BeastwarsArtworkNew Zealand’s Beastwars popped up on my radar with their excellent Blood Becomes Fire album in 2013. They impressed me with their bruising style of doomy sludge metal, combining the heft of Leviathan-era Mastodon and molten riffage of High on Fire before injecting subtle doses of ’90s grunge, prog and classic rock influences into the mix. Although they have their notable influences, Beastwars have a unique voice and showcase the songwriting chops and individuality to stand out from the crowded sludge metal field. Above all Beastwars harness an ability to craft bone-jarringly heavy and deeply infectious sludge-doom songs condensed into easily digestible capsules of metal goodness. And unlike a lot of sludge and doom bands, Beastwars are careful not to overstay their welcome, keeping things relatively short and punchy and sticking closely to their songwriting fundamentals and simple ‘obey the riff’ motto. Add the wildly unique grizzled growls of vocalist and trump card Matt Hyde and Beastwars are a formidable force, deserving wider recognition beyond their respected status in the Southern Hemisphere.

The Death of All Things signals the final chapter in the band’s conceptual post-apocalyptic trilogy and it’s a monstrous outing, boasting riffs thicker than a lumberjacks beard and earth shaking rhythms reminiscent of the band’s mountainous homeland. Beastwars get straight down to business, opening the album on a strong note through the hooky blood and thunder crunch and off-kilter lurch of “Call to the Mountain.” The song kicks into gear in rumbling, fist-pumping style, as fat crunching riffs, quaking waves of bass and caveman clubbing drums unfold around Hyde’s gruff, passionate howls and perfectly unrefined cleans. Hyde’s vocals are a raw weapon of destruction, both tremendously powerful and surprisingly versatile, often elevating solid tunes to the next level and leaving trails of raggedly infectious vocal hooks in his wake. Not to be outdone, guitarist Clayton Anderson couples his scuzzy, lurching sludge-doom riffs with slick embellishments and tasty guitar licks, venturing outside the paradigms of his sludgy roots.

Beastwars breathe new life into the age old trend of soft-loud rock dynamics, letting the quieter sections simmer and boil with barely restrained tension and menace before erupting into the kind of hulking riffs and explosive vocals that define the superb “Devils of Last Night” and the upbeat slow burning rock fuse of “Witches.” Their stringent self-editing process works wonders in how punchy and palatable their muscular metal comes across, meshing gruff skyscraping hooks and refreshing accessibility without compromising their bulldozing heaviness. Riding a laid-back stoner fuzz groove, the delightfully catchy “Black Days” is like the Beastwars equivalent of Mastodon’s “Curl of the Burl” minus the mainstream pandering and featuring far grittier, inspired vocals and an earworm chorus.


The Death of All Things could perhaps be labeled a tad top heavy, but it’s not courtesy of a dramatic loss of momentum, rather a slight shift in tact due to the less immediate, moody and slightly restrained nature of the material that permeates the album’s second half. Following a trippy, cruisy intro “Holy Man” descends into darkness as a mournful melody takes hold and undercuts crashing outbursts and an impassioned and totally unhinged vocal performance from that man Hyde again. Backed by acoustic guitar and beautiful violin melodies, the foreboding and morbid balladry of “The Devil Took Her” is a stripped back and masterful change-up from the band, adding another string to the album’s bow. Produced by Beastwars and James Goldsmith, mixed by Andrew Schneider (Unsane) and mastered by Brad Boatright (Sleep, Windhand), The Death of All Things sounds massive, an immense vessel of sonic heft and power. Unfortunately it’s also quite loud. Not to the point of discomfort but the compression slightly dulls those soft-loud dynamics the band execute so well and I can only wonder how much more amazing this could sound with a bit more breathing space.

Fronted by a wise, fiercely unique and deranged preacher and sounding like an unholy stoner bastard child of Mastodon, High on Fire, Soundgarden and Crowbar, Beastwars pack an almighty punch and land their hooks with a thudding, reverberating impact.  Hopefully the end of the trilogy will herald in a new chapter for the band and not halt the impressive progress they have made in their career thus far, as The Death of All Things is an emotion charged, gutsy and memorable listen that should catapult the band’s under-appreciated profile on the back of another triumph.

Score: Great
DR: 5-6 | Format Reviewed: 160 kbps mp3
Label: Destroy Records
Websites: |
Releases WorldwideApril 22nd, 2016

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  • Ocajian

    “Reviewed at 160 kbps mp3” Ouch.

    • AlphaBetaFoxface

      The staff seem to be pretty damn tolerant.

      • Feytalist

        Hey, you get what you get and you work with it. You can’t hate on a band for the quality of the promo.

        Tolerance would be the least of requirements for a reviewer in this case, I would think.

    • Adam

      Given the extreme dedication given to slamming poor production jobs on this site, it always baffles me that this is often done via shit quality mp3s.

  • Bart the Repairman

    This is riffastic! Especially the beginning.

  • Monsterth Goatom

    Quite the retro cover art. “Big White Bird out of Hell!”


      Ay, that big white bird is native to Beastwars’ home, New Zealand, and part of the Concorde eagle family which feeds primarily on snakes and mice. The beast war (pardon the pun) depicted on the cover art can thus be dubbed a Fight of the Concordes!*

      *Disclaimer: lies.

  • Super Nintendo Chalmers

    This is what a lot of newer sludge/stoner bands wish they could pull off. This is damn solid and catchy. Even had a bit of a Tool vibe during a section of the song vid you posted.

  • I say this every time I see Beastwars mentioned somewhere, but Matt Hyde’s vocals are consistently stunning. He oozes passion.

    • Luke_22

      Totally agree, he really lifts them to another level.Great band all round.

  • Tom Hardy

    Glowing review got me to listen to the other 2 tracks the band have on their Bandcamp page and those outright suck compared to the embedded track while also sounding pretty different. I had to make sure I wasn’t listening to a different album cos I second guessed myself, but no, there was no mistake made on my part.

    Easy skippydappidydoo.

    • Name’s Dalton

      Aye Tom, that “Witches” track starts off poorly but somewhat redeems itself at the end. However, I really dug the other song, “Black Days.” Singer, as mentioned elsewhere in comments section (and within the review), has an astounding voice. Jury is still out on this one, but I wanna like it.

  • Great band. I highly recommend you check out their self titled album on Bandcamp for some stomp-heavy, fun lovin’ (although more simplistic) sludgy doom (or doomy sludge). Looking forward to seeing them in Wellington tomorrow night, the lead singer is an intoxicating prophet on stage.

    • Luke_22

      Yeah I’ll definitely check out the debut and hope to catch them live some day. Hoping they come to Australia soon.

      • Sharp-Blunt Boy

        My mate in Melbourne is a big fan and has seen then a few times. Keep your eyes peeled bro.

  • Sharp-Blunt Boy

    Really pleased to see these guys get some coverage on these hallowed pages. Their first album was amazing (and still is), the second didn’t really gel with me as much, but looking forward to this one. However, the only way to really appreciate these guys, is live:

    Matt is one of the most charismatic (whilst strangely deranged) front men I’ve ever seen and the tone they get from their rig provides the soundscape to the grinding core of this planet – dynamic range be damned.

    I’m going to see them tomorrow night – thanks for increasing my anticipation with your review.

    Obey the Riff!! Buy the album!!

    • Luke_22

      Fingers crossed I’ll get to experience them live in the near future. Unfortunately it seems this will be their final album.

  • Carlos Marrickvillian

    This is an excellent album that just keeps growing on you. A definite for my top10 this year.

  • Deepak R N

    I first encountered this band/album on board an Air New Zealand flight I recently took on my way back to Singapore. I found the new Mastodon album on the menu and was settling in to give it a good listen when I saw this intriguing looking band and album art close to it on the menu. I clicked on it and ended up listening to the whole thing. Amazingly good album and band, their style of sludge metal is close to Mastodon when they had a heavier and thicker sound. Well done, Kiwis! m/