A DOUBLE DOSE OF DENVER DEATH METAL: GLACIAL TOMB, NIGHTWRAITH

(NCS contributor Gonzo usually helps us close the end of months with a collection of reviews, and he does so again today, but this time focusing on just two albums, both of them created by bands from Denver.)

This won’t be news to most of you, so I’ll get right to it –

The rolling thunder of the Denver metal scene cannot be denied. It’s been on a powerful sort of kick in the 2020s, and few American cities can rival the raw talent and creativity that constantly comes pouring out of it. I know this because I live here. Between the crushing ubiquity of heavy music and craft beer, this place is a veritable haven for people who wear battle jackets to bars.

And as the metal gods would have it, two new albums from two rising stars in the Denver scene have been released within a week of each other – Glacial Tomb’s Lightless Expanse and Nightwraith’s Divergence – and if you haven’t heard of either band, buckle up motherfuckers – these albums are poised to change that.

 

GLACIAL TOMB, LIGHTLESS EXPANSE

While most know him as one of two ax-wielding maestros of Khemmis, Denver also knows Ben Hutcherson as the brains behind the blackened sludge trio Glacial Tomb. And truth be told, their music is anything but glacial.

Featuring surging blast beats, paint-peeling vocals, and enough vitriol to cause entire arctic shelves to fall into the sea, Lightless Expanse is an aptly named descent into a terrifying alternate dimension. The unpredictable and destructive nature of these nine tracks unfurls in a chaotic, serpentine fashion throughout. Still, Hutcherson – along with bass wizard David Small and kit maniac Michael Salazar – show they’re in full command of the carnage at every frightening step.

“Stygian Abattoir” and “Voidwomb” erupt as a formidable opening duo, with Hutcherson’s gnashing shriek complementing the stop-start dynamics on both tracks. Salazar drives the chaos expertly, while the trio never lets the listener get too comfortable banging their heads at one consistent tempo. “Enshrined in Concrete” pops up and changes that, though, to immensely satisfying results. The song’s first half features some of the album’s best 4/4 riffage.

With a litany of pit-friendly aggression, “Abyssal Host” blasts its way forth from that point. “Seraphic Mutilation” almost seems to exist solely to one-up its predecessor. Meanwhile, “Worldsflesh,” previously released as a single in 2020, finally sees the light(less) of day on a full-length, and its remastering ends up being an album highlight.

Hutcherson has never been one to put anything less than 100% of himself into every piece of music he creates, and Lightless Expanse is a masterful testament to that unrelenting work ethic.

https://glacialtomb.bandcamp.com/album/lightless-expanse

 

 

NIGHTWRAITH, DIVERGENCE

Some purists will argue that melodic death metal is only legit if it’s from Scandinavia, but American bands like Nightwraith would like a word.

Sure, the Denver quintet might draw plenty of influence from the old guard of Gothenburg, but their unique take on melodeath is far more than a copycat of anyone – on this side of the Atlantic or not. “Fruitless” doles out its Tribulation-esque hooks from its first few seconds, skillfully layering the atmosphere on top of stone-cold heaviness. “Perpetual Night” follows suit, with frontman/guitarist Ben Pitts expertly leading the way. His unsettling, guttural roar smolders under the dueling guitars as if the entire ensemble is subtly fighting amongst itself for what can grab the most attention. Spoiler: It’s a toss-up.

“One Flower” shows the band’s propensity for tastefully written solos that sound loose, fun, and not the slightest bit forced. The catchy keyboard riffs that open the spectacular “Whispers of Dragonflies” remind me of Martin Brandstrom’s iconic mid-200s work in Dark Tranquillity, and the way this track retreats into an ambient interlude after its feral first minute is nothing short of masterful. The proggy second half of the song – complete with a flute solo – keeps your ears absolutely glued to the speaker. As a whole, “Whispers of Dragonflies” is a fucking banger of a song and easily one of the best to be released by any Denver metal band in 2024.

By the time the title track closes things out, I defy you not to queue up Divergence for another spin to catch all the nuance you probably missed. Few American melodeath bands can hang their hats on a record that’s as creative, engaging, and just plain fucking fun as Nightwraith has done with Divergence. These guys are going places.

https://nightwraith.bandcamp.com/album/divergence

Like what you’ve heard? Follow my best-of-2024 playlist for selections from everything you’ve just read, and a whole helluva lot more.

https://open.spotify.com/playlist/7zWqE685GVpuB5M3qRDvog?si=08d80939b43e4d89