Audio Assaults 420/666 vol. 5 Part 2


I, The Devil
Hells Headbangers

Everyday since last week, I’ve been checking the status of my HHR order if it’s been shipped. the ship date was April 30. I missed the HHR memo that “the entire package ships May 31” when the cassettes and pic disks are at the HHR HQ.

As already mentioned here, the new Deiphago is unrelenting, unmerciful black metal of the HIGHest order; adding even more idiosyncratic twists and turns, proggish structures, lysergic black riff attacks, well textured organized chaos, while keeping it as mercilessly brutal as their last albums.

V666, Sidapa, and E.Mejia fuse some of the most lethal and unstable elements: more Satanik Chaos, juggernaut brutality, and speedblurr anti cosmic sounds and songwriting. It isn’t a feat many bands can achieve, but Deiphago achieved it effortlessly while demonically laughing at others who even have the chutzpah to attempt and follow it.

Deiphago already mastered it with Into the Eye of Satan. Here, they execute this extreme of EXTREMES at high stakes power. You can’t even tap out early because it is just on total destroy in the next 30+ minutes with both mindbent parts and brutality. You just simply disintegrate in the process.

Some fans probably were not known of engineer Kurt Ballou, the band’s handpicked choice of engineer and producer; here, the evil, brutal results hit you in the forehead direct with his sonic nuances in extreme hardcore / punk / noise rock / experimental productions. His expert application of all these into extreme black metal accentuates Deiphago’s sonic details on the new songs.

Deiphago continues to destroy, annihilate in the name of Satan, while tripping into darker, weirder elements (multidimensional anti cosmic black hole sound) and still pushing it to even higher levels.  The bigger the risks, the better the (SATANIK) rewards.

order here

* With special thanks to EMIL Wave of Darkness

Mass Hypnosia
Toxiferous Cyanide + Vicious
Ragnarök Records


This is a double review because I wasn’t able to do one for Toxiferous Cyanide. It’s also about time Vicious their new album is featured here. It’s already a done deal when both albums dropped 2016 and this year, respectively. Karl, Emman, and Daryl worked hard for the past 3 busy years, and the proof is in these records.

With Mass Hypnosia, you know what the F you’re getting even if you just base it on their killer album covers. No “retro” thrash, no party thrash, or any of that silly shit by keeping it simple and killer: MH don’t F around, don’t deal with scene bullshits, and don’t give 2 shits if you’re not in on the speeding (deaththrashspeed) train; They’ll run over you at breakneck speed anyway.

Toxiferous dives right in and slices with fast, catchy, sharp and deadly thrash. MH’s aggression is 70% thrash with an underlying 30%  death / thrash poisonous hybrid strain that adds a massive kick in their overall attacks. This album features previous drummer Kenneth Quidem, who shines on this album, and unfortunately also serves as his swansong with the band, and he kills and ends his tenure on a high note here.


His successor, James Daryl Esguerra enters the warzone fully prepared. After killing it on the Vicious demo cassette and a string of EP’s, plus Asian tour dates, Vicious, the full length is his and their next step up.

Esguerra proves a deadly recruit as these releases continue the killing spree. Vicious resumes right ahead with a ripping collection of mega thrash-a-thons peppered with catchy and evil songwriting combined and will deliver you straight to hell. Put this on your car stereo or  motorcycle while speeding at 250mph from the police, with guns loaded, and while under the influence. Just do it.

Karl continues to provide riff after riff and shredding solos with his pissed off evil speeddemon screech vocals, supported by Emman and Daryl’s tight rhythm section. Live, it becomes even more bombastic in approach and lethal in intensity – whether touring as headliners, or playing an intense set at some rowdy lokal bar. The new album kills and MH fires off another lethal round of HIGHly recommended Philippine thrash assaults. One of the country’s top metal exports.


Et Mors
Lux In Morte
Blind Corner

Bleak Horrifying Maryland BDSM or “Black Doom Suicide Music” as written on those black tapes of their new album (also out on CD here). Et Mors is space miles away from more “mainstream” doom sounds and circles. Et Mors is in the more hidden, the more obscure, where there’s the (Devil) crossroads of funeral doom, black, and extreme ambient/atmospheric meet and make secret deals.

It’s a (night terror) fuse of older, grimier death doom, funeral doom, and black doom (3 x the DOOM). There’s also head stirring ultra slow and sorrowful atmospherics, like late 80s-early 90’s darkwave bands from Projekt Records, but mutated onto old black metal and funeral doom. And they creep effortlessly from slow haunting black mist soundwaves to towering doom riffs the size of dead ancient monuments.

The distant cave-echoey inhuman vocals will sometimes reveal to negative choir like undead chants. But only then is where you realize all hope has eroded by the time you reach the end in track #3 the insane “Acid Bender” (YES) where you further lose / erode your mind into nothingness.

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