There’s always a certain level of expectation going into a new album from a beloved band. Hellripper is one such band for me. I’ve loved everything James McBain has released, and, as such, hold this band to a higher standard than others. I still listen to the previous two albums (and the excellent EP Black Arts & Alchemy) quite frequently. Did I set my expectations too high and, much like Icarus, crash into the sea? Absolutely not. This album is indicative of one of the most incredible transformations between albums I’ve ever seen with only a three year gap to boot.
Hellripper integrate different dynamics in each of the songs, which is a welcome addition to already fun music. There is certainly a traditional Heavy Metal influence on this album, especially on the title track, which feels like an homage to Blood Fire Death era Bathory, in addition to the blackened, speedy Thrash Metal that makes up this album’s core sound. Instead of the pure Blackened Speed reminiscent of Motörhead/Venom on their first two albums, Hellripper has added more bits of Black Metal, and even a small dash of Death Metal, into their signature Blackened Speed blend to cement their most complete work to date. Having heard this album in full at least a dozen times by now, I will defend that this is their best work yet. Each song is full of fun, and there are quite a few jaw-dropping moments, especially “The Cursed Carrion Crown,” which makes me speechless after the blazingly fast solo close to the end of the song.
While McBain showcases his ever-growing songwriting skills throughout Warlocks Grim & Withered Hags, there are a few tracks which show that it’s still the reliable Hellripper fans have come to expect: “Goat Vomit Nightmare,” “The Hissing Marshes,” and “Poison Womb (Curse of the Witch).” Even though the core songwriting approach changed, the album still sounds like Hellripper. It’s not easy to make a successful follow-up by changing key elements of a previously successful sound. When Bewitcher tried it on their third album, they sounded disappointingly different, eschewing the Blackened Speed that defined them almost entirely. If there’s anything to complain about, it’s that I wish McBain had released this album in lieu of (the still excellent) Affair of the Poisons. The songs here are incredibly developed and showcase a bright future for this hidden, filth-encrusted gem from Scotland. If you want something fun to listen to, look no further, as it will be nearly impossible to top the unabashed fun-fest this provides. Warlocks Grim & Withered Hags will most likely be in my top five of the year.
