Pray U Prey, The Omega Kill (Selfmadegod Records 2021)

The Omega Kill is the sophomore album from British hardcore Death Metal band Pray U Prey.

Pray U Prey formed in 2014, producing an EP almost immediately and their debut long-player, Figure The 8, three years later. You could hang a lot of labels on their music – hardcore, punk, crust, grindcore, death metal – but what you need to know is it’s loud, fast, and outrageous. The band is Shrew (vocals), Simon G (guitar), Colin (drums), and Shrub (bass).

There are twelve songs on the new album, every one of them a hammer to the head. “Earth Roulette Wheel” opens with a sweet capture from an old movie about the generosity of man and the plenty of nature that is quickly trampled under the relentless battering of the band’s instruments and the craggy growling of Shrew. “Hidden in Plain Sight” is next and it skips the intro, choosing instead to drop 65 seconds calamitous thrubbing onto your personal space. There is no time to take a breath before “Life Without Reflection” – my favorite from the set – pushes your face in the dirt.

With the shortest pieces, it is a straight-through clacking sprint to the end. When the song goes on a little longer, there is a pace change and shift in riff structure, usually. On songs with slower movements like “Active Suppression” and “Living Library,” the music focuses on doomy ideas in between the flailing and thrashing. So there is a lot of different ideas bandied about on the album. Through it all, aggression and persistent presentations of adrenaline are the mainstays. This one definitely inflames. Recommended.

The Omega Kill is available on Friday, August 6th through Selfmadegod Records. You can snap it up on CD or digital at Bandcamp.




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Pray U Prey, The Omega Kill (Selfmadegod Records 2021)

Ilsa, Preyer review (Relapse Records 2020)

Washington, DC doom metal masters Ilsa unveil their sixth full-length album, bringing feral certainty to a world of indecision.

The first music of Ilsa’s I heard was Corpse Fortress (2018), well into the history of the band. What a great album. The music is Doom Metal in a very active sense, with no dragging or overdrawn moments. It is intense, and I expected the same from the new one, Preyer. It is all that and more.

“Epigraph” has a voiceover for the entire song where a Satanist discusses killing someone as part of what appears to be an interview. This is about Sean Sellers, a convicted murderer, and the album has this notion as its starting point. The music is heavily distorted and begins in the background. By the end of the song the positions are reversed with the voice becoming more distant and the music taking the forefront. “Poor Devil” is next and it is the first step after launch. The fully formed doom vision of the band is instantly in play and there is no looking back.

The pace is variegated but the filling line is not. The vocals on every track sounds like the world depends on the message getting through. The lead work is penetrating and the rhythm sets solid steel railing. The Punk intentions are plainer on some songs, like “Shibboleth,” and on others, like “Mother of God,” Doom lays it hands on heavy and presses hard. The title song is like a mad monk’s manifesto and the closer, “The Square Coliseum,” slides the stone lid over the sarcophagus of ruin in a final, terminal jolt. The place where solace lives is not accessible from this musical world.

Preyer is out this Friday, November 20th. It is a welcome addition to the band’s burgeoning canon. Recommended.

Band photo by Maire O’Sullivan.


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Ilsa, Preyer review (Relapse Records 2020)