Ah man, has there been a more consistently impressive extreme metal act in recent years than Hellripper? Formed in 2014, this one-man band – the brainchild of James McBain – has unleashed two brutal EPS, various split efforts, and three potent albums, with Cornach being the fourth. It arrives at a time of growth for the band. Since 2023’s impressive Warlocks Grim & Withered Hags, Hellripper have made the jump from independent label Peaceville to Century Media, with no discernible loss of quality in the process.
For anyone concerned about any potential compromise that a major label may bring, Hunderprest quickly dispatches any such notions. A multifaceted track with guest guitarist Joseph Quinlan adding additional magic, it bursts from the gates in a welter of frantic riffing and scabrous vocals. Expanding on what has gone before, there’s a subtle melodeath edge to some of the riffing – think early Arch Enemy – although the primary delivery remains firmly within the realms of black and heavy metal. It is a typically compelling start, with elements of Darkthrone, early Cradle of Filth, and Celtic Frost woven through the torrential guitar work.
Things take a more trad-metal turn next and the intro to Kinchyle (Goatcraft and Granite) finds Hellripper adding a touch of Iron Maiden class to the mix. It only gets heavier from there, of course, but it is nevertheless a nice nod to NWOBHM… As is the gang-chant chorus, which sounds like Motorhead battering a Paul Di’Anno-era track into submission. This makes it all the more surprising when the track makes a mid-course correction and dips into the world of Opeth for some nimble, picked acoustic guitar work – further evidence that James has no intention of making any of this too easy for the uninitiated to follow. A short piano prelude allows for a moment’s respite before The Art Of Resurrection kicks properly into gear. Another track that nods to Cradle’s melodramatic take on extreme metal, it has a surprisingly catchy melody, for all that the vocals appear to have been etched in acid. It’s followed by Baobhan Sith (Waltz Of The Damned) which, appropriately enough, finds a folk melody underpinning the thrash-infused riffs that sit at its core.
Arguably winning this year’s blackest-of-the-black song title competition, Blakk Satanik Fvkkstorm is giddy, a little silly and, with the title also the main lyric to the chorus, I can’t wait to hear the crowd screaming along when Herllripper next hits the stage. Delivered with malevolent glee, it finds James trading hyper-speed trad metal riffs with Joseph – returning for another bout of fret-based wizardry – both of whom sound like they’re having an absolute blast. That sense of fun continues on the dizzying Sculptor’s Cave, which packs a relentless pace with an annoyingly memorable melody – sort of like Iron Maiden accidentally played at 45 rather than 331/3. In contrast, Mortercheyn takes its time to emerge from the fog, before returning to the blackened pastures of the opening tracks. Sharply plotted, it finds James changing through the gears before eventually arriving at an evil groove so insistent, it veritably forces the listener to bang their head. It leaves the surprisingly anthemic title track to see the album out, complete with melodic vocal, spoken word passages, and a riff that combines the likes of Maiden, Priest, Cradle, and Emperor into a compelling whole. It makes for a punchy, memorable conclusion to a punchy, memorable album.
Still heavier than a heavy thing, Coronach nevertheless finds Hellripper with an expanded sonic palette, including touches of melodeath and deeper nods to the NWOBHM, alongside the expected bursts of thrash and black metal. The result is an album that hooks you in with its scaly talons and keeps you in its grasp to the bitter end and beyond, whereupon you’ll find yourself inexplicably humming a track that is, in all other respects, none more brutal. All hail Hellripper – Coronach is another cracking album, a hell of a lot of fun, and a worthy debut on Century Media. 8.5/10
