DEATHROLL is an enigmatic Extreme Metal project out of Fukushima, Japan. Its sole member is multi-instrumentalist Kazu who recently signed with Worm Death Hole and re-released "Japanese Extreme Metal Art"-his seventh full-length album-on July 7, 2023. Though DEATHROLL is typically a one-man endeavor, Kazu's latest album showcases him on guitar and vocals with guests Onitake on bass, Tsukamoto on drums, and Mizutani on keyboards.

"Japanese Extreme Metal Art" is a very literal title for this six-track, 55-minute album. Kazu is Japanese and is indeed based in Japan; the musical style is Black Metal, and hence 'extreme'; and the collection is arguably 'art,' especially as the music verges more on experimental or avant-garde than traditional Black Metal. As far as the quality of the music itself is concerned, well, there is certainly better Black Metal out there and I'm not entirely convinced Kazu brings anything terribly unique to the table. The three aspects that qualify the album as Black Metal are its lo-fi production values; Kazu's demonic vocal delivery and the frenzied blast beats pacing the tempo; and the fact that all the marketing material proclaims the band as Black Metal. Personally, I'd say they are more Thrash, but that's just me.

The album oscillates between short and longer pieces, kicking off with an operatic intro, "Lady Banks," featuring a female soprano and a piano. Intriguing piece. Unfortunately, the exquisite vocalist fails to return on the five other tracks. Missed opportunity there. The second track, "The Grey Life," is a minimalist, raw number that clocks out at about 21 minutes. So, yeah, some serious contract to the opener.

Track three, "Lost in Confusion," is a fairly brutal thrashy attack. True to its name, it is all discord and chaos. Solid track, this one. "The Torture of Lying," track four, is accented with NWOBHM overtones and is graced with several compelling hooks. "False Images of Isolation and Depravity" is a mirror of track three-essentially oversaturated dissonance. The final track. "The Lion's Den," splits its 14 minutes between Doom paced melodic and Thrash attack. I much prefer the first half of the track over the second, though neither part is overly compelling.

All in all, this might be an interesting demo or debut but for a seventh album and a move to a fairly well-known label I was expecting much more. "Japanese Extreme Metal Art" is evidence of DEATHROLL borrowing off a twelve-year legacy and stronger previous efforts.