Summer Sabbathical 2026

I'm off on a good long Summer Break. Keep your hands in the boats, your heads on your shoulders, and your coke away from the grizzlies. Grateful as always for you stopping by, and I'll be back for October horror metal reviews!

-autothrall

Coroner - Dissonance Theory (2025)

I was as shocked as any when it was revealed that Coroner was doing a tour in the US and releasing a new album. Yes, I know they'd gotten back together some 15 years prior for some gigs, and kept a low profile since that point, with nothing much on the horizon, but I didn't think much would ever manifest from that reunion other than a capitalization on the nostalgia that their brilliant original run of albums evokes. You see, this was one of my favorite underground acts in the late 80s/early 90s, as I'm sure it was for many, music so bloody good that you felt smarter than everyone else for listening. You weren't, of course, but it was at least great to feel that way as puberty was budding and you were continuing to shape your musical tastes and interactions with all the other metalheads around you. And back then, there were many.

Punishment for Decadence and No More Color are two of the most perfect albums I own, for their dark and dingy lyrical content, stark and uniform cover imagery, and incredible power trio musicianship, in particular the baroque guitar wizardry of Tommy T. Baron, which stunned me with its scale-work and innovation. In fact, almost 40 years later, I can't think of many albums that can match them in that way. Sure, there are scores if not hundreds of other amazing guitarists who created their own niches, some I appreciate as much as Coroner, but his style was distinct. And with Ron barking and playing along formidably, and some great drumming from Marky, they were just so unstoppable. Granted, Mental Vortex took things to a more muffly, minimalist, accessible direction, still with some amazing guitar riffs spiking out here or there, and Grin was more experimental as Coroner aspired to adjust itself to the changing times around them, and also to progress rather than reproduced the perfection already achieved. Those were increasingly disappointing, but never bad, and still have standout moments I revisit.

I digress. So there was NO WAY Dissonance Theory was going to be on the level of Punishment or No More Color, and it's not, but I was nonetheless impressed with the lead single, and then even more so after I got a few spins through the album proper. This for me feels like an evolutionary stage that might have taken place between Mental Vortex and Grin, with the more groovy thrash and progressive, atmospheric ideas that were starting to dominate their compositions at that time. There are few of the brilliant guitar hysterics I would have given a limb to hear once more, but as a coherent, conceptual whole this album is smooth as butter, yet as brooding and dark thematically as any of their prior material apart from maybe R.I.P. which sounds like its being showered upon you from an antiquated European graveyard. There's an industrial, post-modern vibe to the material here, I'd aesthetically compare it to Kreator's Renewal, an album most people hated (that I love), but this is less depressive and a lot more atmospheric, and obviously has a much more fulfilling production.

Structurally, we've got a lot of simplistic riffing grooves, slathered in atmospheric guitars, and so well rhythmically measured that they immediately leave an emotional impact. The beats are throbbing and hammering along, giving it that industrial metal punch, soon joined by the chugging guitars in a tune like "Sacrificial Lamb" or "Cirsium Bound", which definitely feel as if they're modernized tracks from the cutting room floor of Mental Vortex. As the title would imply, there's plenty of dissonance here, like the intro to "Transparent Eye", or a lot of the chords they play to cap off the chugging guitar patterns, but there's also a warmth to a lot of the choruses and grooves, so Coroner is exploring a musical spectrum far wider than the cover art might hint at. I know I've read a lot of people citing that is nothing like Grin, but that isn't true whatsoever, a lot of those sorts of grooves are present here seem like they're muscled up versions of what have appeared there, only the overall weight of the album, the intrinsic ambience and melody helps flesh them out to a more memorable level.

But Coroner does still thrash where it needs to, as on "Renewal" or "Consequence". Tommy T. still has all the technical chops, you can hear them in spurts, but he chooses to relinquish them for the songs themselves, only writing what services their mood. The bass tone is swarthy and powerful, the new drummer Diego Rapacchietti fits right in with the sort of rigorous level of ability, and Ron sounds like he has been left in a cryochamber since the mid-90s, his vocals are still dark and simple barking, but have just the right level of reverb and effects on them to champion the emotional resonance that this album immerses you in. I daresay this is the most 'uplifting' Coroner album, which might not be for everyone, but while it might not hit the mechanical brilliance of the 1987-89 era, it's probably the best they've done outside of that. I've come away from this one super-satisfied, and eager to hear whatever they might create next.

Verdict: Epic Win [9.25/10]

https://coronerofficial.com/

Enforced - A Leap Into the Dark EP (2024)

A Leap into the Dark is a brief holdover for whatever Enforced is headed towards next, but with six tracks, it's at least a little more substantial than some 7" or EP recordings are. The highlights here are the newer tracks, which have a nice punch to them. Not far removed from how the band sounded on War Remains, they've got a slightly cranked up depth of the bass presence, some good leads and riffs that are at least the quality of that full-length. "Deafening Heartbeats" is the most intense of the three, with some death/thrash in the riffing, and some cool riff progressions which work well with the splatters of wild solos. There is also a remaster of the "Casket" single from 2021, which I hadn't heard, but sounds like it belonged on Kill Grid (same year), only the production is a little more violent and booming.

This is capped off with a pair of covers from some pretty difference sources. "Deadly Intentions" is from the Obituary debut Slowly We Rot, and though Enforced do play it pretty close to the original, I found it ironic that they make it sound more like a later 90s Obituary piece, when the Floridians were themselves leaning more into the hardcore that Enforced came from. This would have fit right in on Back from the Dead, but structurally they still nail it. The other tune is the English Dogs' "The Chase in On", which comes from their 1984 EP To the Ends of the Earth. Another fun parallel since that band transformed from punk and hardcore to a more heavy/speed metal style, but Enforced take that cut and brutalize it a little more so it sounds like Doom but with Knox singing. I'd say both of the covers are fun enough to maybe incorporate into a live set, but the more forgettable aspects of this EP, buried by the consistent quality of the three new original cuts. But if you've enjoyed the two albums prior to this one, the material is probably worth throwing the band a couple bucks so they can get coffee or fill the gas tank on a tour.

Verdict: Win [7/10]

https://enforced.bandcamp.com/

Enforced - War Remains (2023)

In many ways, War Remains just feels like a Part II of Kill Grid from 2021. The black & white cover artwork from Joe Petagno, which is cool but not as amazing as what he came up with for the previous album. The overall aesthetics continue to explore a more purely brutal thrash sound, although I think there are a couple moments here which offer a slight throwback to the awesome crossover of the debut. The lyrics aren't all warlike, as the title might imply, but you get that same impression of battlefield thrash that reminds one of Sodom, or maybe war/death metal bands like Frozen Soul and Bolt Thrower, despite the difference in genre. One difference here, that nudges this ahead of Kill Grid, is that the production feels a more more powerful, dynamic and vibrant, losing some of the dryness and bleakness I felt there.

Same crew, they just really get a mix here that fleshes out the guitars and gives Knox Colby's vocals a lot more of a gut punch. The drums sound heavier, the riffs all have much more impact even though they're not structured with any more nuance or technicality than those from a few years before. War Remains sounds like a blend of Exodus mid-paced material, sans their guitar tone, Sodom's speed and those viral evil melodic Slayer breakdowns that turned Reign in Blood into a household name. When they roil out some faster tremolo picked riffs you get a little more death/thrash ("Avarice", or the grown in the title track), and the leads are well written and more memorable here than on the sophomore. Everything is performed with pinpoint accuracy, but it by no means sounds technical or over-polished, just written and delivered for maximum neckbreaking impact, and if you're just newly getting into thrash or seeking out an example of contemporary production and effectiveness, this is one to track down.

But while I think it's a very good album, a little better than Kill Grid, Enforced still doesn't have the same distinct qualities that so many my favorite 80s thrash acts did. Whether you were just into the 'Big Four' or 'Big Three' of that era, or even exploring the second and third tiers of the genre, there were scores of bands that really stood out vocally and musically. Like a lot of their peers, this just comes off a gestalt of repurposed ideas performed and recorded at a highly professional level. The execution is unquestionable, but the personality isn't quite as present as their more hybrid debut album, and although you'll catch me nodding if not outright banging my head throughout the runtime experience of this, it's not one where I can pick out a lot of songs of riffs after its over. Now that they've established this sound so well, it wouldn't hurt to hear some progression or ideas out of left field.

Verdict: Win [8/10] (Olive branches build the arrows)

https://enforced.bandcamp.com/

Enforced - Kill Grid (2021)

With Kill Grid and their signing to Century Media records, Enforced moved on to a sound that was the more archetypal thrash that most would recognize them by. That's not to say they abandoned all of what defined their debut, but wrote a record that was a little less oriented towards the crossover/hardcover aesthetics and meant for sheer head banging mayhem. It's certainly a more aggressive and intense effort than At the Walls, with a mix of of the West Coast sound and, say, Sodom, but there is also a little bit of a death/thrash bite to some of the material, for instance the blazing opener "The Doctrine" reminds me a lot of the Possessed comeback album Revelations of Oblivion, and that's not the only instance, so I think fans of that would be thrilled to check this out.

I also feel like the band is a parallel to Texans Power Trip, whose CDs I picked up but never quite got into as others seemed to. However, they did have a cool, caustic sound to them which is mirrored by the crunch of the guitars and the visceral vocals. And let me tell you, Kill Grid is saturated palm mute heaven, one of the most purely 'thrash' tones you've heard in years, spliced up with loads of wailing mini-leads and then some of the real deal, with a compact, tight rhythm section that works in lock step. They're playing around with a selection of riffs that won't feel novel to any thrasher whose danced around the circle for a few years or more, but they invigorate the material with an infernal energy that is going to snap you to attention even if you forget the songs five minutes later. For thrash, it's pretty brutal and unrelenting, and at some of its best moments (like "Beneath Me" or the intro to "Curtain Fire"), they'll erupt into this Slayer-like pattern which will remind you of just how much you liked where that band was headed in the mid 80s with Reign in Blood.

Some of the riffing structures also give me some Atrophy or Devastation vibes, and elsewhere like "Malignance" you'll hear some vaguely death metal progressions. It all works into the warlike format of the lyrics here, and Kill Grid is entirely consistent, like a level theater of war that never quite reaches a lull or climax, but shells are firing back and forth the entire 41 minutes. It's not boring, ever, and I do think it's a competent and studied example of old school thrash being trampolined into the modern era, but I have to admit that I miss the more vibrant and dynamic debut, with its more effective gang shouts and breakdowns and slightly less monotonous guitar tone. I also felt that one was produced better than this, which is functional but a little dry other than the leads. That said, Kill Grid is not going to let you down if you're into Power Trip, High Command or other modern thrash exemplars with a long road ahead of them if they can continue to refine and entertain.

Verdict: Win [7.75/10] (Riot rhythms of a world take hold)

https://enforced.bandcamp.com/

Enforced - At the Walls (2019)

At the Walls was one of those first records I latched onto in the modern wave of thrash and death metal albums incorporating hardcore aesthetics to their songwriting. No, it was nothing new, bands had been crossing the streams for decades before this, notably the crossover scene which Enforced is often tagged alongside, and for good reason, but when I listen through this I feel more of a street tough, 80s NYHC vibe rather than the more punk/hardcore stuff that was threaded into the sounds of D.R.I., Cryptic Slaughter, and their like. Combine that with crispy, crunchy, EXPLOSIVE thrash metal and you've got one hell of a debut, and At the Walls remains my favorite record from the Virginians, since they'd take on a more caustic and warlike feel on the later efforts that felt more like Power Trip.

The production here is absolutely perfect, with its thick bass lines, peppy drums and that aforementioned crispness to the rhythm guitars which delivers the maximum impact whether they are galloping along or headed into a thrashing breakdown. The leads are wild, loose, short and perfect at adding another reckless level of atmosphere, while Knox Colby's vocals on this album are absolutely fucking rad, like Lou Koller if he'd been the front man for Nuclear Assault instead of Sick of It All. There's plenty of metal here, though, don't you worry, from the Slayer-like harmonies of "Retaliation" that lead into the breakdown, to the bevy of faster, crunchier thrash riffs that would make even Municipal Waste weep. All of it combines into an album so vibrant, full of energy and propulsion. I haven't been a 'mosher' since my teenaged years, I just got tired of having my big feet stepped on, never felt I had much leverage, but I tell you there's music that passes my desk which has me privately performing that very dance.

26 minutes is all it takes, concise and to the point and never faltering on any track as the band just blazes the fuck out its hybrid sound. You could listen to the whole thing on the way to work, or for a quick trip to the gym. I wouldn't even say there's a misplaced note here; the leads might not feel super memorable individually, and don't have a ton of confidence yet, but again they are present for effect, for that feel of testosterone about to fall off the hinges. The gang shouts rule, the vocals might be more hardcore-focused but they match the metallic guitars quite well, and it's just infectious, transporting me back to the 80s when I would be just as thrilled to listen to Killing Time and Gorilla Biscuits as I was Anthrax or Overkill. Interestingly, a lot of Enforced fans have an inverse opinion to mine, where they prefer the later records, but I think this smokes them (at least so far), much more youthful and vital.

Verdict: Win [8.75/10] (Sell out your oppressor)

https://enforced.bandcamp.com/

Craft - White Noise and Black Metal (2018)

Void arrived at a six-year gulf from its predecessor Fuck the Universe, and inevitably became a bit of a disappointment, if not remotely bad. White Noise and Black Metal, however, came after a seven-year break in studio releases, the longest wait in their career (until now, as we are approaching 8 years and counting); and I feel like this time must have been well spent since the songwriting and energy is quite refreshed. It plays within the same ballpark as their other material, but it doesn't feel quite so drudging or dreary as Void did, there's a more adventurous sense to the guitar riffing, and a lot more tasteful detail through repeated listening. Craft is an interesting band, because they are simple and easy to grasp, but their albums are always growers (one shrinker), and when White Noise and Black Metal came out, I picked up the CD, enjoyed it well enough, but didn't think much about it until the ensuing years of spins.

Today, I think it's pretty awesome. The sound is a little less bulky than its predecessor, I'd hate to say 'graceful' or 'vibrant' with a band as apocalyptic and evil as these Swedes, but a lot of the guitar tone is lighter and gives a higher-pitched feel, and that's where a lot of those details are. They are still largely a band that moves at that slower pace, and you get some killer churn riffs like in "Again" or the awesome "Darkness Falls". However, that space is filled in better here, especially by Daniel Moilanen's drumming, which is by far the most interesting that has appeared on a Craft record. While I wouldn't go so far as to call this material 'progressive', he certainly adds an element of that flexibility that he's brought to the recent streak of Katatonia releases, and it's another way in which White Noise stands out against the back catalogue. But the Joakim and John also keep the guitars interesting, with a bag of new BM tricks that poke through most of the tunes, and the added spaciousness to the mix and composition also allows the bass to have a stronger supporting role, a shadow thundering beneath the more ethereal guitars.

Nox does what he always does, one of the most formidably vile of the Swedish BM front-men, but again the scope of this album allows for his rasps to cascade about the atmosphere and create a lasting, resonant impact. The lyrics have been pretty top notch since the third album, but here they take on a more introspective feel, dark and ponderous but not as cliched or Satanic and anti-human as they were in the formative years. White Noise and Black Metal is a heater, and though it took some years to properly dig in, I'd now award it the silver metal, standing on the abyssal podium to the right of Fuck the Universe, with Terror Propaganda in the bronze. Great Swedish black metal that scratches the itch of their earlier work while giving you a lot more to think about.

Verdict: Win [8.5/10]

https://www.facebook.com/craftblackmetal

Craft - Void (2011)

Void is an album that had sort of the opposite affect on me as its predecessor Fuck the Universe. Here is one that I quite liked upon its release, but have gradually grown a little bored of throughout the years. It sort of mirrors that Darkthrone era from 1996-2006 in its bleakness, only I happen to find all of those records more memorable. Actually, I don't want to complete drag this one through the dirt, because there's a lot going on here that I do like aesthetically, more going on in fact than what's on those Norwegian records, and in the right setting I'll still spin it, but often I'll pick and choose particular tracks rather than crave the experience as a whole. I can promise that it is as grim and apocalyptic as anything else they've ever put out, so...no worries there.

This is dense, slow, and atmospheric, with a selection of those simple Hellhammer/Celtic Frost derived grooves being sliced through by the tremolo picking parts. I'm glad for that exchange, actually, because it makes tunes like "Come Resonance of Doom" or "The Ground Surrenders" somewhat listenable. It isn't until "Succumb to Sin" where those leaden, thick rhythm guitar riffs really pull their own weight with an actually amazing riff, and that's my favorite track on the album with ease. A lot of the other patterns here just feel a little stale and leaning upon the atmospherics to get by. Another highlight are the eerie melodies in "Bring on the Clouds", but the latter half of Void is dominated by these longer songs in which I don't feel entirely fulfilled, they impress me in parts but can become a burden in their entirety. There is one track there, "I Want to Commit Murder" which has some faster riffing to break it up, but that one doesn't have a lot of payoff even when it slows back down with its thuggish bridge riff.

The vocals and consistency of mood here do a lot to keep it coherent; the former as resonant and evil as ever, though they do feel somewhat monotonous along the gray din of the songwriting. Yeah, this is an album you 'hear' by looking at the cover, and vice versa. It's certainly playing within the confines of Craft's tookbox, and suckers for its influences, or the slower, rawer side of black metal or black & roll will find that it stays pretty truthful to the aesthetics, but it hasn't aged for me as well as the albums on either side of it, and these days it's the last in their discography that I'm likely to revisit, though I'd throw "Succumb to Sin" on a condensed compilation of tunes if I were introducing someone to their music. It's competent, it's Craft, it's certainly not bad or even mediocre, the lyrics maintain the upgrade they got with Fuck the Universe; but it's down the trenches for now.

Verdict: Win [7.25/10] (Old, deformed and barren)

https://www.facebook.com/craftblackmetal

Morgue Supplier - Mastering the Disease (2026)

Driven by inhuman, mechanical blasting rhythms that collapse and contrast against its more meandering, atmospheric grooves, Mastering the Disease seems a fit evolution for the previous Morgue Supplier record, Inevitability and its subsequent single tracks. But where its stylistic frame is comparable, there's something even harsher and more 'checked out' sounding about some of this newest material. A collision of death, grind, industrial vibes, even some noticeable progressive elements in the structuring, they really swing for the fences. I'd liken it to a sort of 'cybergrind', only you replace almost all of the futuristic (or at this point, retro futurist) synths and sound effects with loads of dissonant, death metal guitars more central to that genre, and a gruesome vocal exhibition which is actually quite detailed and technical as it's laid out.

A good example of the varied carnage this band can create of its listeners would be "Pupils of Insularity", starting off with a pensive flow, cleaner melodic guitars and thick bass, almost Godflesh-like vibes, which escalates into a head-spinning, dissonant bender that feels like you're testing a drum machine to hear how fast it will go before exploding; all the while the other instruments crash along with abandon and Paul Gillis wretches and sneers and vomits all over the riffing. This is not for the faint of heart, anyone wearing a pacemaker, or anyone retaining a warm view of humanity. Other dizzying tracks include the psychotic "Annihilated Thinker" with its broken beats that descend into strange sampling and drugged, dissonant riffs that ooze around the meat of the distorted bass-lines. "Next World Consumes" is a harrowing endscape soundscape, oppression thicker than concrete, but by the time you hear that you're probably already either dead or suffering a severe headache.

Thankfully, if you DO survive that, the closer is a brilliant dark ambient track, "Indifferent Majesty", which is one of my favorites on the album, even though it's completely different to everything before it. Spacious but intense, it shows the flip side of what these creators are thinking but from an entirely different, non-percussionist perspective. The cover art here also reminds me a lot of the post-modern cyberpunk/body horror film Tetsuo: the Iron Man by Shinya Tsukamoto, and it unquestionably might serve as a sort of aural counterpart to that visual experience. This is the future, here, ugly as fuck, and not what we were hoping. While not as brilliantly riffy as the band's eponymous 2016 album, my favorite, and a little less sublime than Inevitability, Mastering the Disease is still very intense, with just enough devil in the details, especially the myriad abusive vocals and provocative bi-polar shifts between blasting and grooves that litter its debris-ridden labyrinth of noise.

Verdict: Win [7.75/10]

https://www.facebook.com/profile.php?id=100075977500489

Craft - Fuck the Universe (2005)

If you asked me to choose a favorite Swedish black metal for all time, I can't promise that this record would win the honors, but I'd absolutely be taking it down off the shelf to compare and contrast it against the other picks. Fuck the Universe elevated the band's nihilistic ravings to an entirely new level, as the Chaos symbol and title imply, we've gone beyond crushing mere humanity and/or Christianity to everything in all of existence, and I think that sentiment is reflected well by Craft's increased devotion to songwriting. I never really buzzed about this one enough back in the day or on my earlier lists; it was something I enjoyed upon first exposure, but has aged really well with time, and obviously grown on me more than anything else they've released. What's more, it does further distance itself from its more overt influences.

Yes, Hellhammer/Celtic Frost and Darkthrone still account for the DNA of the sound here, but it's been innovated upon, with a more layered and nuanced approach. Mood and melancholy are measured off against the grimness of the vocals and genre conventions, and the songs always give themselves enough time to express their ideas while absorbing the listener fully; we hear this in the 7+ minute "Thorns in the Planet's Side" with its spacious, doomy atmosphere, or the churning finale "Principium Anguis' with all its thundering fills and soul-crushing riffs. But another element that I really enjoyed here is that they started to incorporate a little bit of a black/thrash vibe ("Fuck the Universe") which reminded me of the direction Aura Noir had started to head in, or "Xenophobia" which has these similarly thrashy pulses and grooves which capitalize on the surging evil verse riffs. They explore far more material here than on the prior records, the 51+ minutes offering you a lot of range while also honoring all of what they brought to the table from 2000-2002.

Vocals still sound as nasty as ever, but they've got a lot more to compete with musically, which is where Craft have truly developed here. I think the drums and bass lines stand out more here too, there's just a more organic vibe to the entire recording that reminds me a lot of some of the black & roll stuff put out by a Satyricon or Sarke. It's robust and clean, but all of that sinister attitude from the band's riffing and singing is fully intact. Fairly refreshing when you consider that a lot of the 'necro' black metal bands shy away from such production improvements in order to retain the icy rawness. There's nothing wrong with that, mind you, but I don't feel as if it would achieve what Fuck the Universe does with this sort of atmosphere. A phenomenal album, the first off my shelf when I am in the mood for this band, with a good amount of content and plenty enough ideas to fill that time. Craft at their finest, with at least 4-5 songs ("Fuck the Universe", "Terni Exustae - Queen Reaper", "Xenophobia", etc.) that would make my highlight reel of their whole career. Also: better lyrics than the first two albums by far.

Verdict: Epic Win [9.5/10]

https://www.facebook.com/craftblackmetal