Like a lot of the Metal world, we were initially blown away by Hammerhedd when that Sepultura medley started making the rounds back in 2017 (Check it out here if you missed it). Since then the trio of Ismert brothers (Take that, Max and Iggor!) has spent their days honing their craft, expanding their sound, and creating a pretty rad debut full-length with 2021’s Grand Currents. Cut to today and the boys are back in town with 52 minutes of even heavier Metal and a sophomore opus that’s every bit as brilliant as their first yet something else entirely with added dimensions and depth to their established Nu-Thrash sound.
Like the hammerhead shark stalking its’ prey from the depths on the cover of their latest LP, Nonetheless, opener “Pioneer To Be” similarly evokes a feel of inherent menace as Henry Ismert’s guitar rings out with an almost hypnotic refrain and drummer Eli Ismert keeps the veiled frenetic pace alongside bassist Abe Ismert. From there it’s like an elegant blur of riffs and Rawk with “Tunnel” and “The Richest Man In Town” bleeding together like the most Metal mixtape ever presenting some strong songwriting and technical prowess across the first 20 minutes of this recording.
“Descent” shows a softer (Albeit sinister?) side to Hammerhedd when this instrumental interlude enters next and builds an atmosphere that all crashes down when “Snakes At Bay” comes calling and almost serves as an ominous aural onslaught before the epic title track takes hold and the brothers Ismert show why they’re regularly touted as the next big thing.
But wait! There’s more epic to behold! Like the mighty “Fruition” and a gargantuan piano intro that is, quite frankly, gorgeous. Eerie and foreboding as well? Sure! But there’s no doubt of the grand scale that serves as a template here and throughout the Hammerhedd tracks on Nonetheless with “Fruition” particularly standing out as Henry leans into some ’90’s Alternative/Grunge-style vocal harmonies before that uncanny growl rears its’ pretty little head. “Down the Hall and To Your Left” sees the return of that piano for another short but sweet(ish) mood piece separating the loud before “Synthesis Pt.1” and “Synthesis Pt. 2” succinctly spiral out of control for one last loud bout of modern Thrash.