Necrokinesis — Death Is The Hammer Review
Necrokinesis, the Irish one-man Thrash Death entity forged in the isolation of 2020, returns with his third full-length ritual: “Death Is The Hammer.” Released digitally via independent channels and physically through underground stalwarts Witches Brew, and promotional rites were conducted by Cutting Edge Metal PR.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
Forged in Isolation, Tempered by Fury
The sonic assault commences the instant the play button is engaged. The opening hymn, grimly titled Death is Just the Beginning, unleashes a torrent of raw aggression. This ferocious onslaught sets the tone, a relentless current that carries through the remaining eight hymns. For thirty brutal minutes, extreme music relentlessly hammers the listener’s psyche.
Biohazard Hymns: Thrash-Death Ferocity with Melancholic Undercurrents
Necrokinesis is a thirty-minute sonic battering ram, fruitfully merges the kinetic ferocity and technical of thrash metal with the guttural power of old-school death metal. Yet, it sidesteps any sense of nostalgia. The sound is resolutely forward-facing. Beneath the crushing weight lie melodic currents, subtle whispers of melancholy that add depth. The music possesses a potent catchiness. Rhythmic passages groove with a visceral pull, while intricate chord work and brief, sharp solos inject moments of technical brilliance.
These technically adept and groove-laden guitar passages act like a biohazard, an infectious hook that seizes and compels.
One Man, One Vision: The Devilmanship of Death’s Architect
Adrian Foley, the sole architect behind this sonic ritual, recorded, mixed, and performed every single element. This singular vision grants him absolute command over the album’s tone, its deliberate pacing, and its grim atmosphere. Within the sonic architecture, the soundscape is simultaneously raw and refined. The mix is intentionally tight, possessing a cavernous quality, with guitars thrust forward like a phalanx of serrated blades. Presenting a dry, aggressive timbre. There is no artifice, no polish; only unadulterated grit and unwavering intent.
The drums, whether they be live or programmed, possess an undeniable organic feel. It’s likely they are programmed, yet imbued with humanized velocity and decay, mimicking the thunderous boom of war drums buried deep underground. The vocals deliver commands with unwavering authority.
Every sonic detail is captured with meticulous perfection, creating a sound that practically oozes from the speakers. As a singular artistic endeavour, the sheer devilmanship of this project is a testament to its artistic merit. It is a hellish composition and a series of deliberate sonic pacts, woven through both the instrumental and vocal elements.
Hammer-Struck Hymns of the Chthonic Pulse
Instrumentally, Adrian Foley’s guitar tone is decidedly dry, with a potent mid-range punch and an aggressive edge. There’s no lingering reverb haze, just the sharp, unvarnished bite of raw guitar. The riffs are tight, relentless, and often gallop with the blistering velocity of thrash before plummeting into the crushing chug of death metal. Solos are a rare but piercing occurrence. When they erupt, as heard on Cernunnos, they shriek like banshees, clawing their way through the dense mix.
Rhythm guitars form the dominant force in the soundscape, constructing a claustrophobic wall that ensnares the listener within the confines of the sonic rite.
There’s a ritualistic cadence to the phrasing. Each riff feels like a potent chant, a forceful hammer strike, a deliberate summoning of dark forces.
Adrian Foley’s bass riffs operates on a primal level, felt more than overtly heard. It coils beneath the guitars like a subterranean serpent. This low-end presence anchors the sonic chaos, lending considerable weight without ever muddying the overall mix.
In hymns such as Wolfwalker, the bass subtly underscores the album’s transformative themes, grounding the primal beast within the music’s fabric.
Hammer-Struck Rhythms of Ritual Precision
Adrian Foley’s drums, regardless of their origin, live or programmed, are exceptionally tight, imbued with a humanized feel, and relentlessly punishing. Blast beats erupt, double-kick barrages pound with relentless force, and sudden tempo shifts occur, each one a calculated rupture in the sonic ritual. Cymbals are dry and sharp, snare hits land with stone-crack precision, and the toms roll with the ominous rumble of distant thunder.
Hymns like Annihilation and The Power showcase Foley’s formidable percussive prowess, demonstrating violence executed with clear intent, not mere haphazard chaos.
Catacomb Convictions: Foley’s Ritual Voice and Incantatory Fury
Adrian Foley’s vocals are deep, dry, and possess a distinct ritualistic quality. They are not simply aggressive; they carry a ceremonial weight. They sit lower in the mix, echoing as if from the depths of ancient catacombs. Minimal layering or effects are employed, allowing the raw power of Foley‘s throat and his unwavering conviction to shine through.
Apologist and A. Icon feature his most venomous vocal deliveries, transforming condemnation into a potent form of catharsis.
Lyrically, the album delves into themes of death, ancient myth, and utter destruction. Foley employs incantatory phrasing, frequently repeating key lines like a powerful mantra, drawing the listener into a state of trance.
No Idol Left Standing: Necrokinesis’ Death-Thrash Invocation of Absolute Authority
Necrokinessis‘ Death Is The Hammer transcends being merely an album; it is a weaponized rite of passage—a fruit of art. Conceived and executed in isolation by Adrian Foley, this singular death/thrash ritual channels raw annihilation, the fury of ancient myths, and the unyielding pulse of underground defiance. Foley‘s hammer does not simply strike; it judges, cleaving through false idols and the stagnant waters of sonic complacency with absolute authority.
The Final Invocation: Three Last Sins Before the Hammer Falls
As Death is The Hammer fades into its final echoes, we extend our deepest thanks to Cutting Edge Metal PR for granting us the honour of reviewing Necrokinesis‘ Death is the Hammer. Now, we descend into the final triad of sins—each a closing invocation in this thrash-death ceremony. What follows is not merely a conclusion, but a reckoning.
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
Adrian Foley — All Instruments, Vocals
Hear The Music
Reviewed by Kristian — editorial architect and ceremonial crafted. © Athenaeum of Sin Reviews.