The mentally ill delude themselves into believing they’re something they’re not and expect the rest of the world to fall in line with their fantastical psychosis. The Death Metal Underground staff doesn’t.
Militant old school European death metal band Asphyx plans to release its new album, Incoming Death, on September 30, 2016 with the following tracklist:
- Division Brandenburg
- The Feeder
- It Came From The Skies
- The Grand Denial
- Incoming Death
- Forerunners Of The Apocalypse
- Subterra Incognita
- Wildland Fire
- Death: The Only Immortal
Frontman Martin van Drunen released the following statement:
11 furious songs in the traditional death/doom style which we are known for so well…The album title already existed two or three years ago, being a phrase that doesn’t really exist but refers to what entrenched soldiers cry out when under severe artillery fire….
And here is a list of upcoming ASPHYX shows in 2016:
07.23.2016 Ostrý Grún (Slovakia) – Gothoom Open Air
09.03.2016 Essen (Germany) – Turock Open Air
09.10.2016 Hüttikon (Switzerland) – Meh Suff Fest
09.17.2016 Püchersreuth (Germany) – Storm Crusher Festival
10.07.2016 Arnhem (The Netherlands) – Willemeen / Album release show!
11.19.2016 Ostrava (Czech Republic) – Dolní oblast Vítkovice
11.26.2016 Bucharest (Romania) – November To Dismember Festival
03.03-04.2017 Umea (Sweden) – House Of Metal Festival
Paul Baayens – Guitars
Alwin Zuur – Bass
Martin van Drunen – Vocals
Stefan “Husky” Hüskens – Drums
Attempting to enter the bloated and mostly neurotic horror genre as it stands in 2016, We Are Still Here combines two genres: atmospheric horror and intense, violent supernatural horror. Expect a long buildup of an increasing sense of being unnerved, punctuated by moments of explosive terror, which ties into a simple storyline which pits humankind against its own worst impulses.
Obituary are throwing a kegger August 6th in Tampa with kegs being flown in from Indiana by the Three Floyds Brewery. More information is available on the Funbook event page.
These sludgy noise rockers from Phoenix show potential, but ruin this release by having too much reverb and weird noises getting in the way of the songs. This album is too ambitious for its own good.
Article by David Rosales.
Desolation is a full-on ambient project that blends simple and solid harmonic backgrounds, repetitive phrases of a dark coloring, with recorded lamentations both human and otherwise. The aim seems to be to produce the whole array of impressions encapsulated within that single word: desolation. The music’s structure is progressive and appears to be segmented in an episodic manner, which normally implies a loss of continuity between sections. This unwanted effect is expertly avoided by providing smooth transitions, interleaving ambient soundscapes, nature sounds, vocal improvisations, all of which bring variety within a strongly directly concept that never loses content density or a strong sense of purpose. Furthermore, the album being simply distributed between two long tracks reinforces its unity and the requirement that the audience listens to the whole work as if commencing a mental journey, which once begun must be seen through to its very end.
Kaeck‘s Stormkult, Death Metal Underground’s 2015 Album of the Year, is out on cassette for all the Volvo station wagons, Ford Fiestas, Dodge Neons, and Mystery Machines lacking CD players. The cassette may be purchased at the Bandcamp link below while the original Folter Records CD is still available from many metal distributors.
Cryptopsy‘s None So Vile turned twenty this month. A more successful turn off your brain death metal work than Cannibal Corpse, simplified and straightforward deathgrind song structures allowed each musician ample opportunity to show off and drop jaws. Unfortunately aggression and technical showmanship can only cover up for so many repetitive mosh, hit people verses, funky slap bass, and taking three steps back towards verse-chorus-verse speed metal songwriting from their inspiration Suffocation. Nevertheless, None So Vile remains worthy of the occasional, once every couple of years listen due to Jon Levasseur’s superb heavy metal leads when not caving skulls in with a rock or something and Flo Mournier’s over the top ferocity that the original Dark Legions Archive review famously compared to a police beating.
Violent Opposition presents a one-man grindcore assault that upstages the milquetoast nature of recent underground music. This one musician plays the Jesus out of each instrument with raw pure aggression. The bass and drums are punchy and give the recording a lot of energy and verve. His song names are realist and take a strong stand against empire and against state sponsored violence.
Article by David Rosales. This review is David’s Spanish translation of his earlier review of the album.
Cuando decimos que el metal llegó a su cúspide en 1994, después de una breve época dorada, y que lo que siguió no fue sino un declive clarísimo, esto no significa que no hubo absolutamente nada bueno. Por definición, lo que le sigue a una cúspide es un declive – aunque la decadencia sólo sea aparente debido a la perspectiva. Aún más importante es aclarar que cuando hablamos de esta manera, nos estamos refiriendo a un promedio a través del género, y no señalando a nadie específicamente. Después de todo, tenemos un Summoning publicando su clásico de clásicos en 1996 y más música grandiosa a finales del siglo. En Centroamérica, siempre un paso (o más bien diez o treinta pasos) atrás del resto del mundo como resultado de procesos históricos que podemos identificar, lo poco que su reducida población, recursos y cultura permitieron desarrollar al metal local, floreció entre los últimos cinco años del siglo pasado.