ALL HELL – The Witch’s Grail

Rating: 3/5
Distributor/label [URL]:
Released: 2019
Buy Album [URL]:
Band Website:

Band line-up:

Jacob Curwen – Vocals and Guitar
Kurt Henderson –Drums
Erik Ballantyne-Bass


1. LÖ-Bas (Ràve Noir)
2. Sorcery and Sanctity
3. Tonight We Ride
4. Black Blood
5. Into the Trees
6. Where Devils Once Danced
7. Fleurs du Mal
8. Marble Embrace
9. The Witch’s Grail
10. The Invisible World


All Hell are a black metal band from North Carolina, on Prosthetic Records. They will be releasing their latest album ‘The Witch’s Grail’ on 7th June. The band have gone for a doomier and heavier sound this time around, but they still have their thrash influences in abundance. The fusing of genres is what All Hell do best, and they have taken it further than they ever have before. 

Ahh, it’s nice not to hear constant tremolo picking for 30 to 40 minutes. Sure you get some of the stuff, but only saved for special moments. There is a fair bit of thrash style, palm muted speed picking too, but that’s slightly different. Again, it’s far from constant though. It seems already the band are different from 99% of their contemporaries. You do get blast beats with these people, but they are less extreme and less double pedal based. ‘Wow, these chaps are real innovators!’ Yeah, in a way. But that’s not really too much to brag about. 

You get plenty of slower tempos in The Witch’s Grail, but they’re not exactly new for the genre. They’re not quite as raw and sludgy as the riffs in Mayhem’s debut EP ‘Deathcrush’, but they are equally malevolent and a little more complex. What makes the album stand out above anything else are the hardcore punk traits that are very clear and strong, but still the music could do with something that makes it even punkier so that the band really have a distinctive style. Maybe some angry group chants or whatever.

In conclusion, AH do have a relatively different style but again, it could have been taken further. The riffs are often a little bland and are frequently made up of very cliched chord progressions. To be fair though, many harmonies are more daring. Songs such as the title track mix great though simple single note ideas with power chords and have the drums accent them effectively, but such creativity is limited. This album is fairly decent but it could have been so much more. 

Review by Simon Wiedemann