Blog

Album Review: Horrifier – Revelations of Gore

Reviewed by Sam Jones

Following the release of Horrifier’a last album I was thoroughly on board with the band and hopeful for future releases; that time has come in the form of the band’s second full length album, Revelations Of Gore. Formed in 2022 out of Oslo, Norway, the band stylise themselves on all things putrid, rotting and macabre with a Demo, Split and soon a Single leading up to their debut 2023 record, Horrid Resurrection, a record I truly adored upon first listening. The band have since released an EP, 2025’s Burial Ground, a Split alongside Impugner, and now we come to their newest full length. Once again distributed via Personal Records, Horrifier return with ten tracks of slaughter to keep us sated and at bay. Revelations Of Gore sees the light of day August 7th.

Given Horrifier’a established affinity for speed and the wanton laceration of flesh, it’s interesting they should open their record up with more trudging songwriting indicative of doomy tendencies. Granted their tempo rapidly intensifies thereon but it demonstrates the band have already started looking to new frontiers by which their songwriting may transport us. The record, as it develops, isn’t afraid to change gears on a whim and thus deliver something slower before indulging in frantic blast beats and vocals with the rapacity of howling spirits.

The production for this record, in spite of the filthy and belligerent subject matter Horrifier indulge with, is surprisingly clean. However, it’s not clean to the degree of transparency where one may look straight through the band, Revelations Of Gore emits a piercing, razor-bladed exterior where merely touching its serrated edge is asking for grievous injury. It’s also remarkably compact, you get the feeling Horrifier wanted all their pieces close together in a bind so nothing could be ascertained to wandering off. Even as solos kick in there’s little indication things are set to break loose; its under such tight control you’ll feel it’s murderous inclinations with ease. Revelations Of Gore will have you under its eyes from start to finish.

Following this notion it must be observed how grounded Horrifier’a performance feels; there’s no concept put forth that they’re set to play death metal about fantastical ideas or avant-garde subjects, their songwriting matches the slaughtering and mundane actions of human death. There were numerous sequences where my head naturally bopped to their momentum, where songwriting slowed to a steady crawl, initiating this fervent, foul nightmare . As a result Horrifier’a sound takes on a familiar and frightening dimension, bringing the horror out of the netherealms and before your very corporeal form. The band ultimately bring you face to face with death in all its malicious apathy.

Though multiple elements of the band throughout this release deliver ruthless and unrepentant performances, the mix manages to balance each of these forces, typically low in tone in their own right, and crafts stellar cohesion out of it all. It’s what aids the band in that grounded, cadaver-creating miasma coating every minute of this record with the cessation of life. But then you the drums, notably the cymbals and other aspects of the kit, that burst forth through the din and still apply the ravenous rancour Horrifier so established in their last record. The most minute of cymbal strikes are audible as are the interchanging drum patterns that carry us from one sequence to another. Throw in too the frantic playing Horrifier showcase when speed is the prerogative and the band becomes a true savage, shackled to earth, knowing full well the devastation it may set loose were it freed. It’s in that knowing malevolence, acknowledging one’s own bloodlust, that gives Revelations Of Gore its unhinged psychopathy.

In conclusion, Revelations Of Gore is a record that has been submerged in blood and viscera for much longer, and at greater depths, than their debut record ever was. Though the threat of ripping our person apart remains, Horrifier seem far more intent on accomplishing that end this time round. Things are more real, techniques more laid out towards achieving their goal. Killing isn’t some fantasy borne from sadism but a genuine, deeply sated need for blood. Revelations Of Gore brings in plenty of slower, creeping pieces of songwriting hearkening to mind a hidden and abject fury blown into reality with death metal that shall never tire and never renege on its plans. It’s certainly Horrifier’s strongest work to date and that’s saying something considering the strength of their last record too.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Album Review: Horrifier – Revelations of Gore appeared first on The Razor's Edge.

Metal Hammer has teamed up with German electro-metal party-starters Electric Callboy for a special bundle you won’t find in the shops.

In celebration of the six-piece’s long-awaited new album Tanzneid, we’re giving customers the chance to buy our new issue with an exclusive cover, as well as a number art print dedicated to the band – only via the Louder webstore!

The new Hammer contains an extensive interview with singers Kevin Ratajczak and Nico Sallach, looking back on their career so far as well as the story of Tanzneid. Sallach opens up about his past throwing weekly house parties for all his friends.

“At its peak, we had 80 people in this tiny flat. People that we didn’t know were ringing the doorbell,” he says. “They treated our flat like shit. I wanted to go to bed, and there were drinks and liquids that I couldn’t identify all over my bed! Very good memories, even if it doesn’t sound like it.”

The issue contains an in-depth review of Tanzneid. “Tanzneid may not represent a dramatic reinvention, but it doesn’t need to,” writes journalist Holly Wright.

“Few bands have spent the last five years turning irreverence into such a potent creative and commercial force. Electric Callboy once looked destined to become nothing but a joke. Instead, they’ve become one of modern metal’s biggest success stories.”

Elsewhere, we talk to modern metal standard-bearers Loathe about their new album A Stranger To You, which came out more than five years after its predecessor, and see what on Earth took so long!

“When I was younger, I felt very angry at the world,” guitarist/vocalist Erik Bickerstaffe admits. “I had a ‘fuck everyone’ attitude, and a lot of music would be me putting all this resentment out there. I’ve definitely been more self-centred in the past. I was a bit selfish. As I’m getting older, I’m becoming more of a human in the world.”

We also talk to veteran Slipknot producer Ross Robinson about the 25th anniversary of the nine-piece’s landmark second album, Iowa. “We were looking to help Norway burn some more churches,” he says. “We wanted to join that extreme metal club!”

All that, plus we send a writer into an escape room with zombie-metal sensations Dominum, give I Prevail singer Eric Vanlerberghe your burning questions, discover Judas Priest guitarist Richie Faulkner’s personal playlist, talk to Sharon Osbourne about her efforts to preserve Ozzy’s legacy, and much, much more.

Get the new issue – and the exclusive cover and art print – now via the Louder store!

(This is Wil Cifer’s review of a new album by Bay Area grindcore fanatics Deathgrave. It’s set for release on August 21st via Tankcrimes.) 2023’s It’s Only Midnight was pretty decent, but Deathgrave have perfected the kind of thrashing chaos they kick up with Hell Is Evil. The title track that opens the album finds […]

The post DEATHGRAVE: “HELL IS EVIL” appeared first on NO CLEAN SINGING.

Way back in the early ’00s, the Athens, Georgia musician Andy LeMaster’s lush, textured indie rock project became the first out-of-town act to sign with the Omaha indie juggernaut Saddle Creek. LeMaster was a Bright Eyes collaborator before Now It’s Overhead released their 2001 self-titled debut, and his band became a key player in Saddle Creek’s golden era, alongside Bright Eyes, the Faint, Cursive, and fellow non-Omaha band Rilo Kiley. LeMaster’s band went inactive soon after the release of their third album, 2006’s Dark Light Daybreak. Now, they’re coming back.

The post Now It’s Overhead Announce First New Music, Concert In 20 Years appeared first on Stereogum.

Our Top 10 No Doubt Songs list looks back at a ska band that became one of the biggest pop-rock acts of the 1990s, fueled by great musicians and Gwen Stefani’s undeniable star power. It is difficult to categorize No Doubt because the band explored so many different styles. From their ska-punk roots to rock and roll, jazz, funk, pop, reggae, and dancehall, No Doubt developed a sound that was always evolving. Since the band’s breakthrough in the 1990s, Gwen Stefani has also built a massively successful solo career, reaching the level of pop stars such as Madonna and Lady

The post Top 10 No Doubt Songs Of All Time appeared first on ClassicRockHistory.com.

In recent years Benson Boone and Sombr have emerged as two of Gen Z’s biggest pop stars, but their combined wattage was apparently not enough to save the fest they were supposed to co-headline in Salt Lake City this fall.

The post Organizers Cancel New Fest Headlined By Benson Boone & Sombr appeared first on Stereogum.

Glen Hansard died last week, and it’s hard to know where to start. He was one of the genuine ones — in his music and in how he moved through the world. That’s a rare thing, and it’s the thing we’ll miss most. I’ve written before about my favorite Hansard memory: an impromptu moment at […]

On Friday, Ariana Grande released her new album petal, which is largely concerned with her own conflicted feelings about her pop stardom and her fans. During the album’s rollout and Grande’s ongoing Eternal Sunshine Tour, Grande’s changing appearance has been a major topic of public conversation, with many expressing concern over how emaciated and potentially unhealthy she has looked for the last few years. In the wake of all that a conversation, Grande now plans to take a “step back from visibility” once her tour ends.

The post Ariana Grande To “Step Back From Visibility” Amid “Public Scrutiny” appeared first on Stereogum.

It turned out to be Rob Halford's last show with the band for 14 years. Continue reading…

Hardcore .

The post Hardcore Superstar guitarist Vic Zino obtains university teaching degree from Malmö Academy of Music first appeared on Sleaze Roxx.