Skip to main content

4 Revelations About Bastard Cröss's Crossripper : More Than Just a Black/Thrash Album

About Bastard Cröss Crossripper

In an era where the Black/Thrash scene is saturated with clones and interchangeable productions, it's rare for an album to stand out with such a distinct personality. Yet, the debut album from Philadelphia band Bastard Cröss, titled Crossripper, is one of those gems that commands attention. While it's a ferocious fusion of black metal and thrash, this record holds some surprising secrets. Here are four key points that prove Crossripper is much more than meets the eye.

crossripper man

1. More Than Just a Black/Thrash Album: A Surprising Touch of Glam

While the core of the album is a "ferocious combination of Black Metal and Thrash," it incorporates a surprisingly wide range of influences. It incorporates elements of early death metal and punk, but the most unexpected influence is found on the track "Demons At Midnight." This song is an "impressive fusion of thrash and 80s glam/US power metal." Far removed from the more commercial bands of the genre, this influence evokes more aggressive groups like Lizzy Borden and Malice. This audacity is all the more successful because, as critics point out, the track retains the raw energy of the album and fits in perfectly, proving the band's versatility without sacrificing its ferocity.

2. Total theatricality: from stage names to horror themes

The band's commitment to its aesthetic extends far beyond the music. The members sport theatrical pseudonyms that perfectly set the scene:

  • Heathen Chevalier (aka Chevy McQuaide) - Guitar/Vocals
  • Blasphemous Axe (aka AJ Defeo) - Guitar/Vocals
  • Infernal Bastard (aka Joseph Tartaglia) - Drums
  • Beheader Of Priests (aka Federico Feu) - Bass

The album's lyrical themes are equally immersive, with tales of "demons, mummies, and a headless horseman." The release date of October 31st is perfect, especially since the closing track includes a sample from the film Halloween: The Curse of Michael Myers.

3. A Masterful Homage to the Masters of Metal

Crossripper is built on a "clear and obvious respect for the old school." The tributes are scattered throughout the album and will delight connoisseurs:

  • The drum intro on "Parasitic" is a clear nod to Motörhead's "Overkill."
  • The title track, "Crossripper," exudes a serious, Celtic Frost-esque vibe and unleashes blast beats worthy of Sodom.
  • Blasphemous Axe's high-pitched screams channel the energy of Schmier from the German thrash metal band Destruction, a style that contrasts sharply with the band's other vocalist.
  • "Phantom Pestilence" incorporates Destruction's signature vocal tics reminiscent of their classic "Bestial Invasion."

These influences are skillfully integrated into the band's own sound, creating a work that is both nostalgic and refreshing.

4. The Secret Weapon: A Devastating Dual Vocal Attack

One of the defining characteristics of the band's sound is the dual vocal attack of guitarists Heathen Chevalier and Blasphemous Axe. The contrast between their styles is striking: Heathen Chevalier possesses a "deep and formidable roar," while Blasphemous Axe delivers "high-pitched screams." This vocal interplay, particularly audible on "Lycan Knights," lends the music a greater sense of "menacing menace and malevolent intent." This perfectly aligns with the band's stated objective: "to create intense and aggressive metalpunk, enhanced by double vocal attacks, powerful guitar harmonies, and gritty bass tones."

In the end

Crossripper is much more than just a debut album; it's a "vicious and uncompromising" record, simultaneously ferocious, melodic, and incredibly entertaining. Ultimately, Bastard Cröss's true achievement lies in this masterful balance between raw aggression and a profound respect for metal's rich and diverse history, marking the debut of a band to watch very closely.


Metal Punk HC logo

Previous Article

Comments

Popular posts from this blog

Die Spitz Something To Consume : album review - chaos, fury and raw beauty

Dive into Die Spitz Something To Consume Listening to Die Spitz Something To Consume is like being thrown headfirst into a storm, roaring riffs, razor-sharp guitars, pounding drums, and voices that scream and whisper in equal measure. This debut full-length (👈 available) from the Austin quartet isn’t just an album, it’s a battle cry against mediocrity, a dare to feel something raw and untamed. Produced by Will Yip, a heavyweight when it comes to raw, uncompromising sound, Something To Consume dropped September 12, 2025 on Third Man Records. It’s 11 tracks of restless energy, balancing fragility and ferocity in a way that feels dangerous, unpredictable, and alive. The record kicks off with Pop Punk Anthem (Sorry for the Delay) , a playful nod to skate-punk nostalgia before erupting into chaos. Then comes Throw Yourself To The Sword , a feral explosion of guitars and primal screams that hit you like a sucker punch. Every track feels like a differ...

Death Whore album Blood Washes Everything Away - Pure Crust Carnage Unleashed

Death Whore album Blood Washes Everything Away: Punk Hellfire Meets Death Metal Mayhem The Death Whore album “Blood Washes Everything Away” spits, snarls, and batters every sense like a sledgehammer in a meat locker. Standing on the faultline between crust punk, old-school death metal, and grindcore, Death Whore crash onto the 2025 scene with one brutal mission: leave no eardrum untouched, no poser unscathed. Born from the sullied backrooms of Nancy, France, their debut LP blends guttural growls, unrelenting speed, and slabs of sonic concrete to crush modern apathy under a wall of razor-sharp riffs. If this record doesn’t get blood on the pit floor, you’re not listening loud enough. Mastered by James Plotkin (Khanate) and clad in Ethan Lee McCarthy’s (Primitive Man) nightmarish artwork, the Death Whore album is a 35-minute riot. Tracks like “Motorthroat ’79” – the anthemic single and video shot in the sweat-soaked Nirvana Pub Club – lurch and rip, fusing Motörhead swagger with a hi...

Paradise Lost Ascension: Legends of Doom Metal Rise Again

Paradise Lost Ascension: Cathedral Hymns for the Defiant Paradise Lost Ascension isn't just a new album, it's a funeral procession set to riotous doom and gothic grandeur. 2025 marks nearly 40 years of Paradise Lost, and their seventeenth full-length, " Ascension " (👈 available) detonates any notions of retirement with riffs heavier than guilt and melodies sharper than regret. Released on Nuclear Blast, this record fuses the band's funeral march vibes with flashes of punk venom and stoner defiance. It's the album you spin when you want to burn churches, not with flames, but with thunder. From the opening gates of "Serpent on the Cross," Holmes unleashes guttural roars that feel like your last confession, while Mackintosh's guitar leads tear through the gloom with all the grandeur of a blackened cathedral collapsing. "Tyrants Serenade" tiptoes between Type O Negative’s gothic creep and crust-drenched melancholy, while "Salvati...