Must Missa - Martyr Of Wrath (2007)

Given that Deströyer 666 are still going strong you'd think that the rest of the thrashing black masses would have given up and gone home. Estonia's Must Missa seem to think otherwise, with album number four of blackened thrash madness Martyr Of Wrath.

It's a thundering 35 minutes of chunky, chugging thrash. Like the soundtrack to a pissed up metalhead's wet dream, Must Missa seem to have found the perfect mix of traditional Darkthrone and trademark Tankard. 'Devil's Rejects' is a 'Too Old Too Cold' style riff spiral of poser lambasting while 'Here To Destroy' and 'Thristy And Mad' lay down a homage to hops and destruction. But, like a Die Hard movie without dialogue it remains entertaining yet hollow. With a riff palette barely as broad as Bush's vocabulary, only the thrashing faithful and mildly inebriated are likely to see it through a full spin.

Still, it's an album true to its roots that'll get you in the mood for crushing cans on your head and pissing in a wardrobe. Like McDonalds with the shits, it'll fill a hole but leave you feeling empty afterwards.

5/10

Agonhymn - Doom Jazz (2007)

Sadly, this isn't an interpretation of Bitches Brew done in the style of Reverend Bizarre. Instead we have another fairly run of the mill drone-doom album of the "one long track broken into parts" variety. It's not all doom and gloom though; it appears as if half-way through the recording process, aside from "chucking a few shrimps on the barbie", Byrne and Brewer sat down
for a nice bong.

The first quarter of the song/first three parts of the album follow the usual drone template. Sporadic crunching guitar accompanied by drumming thats heavy on the crash and easy on the tempo. Come 'Doom Jazz Part 4' however, and you may be forgiven for thinking that Bongzilla have crept into the album playlist. It still plods along at barely walking pace, but is pulled along by a suffocating groove. '...Part 5' ups the ante again, with clean strumming leading into some altogether more frenetic riffing and '...Part 6' drops us back into Stonerville with the introduction of some Dixie/Muleboy style barbed wire gargling vocalizations. By the closing part however, I'd stopped paying attention and started skinning up.

The minimalist nature of drone-doom makes it a difficult genre to really stand out in. If you were sitting on the fence with regards to this style of music, Doom Jazz isn't going to knock you off. However, the more patient and/or drug riddled among you may glean some enjoyment out of it.

5/10

End Of Level Boss - Inside The Difference Engine (2007)

Self professed (cliché alert) "worshippers of the riff" End Of Level Boss rose from the ashes of Hangnail, and since their inception have made a few ripples in the pond up in London. Touted as one of those stoner rocky doom metalish type bands they actually exhibit few if any of the qualities attributed to either genre. Instead they're a rather odd-beat amalgamation of early 90s heavy alt-rock, Isis/Meshuggah/Cynic riff progression and slight Voivodian discordancy. As intriguing a combination as that sounds, the execution is sadly a little tedious.

The basic formula for each song is essentially the same. A handful of discordant riffs repeated with some variation, complemented by fairly generic gruff vocals, at times dancing between Chris Cornell and Daniel Johns with the odd John Garcia moment. There's a Larry Lalonde style Primus solo thrown in ('Mr Dinosaur Is Lost'), a few quieter moments ('Inskintivitus') and the mostly instrumental 'Words Have No Meaning' comes off like a cross between Meshuggah's 'I' and Kyuss' 'One Inch Man'. All in all, if you've heard one song from the album you've pretty much heard all EOLB have to offer.

Despite the potentially exciting combination of influences and nods to slightly left-field metal bands, it's essentially one of those albums that feels like one long tedious song. Not completely terrible, just decidedly average and mostly unengaging.

5/10