Folk horror speed metal from the Scottish one-man apocalypse.
If I’d discovered this album just a little sooner, I might’ve bought tickets to see Abbath and Toxic Holocaust purely for the support act. That’s how much I’ve come to love Hellripper.
Hellripper is the black/speed metal solo project of James McBain, a one-man riff machine from the Scottish Highlands who’s been conjuring demonic energy since 2014. Warlocks Grim & Withered Hags, his third studio album (released in Feb 2023), earned critical acclaim from fans and reviewers alike—and I get it. I really do.
Melodic Mayhem at Breakneck Speed
This album rips. It’s fast, filthy, melodic, surprising, and absolutely drenched in character.
The speed metal influence? Obvious. Everything (except the title track) is dialled up to breakneck.
But what makes Hellripper interesting—and not just a nostalgia trip—is McBain’s ear for melody and chaos. He pulls from Motörhead (see: The Hissing Marches), Maiden (guitar tone + solos), Judas Priest (The Cursed Carrion Crown opens with a Halford-worthy shriek), early Metallica (Kill ’Em All thrash gallops), and even melodic black metal à la Dimmu Borgir or Cradle of Filth.
And it works. It’s not copy-paste genre worship—it’s a delicious, demonic brew that actually has its own taste.
Lyrical Lore, Screeching Glory
Lyrically, McBain pulls from Scottish folklore—Nuckelavee, Mester Stoor Worm, Kelpies—and I absolutely lost an hour to Wikipedia because of it. The rest is full-on hellfire metal poetry: Satan, rituals, monsters, witches, the works.
Vocally? Blackened shrieks that spit venom.
But there’s texture—especially on tracks like Mester Stoor Worm, where he throws in deeper growls too. This album isn’t just fast. It’s smart. And fun.
Where the Goat Really Starts Screaming
Warlocks Grim & Withered Hags – The title track and hands-down my favourite. Slower, moodier, full of atmosphere. Starts with a little Bathory nod, builds into blackened verses, and then hits you with an unreasonably catchy “Warlocks!” gang shout. And yes—the bagpipes at the end are brilliant. They shouldn’t work, but they do. I love them too. They’re metal as hell.
Mester Stoor Worm – Growls layered with shrieks. Unexpected acoustic interlude. Ends the album with surprise and strength.
I, The Deceiver and The Cursed Carrion Crown – Full speed. Full shred. Solid riffs. No complaints.
The Cover Art: AI Goat Vibes
I love the cover. It looks like someone told Midjourney to create “an unsettling black metal goat, but make it cursed.” It’s one of those images that looks fine at first, and then you stare longer and start feeling weird about it. Perfect.
In Conclusion: A Blackened Gem
This album doesn’t just tick boxes—it bites your face off, licks the blood off its fingers, and thanks you for listening.
It’s fast, melodic, creepy, and delightfully weird. It’s also proof that blackened speed metal doesn’t have to be lo-fi basement nonsense to be interesting. McBain gets it right.
This one’s a keeper, no question. I’ll be screaming “WARLOCKS!” at the sky for weeks.