Master’s Hammer are playing the Brutal Assault 2017 festival in the Czech Republic. The set will be their first live gig in over twenty five years and feature their early material from their demos and first two albums, Ritual and The Jilemnice Occultist
Ignyaz Degtyarov of “flowing black metal” and folk “metal” website and zine Black Ivory Tower slammed and parodied Death Metal Underground for Lance Viggiano’s negative Sadistic Metal Review of Condor’s recently released inferior third album, Sangreal. Apparently reviews of metal records evaluating the actual music behind the recording when compared to the works of past greats is autistic to Degtyarov, who only judges metal by how well it conforms to his Slavic nationalist Weltanschauung. Lance Viggiano speculating that a Black Ivory Tower contributor writing an ultimately boring upon repeated listening album due to chugging wine coolers and wearing The Rocky Horror Picture Show makeup like Sentence of Death era Destruction wounded what appears to be quite a fragile ego.
Asphyx debuted the title track of their incoming Incoming Death on Youtube today and it at least its better than the awful Obituary “song” that came out yesterday. The album comes out on September 30th on Century Media Records which even though they put out a lot of Hot Topic crap, take less of a hacksaw to reissues and classic bands than the toilet scrubbers at Relapse or the “commodify everything retro with EZdrummer” philosophy of Nuclear Blast.
Asphyx announced their upcoming album, Incoming Death, will be released September 30th on Century Media Records. Vocalist Martin Van Drunen said the record would be the “best Asphyx album ever”:
Four and a half years after the release of “Deathhammer” we finally managed to finish its long awaited successor. It will be out on September the 30th, as always on our beloved label Century Media. Expect 11 unmerciful battering tracks in the typical ASPHYX death/doom style, but also the most varied ASPHYX material up to date without losing our rawness, brutality and heaviness. The album will be entitled “Incoming Death”. And like “Deathhammer”, it’s a phrase that doesn’t really exist, but refers to what entrenched soldiers cry out when under severe artillery fire. Thus “Incoming Death” implies another relentless bombardment of monstrous ASPHYX death/doom metal!
Recorded on different locations throughout 2016 and once more mixed and mastered by the mighty Dan “The Man” Swanö. Serious ear bleedings guaranteed! It’s also our first record also featuring “Husky” on drums, who is now with us for already two and a half years molesting the pig skins with the absolute perfect ASPHYX attitude, passion, pride and mayhem. We are very proud of this best ASPHYX album ever! And knowing our dedicated fans worldwide, they will be proud of us as well! Soon we will hit the stages on every continent to do what we do best; Intense, loud, sweaty, filthy and ruthless live performances!
My experiences with Brutality prior to Sea of Ignorance‘s release lead me to believe that all of their works take a disproportionate acclimatization in order to properly comprehend, only surpassed in my experience by the wall of voodoo that is Incantation’s debut. This album has little to do with Incantation’s style, like most of their others, but it has only reinforced my hypothesis. Brutality’s take on “melodic” death metal consistently contains enough harmonic hooks in the riffs to draw a listener in, but odds are you’ll only find their music truly rewarding if you give it some time to sink in. That’s not exactly suited to the fast paced world of online music criticism (advertising thinly veiled as criticism), but odds are you’ll get more out of Brutality’s latest than your average death metal album even if you don’t give it a proper chance.
In general, Sea of Ignorance varies only subtly from its predecessors, and most of these changes play out on the surface. Brutality settled on their current approach early in their career, occupying the liminal space between their often sparser Florida contemporaries and the emphasis on structural and harmonic complexity of a band like At the Gates. The comparison to the latter has come up on occasion when DMU covers this band’s exploits, but Brutality synthesizes enough disparate influences that pulling any one out is difficult, although in my more comparative moments I might bring up Autopsy, since the band plays around with speed and atmosphere enough to significant enhance their formula. Sea of Ignorance follows from previous works in a fairly predictable way – more emphasis upon melody and simpler, more streamlined song structures than the past, but when they aren’t flat out covering Bathory (“Shores in Flames”), the lineage is obvious.
My opinion on this album is ultimately very similar to how I felt about Skull Grinder, although like most of the comparisons I’ve made in this review it’s a comparison of convenience as opposed to significant musical similarity. Sea of Ignorance is a stylistically appropriate if not particularly ambitious continuation of Brutality’s previous work; while it’s not particularly essential if you own any of those albums, it’s still a valuable purchase for those who want to study the strong points of this sort of death metal, and a good enough release to be worth financially supporting.
Tampa melodic death metal band Brutality plans to release its full-length album, Sea of Ignorance, the followup to its 2013 EP Ruins of Humans. Pre-order begins on December 1, 2015 and the official release date is set for January 22, 2016. Copies may be ordered from the band website.
The relatively obscure Floridan death metal band Brutality is releasing a new studio album (Sea of Ignorance) on January 22nd, 2016, following up on 2013’s Ruins of Humans EP, and several albums in the 1990s. Back then, they mixed influences from various contemporary acts into their own unique style; generally more melodic and phrasal than not and sometimes even reminiscent of Scandinavian acts like At the Gates and Sentenced. Since Ruins of Humans built off that and the band apparently retains some of its lineup from that time (according to their Facebook), it’s likely that Sea of Ignorance will continue that style; it would certainly be a worthy addition to your collection if that turns out to be the case.
A small death metal label zoomed into focus this year when it signed a classic death metal act for a split album. That label, Brutal Art Records is run by a reclusive person who literally lives in a van down by the river, if you do not neglect to mention that the van is armored and its radar and cameras constantly scan the surrounding area. This person was kind enough to put down the H&K MP5 for a moment and answer a few questions about Brutal Art Records…
When did you start Brutal Art Records, and why did you decide to start a label? Had you previously run a distro?
I started this little underground label in the middle of 2013 because I’m a huge vinyl collector and I don’t like the stupid black releases. We all know them: you can buy the black edition of an release everytime everywhere. The industry destroys the dream of every collector, which is to have a limited record in different versions and there will be no repress. That’s why I started this label, only limited stuff and there will be no repress in future. Sold out is sold out ;)
You have released a number of underground death metal records. Why did you decide on this style? Do you think it has a large number of fans?
The reason is the same as in the first question: I’m a vinyl collector haha. Vinyl is more more old school so it fits perfectly with the first bands I released, Obscure Infinity – old school death metal from Germany and Humiliation – old school death from Malaysia. Both are great underground bands and it was a real great project for me.
Every label can release a CD version, it’s cheap and you can sell it to everybody, but only the old school music maniacs also have a vinyl record player.
With your most recent release, you have signed one of the most respected names in the underground for over twenty years: Fleshcrawl. Did you know the band? How did this release come about?
I know the music they did in the past and yes, I like them. It was not my idea to start this project; the founder was Ferli the Men behind Skinned Alive (also member of Demonbreed and Milking the Goatmachine). He is a real freak, a really crazy one, and he told me “let’s start a tape project because I want to release this old school shit.” I agreed and we started to search for a perfect split band. Ferli knows Sven, the front beast of Fleshcrawl, so he asked him and Sven agreed. The work with Fleshcrawl started. The band is really friendly and they’re no superstars. That’s why I love this shit.
There seem to be a lot of death metal releases these days, but almost none have made it to “classic” quality. Do we have too much death metal? Is there still life in the style?
The scene is alive, but there are a lot of stupid bands. We have some really great young bands for the job like Deserted Fear, Obscure Infinity, Demonbreed, Skinned Alive, and many more but also some real old tanks like Fleshcrawl, Postmortem from Berlin and much more.
What is the German death metal scene like? Are there many fans and bands? Do you think it is changing, or will it stay within the classic death metal styles?
There are a lot of both bands and fans. I think the scene splits into the old school and the more brutal one. A lot of bands play the typical old school style like Entombed, Grave or Obituary. The other ones play much faster or more like the doom style so the scene is bigger than in the past. A lot of sub styles were created. For me it’s very interesting.
How has Brutal Art Records grown over the past few years? Do you have a goal for where you want to be next? Will this become a full-time job for you and your staff?
The label was born in the underground and it will die in the underground! It will not be a huge label because it’s only for great underground bands not for the big ones. I don’t have a real goal; I only want to have fun with every band and every release. Thanks a lot for the bands I worked in the past like Humiliation (Malaysia), Paganizer (Sweden), Down Among the Dead Men (UK), Obscure Infinity (Germany), Graveyard after Graveyard (Sweden), Fleshcrawl (Germany), Miseo (Germany), Revel in Flesh (Germany), Skinned Alive (Germany), Mass Burial (Spain) and Savage Deity (Thailand).
Normally its work for a full time job but its only a hobby for me.
In your view, what are the classic bands and releases from German death metal? Are there any that people outside of Germany should know about, but do not?
That’s a bad question because there are too many great releases. Check the German bands like Fleshcrawl, Lay Down Rotten, Sarx, Revel in Flesh, Blood and so much more. I don’t like it to say this is good or this one not.
If people want to learn about you and your bands, where should they go? Are you soliciting demos from bands, and how do they contact you?
We publish as much as we can on Facebook. Every band can write us on Facebook (facebook.com/brutalartrecords) or by email (email@example.com). We are interested in good underground bands but we can’t release everything. Feel free to send us your sickest work.
Self-identifying as death metal on the “brutal” spectrum, Deathseeker actually playing something more akin to the groove metal of Lamb of God without engaging in the jumpiness and maintaining a stabler basis. Rather it is based on chugs and rhythmic tremolo-based bursts while vocals accentuate in unvarying and short phrases. While it is hard to call this death metal at all, it is closer to an industrial-influenced groove metal whose central focus is that of heaviness itself. As such it loses vision of musically constructing anything beyond immediate and banal pleasure.
Deathseeker has been in the making for some time already but the creation process has been a recent affair. Now the band is set to release a full-length album, even though they have not given a particular date yet.
Swedish Death Metal has stayed popular ever since the early days for a number of reasons. Mostly it is because it allows for the music to be catchy, “brutal” and flexible (although few bands exercise this power afforded by the fact that in theory this is death metal). The death metal fan will readily associate A Trail of Death with names such as Dismember, Carnage, Nihilist or Entombed and the release lives up to these expectations from the production tone up to the general approach.
A hint of pop-influenced modernity alla Entombed is revealed here in the preference for obvious verse-chorus-bridge structures without venturing even as far as Dismember did in Like an Ever Flowing Stream and appearing like an Entombed going on Arch Enemy in the way the riffs are used: they have the affectations of death metal but underlying them can be seen the Iron Maiden – like NWOBHM chord-by-chord advance.
By this token, a more precise comparison would come of pairing this band with later Dismember and their obsession with riff-oriented music rather than a progress/development-oriented one. The Entombed edge (or should we say lack of edge) in composition is in its conventionality pretending to be extreme (Back in the day, people thought Entombed was extreme or visionary in some way — apparently some of those who understand death metal only superficially still do so even today). In the process of creating this music and never venturing outside or around of what their inspirations did at any level, Overtorture sound like one more of the herd. Nothing more, nothing less.