Worldwide: October 10th, 2025

#2025 #35 #AdirondackBlackMass #Archspire #BlackMetal #BlackenedDeathMetal #BoltThrower #BurdenOfYmir #CattleDecapitation #DeathMetal #FoetalJuice #Immolation #InternationalMetal #LIK #MentalCruelty #MorbidAngel #Oct25 #Pestilence #PlagueCurse #Review #Reviews #SepticFlesh #SpectralWound #Suffocation #VerminousContempt #Watain

Pyromancer – Absolute Dominion by Fire Review

By Mark Z.

When you get down to it, hell doesn’t seem like such a bad place. It’s warm. The decor is probably pretty metal. And presumably, you get to witness some of the worst people you’ve met in your life getting tortured. As for music that makes you feel like you’re in hell, let me introduce you to Absolute Dominion by Fire. This is the debut album of Pyromancer, a new-ish band out of Kentucky whose two members bring experience from numerous other groups, including Tombstalker and Apocryphal Revelation. With nothing previous to their name other than a 2015 demo and a split last year with the fukkin fantastic Perversion from Detroit,1 I wasn’t sure exactly what to expect from this record, but I figured it would probably be war metal.

Lo and behold, I wasn’t quite correct. While there are certainly bestial war whiffs present here, Absolute Dominion by Fire feels more like a trve black metal album that forgoes Nordic frost in favor of the sweltering air of the Bluegrass State. The overall sound here is hot and tortured, with a raggedy guitar tone serving as the foil for short, simple riffs that feel suffocating in their bluntness and yet entrancing nonetheless. Adding to the hellish feel is the dual vocal approach, with drummer “Master of Graveyard Torment” and guitarist “Conqueror Horus” trading off garbled rasps and monstrous roars. Other than the “hot” sound, perhaps the biggest difference between this and more traditional black metal are the varied tempos. While blast beats do appear on songs like “Hellish Visions,” Pyromancer more often choose to lurch forward on mid-paced beats that feel both commanding and inexorable. Combined with the occasional ominous synthesizers, the overall approach is like the bastard child of Profanatica, Fornicus, and Mystifier.

Absolute Dominion by Fire works because it stays within its comfort zone while exploring every nook and cranny of it. In other words, the album offers plenty of variety while maintaining thematic unity and avoiding misguided experimentation. While the first proper track, “Ancient Hatred,” is probably the most typical example of Pyromancer’s sound, “Unholy Cremation” soon mixes things up with its lurching groove and hammering half-time stomp that sounds a lot like the Australian black metal band Hunters Moon.2 The aforementioned “Hellish Visions” and the closer, “Volcanic Rapture,” use bouts of battering fury that evoke the war metal of Proclamation, while “Alchemical Red Death” employs a slow, anguished guitar line to drag your stupid fucking ass straight to hell. Later, the title track unleashes staccato, breakneck riffing that could pass for thrash in a different context, while “Perverse Immolation” serves as an early highlight with its searing tremolos and staggering, stompy midsection.

Though primitive black metal is rarely considered a nuanced style, Pyromancer have a keen sense of how to make it work. The largely instrumental opener “Igniting the Sacrificial Fire” sets the stage well with its brooding synths, blunt mid-tempo riffs, and wailing leads, while the interlude “Fireborn Witchery” serves as a nice respite with its crackling hellfire and looming ambiance. While the riffs may occasionally feel a little too rudimentary, the album’s 39-minute runtime keeps it from overstaying its welcome, and the fact that you get 12 tracks in that time means that no one idea lingers around too long. The raw and trebly production job is also commendable, as it helps conjure an infernal and cavernous atmosphere while keeping the riffs wholly discernible.

While Absolute Dominion by Fire may not be for everyone, this is an impressive debut for those who dabble in this kind of music. Pyromancer are clearly veterans of the scene and know how to take a style that could easily be a repetitive snorefest and turn it into one of the strongest black metal albums I’ve heard this year. The band’s use of different vocal approaches, tempos, and riffing styles keeps things engaging, and the dense atmosphere makes everything all the more captivating. If this is what hell sounds like, sign me the fukk up.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Adirondack Black Mass | Bandcamp
Website: facebook.com/pyromancerblackdeath
Releases Worldwide: May 9th, 2025

#2025 #35 #AbsoluteDominionByFire #AdirondackBlackMass #AmericanMetal #ApocryphalRevelation #Bathory #BlackMetal #DeathMetal #Fornicus #HuntersMoon #May25 #Mystifier #Perversion #Proclamation #Profanatica #Pyromancer #Review #Reviews #Tombstalker #Vomitor

Blasphemous – To Lay Siege and Conquer Review

By Alekhines Gun

Have you ever looked back on the grander, moister bands of yore and thought “Man, I sure do wish Immortal and Angelcorpse did an album together”? That’s okay, neither have I—apparently we have no imagination. Luckily, New Jersey blackened death outfit Blasphemous is prepared to uncork its fourth album, To Lay Siege and Conquer to show us what we’ve been missing. After releasing a pair of albums before breaking up in 2013, Blasphemous reformed with a refreshed lineup for 2018’s Emerging Through Fire, an album that seemed poised to make serious waves in the underground before a certain disease strolled up and ruined things for everybody. Fortunately, band founder/vocalist RK managed to keep the group together through the pandemic and got back to writing, and you can be assured the perpetuated lineup has paid serious dividends.

The first thing that caught the ear’s attention was how much better To Lay Siege and Conquer sounds than its predecessor. Whether by artistic intent or budgetary limitations, Emerging Through Fire had a much more raw, tinny, and thin approach, emphasizing the blacker half of the band’s sound at the cost of weight and power. To Lay Siege and Conquer has no such problems, crushing the listener with a modern productional heft worthy of Watain or Decrepit Birth and giving it the power of modern death without sacrificing an ounce of its blacker, acid-drenched melodies. Absolutely everything here is militant and bombastic, from the abused bass rumblings (“Son of the Forsaken”) to the attacked-by-killer-bees solos (“Spiritual Enslavement,” “Martyr Complex”), to RK’s constant vocal conducting, which rides atop but never drowns out the music. His performance in particular holds the album together, sounding like a much younger, far more pissed-off Thomas Lindberg (At the Gates), and though his vocal range may be a bit limited, his pitch manages to maintain its power and clarity without ever stagnating or growing boring.

To Lay Siege and Conquer is no vocalist’s grandstanding album, however, as Blasphemous takes a SWAT team approach to songwriting, with a “get in, wreck stuff, leave” mentality. Melodies and moments rarely repeat beyond their shelf life, instead evolving gradually around their melodic theme. The album’s title track is a prime example of this, with a rolling tank of a groove uncorked by Steve Shreve and Hal Microutsicos that alternates between rapid-fire tremolos and half-time chugs while drummer Mark Vizza adjusts his blasts to a thicker barrage to compensate. The drums are arranged to punctuate shifting riffs and intensity. Mark’s toolbox doesn’t really expand beyond the “blast, gallop, and groove” trifecta, but he masterfully ebbs and flows, pulling back into tasteful cymbal tempo-keeping as easily as uncorking an expected avalanche of snare abuse under leads that range from razor-sharp blackened harmonies to vaguely eastern flair (“Curse of the Witchchrist”) To Lay Siege and Conquer doesn’t want for a variety of engaging moments.

The only real flaw facing Blasphemous is consistency. Instead of being customarily frontloaded and fizzling out, To Lay Siege and Consquer is refreshingly bookended by its highlights, with the first and last two songs being the most engaging, while the middle stretch turns into a bit of a drag. Some of the slower moments (“Dead and Still” and “Martyr Complex”) remind of the punkier sounds of Sons of Northern Darkness without ever building to any kind of climax or theme, while “Spiritual Enslavement” can’t seem to decide what flavor it wants to be, causing otherwise effective riffs to lose momentum before the song suddenly ends. Still, Blasphemous wisely errs on the side of brevity, keeping things at a lean 29 minutes, before closing the album on a note of triumph with the anthemic closer, “Neverborn.”

To Lay Siege and Conquer is an enjoyable carpet bombing of riffy,[Ah yes, who doesn’t love a good… carpet… bombing? – AMG] throwdown, brodown blackened death goodness. Lovers of the style will undoubtedly find much to enjoy here, and Blasphemous is knocking on the door of something special. Maintaining the lineup has improved its cohesion and confidence, and the production highlights the power of the performances, ensuring many of the songs will level bars across the nation when played live. Keep an eye out for their fifth album to see if they can unlock the next gear in their compositional skills, and for now, enjoy laying siege to your neighbors.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: mp3
Label: Adirondack Black Mass
Websites: blasphemousphilly.bandcamp.com | facebook.com/blasphemousmetal
Releases Worldwide: October 25th, 2024

#2024 #30 #AdirondackBlackMass #AmericanMetal #Angelcorpse #BlackMetal #BlackenedDeathMetal #Blasphemous #DeathMetal #DecrepitBirth #Immortal #Oct24 #Review #Reviews #ToLaySiegeAndConquer #Watain