Ever since digging into Scotland’s metal scene 5 or so years ago, Hellripper have became one of my favourite homegrown bands. It makes me a proud fan to watch them as an example of a band growing over the years from early self-produced EPs to landing a deal with a reputable label like the legendary Peaceville and gaining international acclaim. Their label debut, 2nd LP The Affair of the Poisons, made for a killer culmination of main man James McBain’s infectious brand of Hell’s Rock ‘n’ Roll. Then a few months ago news of the next album surfaced. Warlocks Grim and Withered Hags was introduced with “The Nuckelavee” and ever since it first graced my headphones I’ve been hooked. Fast forward to the Goat Kvlt Gathering shortly before the album’s release and the buzz for the album intensified.
Warlocks Grim and Withered Hags opens with the aforementioned single. From the first listen you can hear the growth and expansion of Hellripper’s style. The banging speed/thrash riffing is still king however there’s a lot more influences blended in. The blackened side of the sound is amplified as well as more melodic moments, harmonised well in both melancholic and epic fashion. The different sections stand out on their own yet still flow seamlessly making for more of a sonic story. “The Nuckelavee” sets the tone for the album, infecting you with its venomous hooks, dying for what’s to come.
Where previous Hellripper tunes have been generally more straightforward black ‘n’ roll bangers, there’s more epic sounding tracks on Warlock’s Grim and Withered Hags, albeit in their own ways. The title track has a slower swinging stomp, ebbing and flowing in tempo from riff to riff each with spellbinding melodic flair. At times it almost feels like a thrash ballad, then magically weaves into melodic death metal topped with McBain’s banshee shrieks and gang shouts. Culminating in an almost folk metal climax featuring a tasteful bagpipe accompaniment following a killer solo, “Warlocks Grim and Withered Hags” is the most diverse and different Hellripper song to date, and one of their best.
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Rip-roaring speed still dominates with the blistering thrash of “The Cursed Carrion Crown”, plundering all styles of the genre’s riff archetypes into one awesome rager. Legato? Power chords? Technicality? A high pitched scream when the verse riff kicks in? All present resulting in a wrecked neck. The NWOBHM-esque middle and blasting black metal twist ending are welcome deviations into different moods, elevating the song beyond straightforward thrash. Hellripper’s original style hasn’t been forgotten though. There’s plenty of old-skool cues in the catchy punk- metal of “Goat Vomit Nightmare” and “The Hissing Marshes”. Like the Warlocks Grim… as a whole, experimentation is present. The former adds a surprise acoustic moment introducing a melodic ending while the latter layers melodic arpeggios with the power chords. Layering arpeggios is a common technique McBain has used atmospherically, melodically and discordantly across the album, giving the songs extra depth in addition to the more expansive structures.
Warlocks Grim and Withered Hags ends with a final epic, and Hellripper’s longest song to date, in “Mester Stoor Worm”. A perfect musical summary of the album, blending seamlessly between extreme and melodic styles, and with varying tempos in its massive riff collection. The storyline still comes with another unexpected yet welcome twist with more prominent death growls making an appearance. To some, the song might seem chaotic with its linear structure in differing sections with so much going on, especially when just listening. However reading the lyrics while listening proves otherwise, allowing the appreciation of “Mester Stoor Worm” as less of a straightforward song, and more of a sonic story.
Lyrically Hellripper so far have delighted in death and blissful blasphemy. However Warlocks Grim… shows a shift in interest towards olden Scottish tales of terror. However much we all love Satanic songs, it’s cool to explore something different, especially after years of similar vibes on each release. The first and last song, for example, tell the story of mythical sea demons from Scottish folklore while “The Cursed Carrion Crown” covers the infamous cannibal Bean Clan, demons in their own right. It makes for more interesting music overall, with the shifting movements complementing the lyrical journey. Sonically this is the best Hellripper record to date. The nasty scuzzy guitar tone survives slathered in reverb alongside the vocals. However the mix sounds cleaner than previous releases, though just enough to keep the sense of coldness but with clarity across the board allowing for all elements to stand out.
In short, Warlocks Grim and Withered Hags is a killer LP that takes Hellripper to the next level. McBain is constantly growing as a musician, songwriter and producer, and it’s evident when listening to the discography from the early releases to the latest. Blackened speed metal can sound similar from band to band, however enjoyable it is, but Hellripper have found their unique take on the style and stand out amongst Hell’s rock ‘n’ roll hordes. I’ve not got this obsessed with an album in a long time and it’s taken me ages to figure out what I want to say about it. Warlocks Grim and Withered Hags should be considered not only essential blackened speed/thrash but essential Scottish heavy metal.
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