Mangled Torsos – Drawings of the Dead

Article by Svennerick

Not shortly after its inception, Death metal saw not only a stagnation in popularity, but also in creativity and artistic spirit. A genre that peaked and that had already developed most of its subgenres before even being given a concrete name showed the metal scene something new in the mid 80s and early 90s. But that magic eventually faded and now Death metal has only seen a small amount of innovation or peaks in the last two decades, since we mostly end up listening to band worshipping Gorguts‘ Obscura, yet missing its ferocity, or a band creating an entire album consisting out of blast beats and overly technical riffs, which feel more like filler than forwards moving music. Bands lost the connection to what made Death metal special in the first place and would rather waste their impressive talent and devotion trying to rehash what Necrophagist or Spawn Of Possession did in the early 2000s with great success.

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Faraón – T.E.S.I.S. (2000)

article written by Belisario

This album is the debut opus and the only recording done by Argentinian project Faraón (Spanish for “pharaoh”), a short-lived one-man band set in motion by the individual known as Temptor Princnegsur, possibly just before putting it on hold to focus on his main act, Gevurahel. One of the most fascinating things about this record is that it has seen almost no circulation since it appeared in self-released format, shortly after the turn of the millennium, failing to gather the slightest bit of attention until the year 2017, when a fellow Argentinian small-sized label called Sons of Hell Prod. decided to release a reissue.

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#Metalgate: Former Agalloch Frontman Subject to Pillory from Media, Betrayal from Bandmates, and THREATS of VIOLENCE from Aesop Dekker over “Anti-Semitic” Facebook Comment


Guest article by Eugene Stryker

The PC witch-hunt of the Leftist Indie/Mallcore Mafia continues ever on in its plaguing of the Metal scene throughout the 2010’s. No longer content to pillory some of the most vicious and well-respected acts in the Black Metal genre, the latest victim of character assassination and social media hysteria is none other than former Agalloch leader John Haughm.

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Vocal Analysis: David Vincent VS Steve Tucker

article by Svennerick

An often underrated trademark of Death Metal music is the use of vocals as an instrument for their often inhumane force and sound which enhances the message behind the dark lyrics and the right way to provide them. Outsiders often consider them to be indistinguishable, although everyone who has spent some time exploring the genre will realize that many vocalists have certain characteristics or techniques.

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Near Death Condition – The Disembodied – In Spiritual Spheres

article by Svennerick

Hailing from Switzerland, Near Death Condition play a fairly unique brand of brutal/technical death metal. Reason for that is the Morbid Angel influenced guitar playing of Patrick Bonvin, who is also the mastermind behind Construct Of Lethe, although Near Death Condition is more on the pure death metal side of things instead of playing a lot of maze-like dissonant riffs with an occasionally upcoming Formulas/Gateways era type of solo.
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Possessed – “Abandoned”

article by Empire Algol


When you’re talking about death metal bands that have a great discography, Possessed is likely going to be mentioned. Seven Churches is largely considered one of the greatest albums of the genre, and while Beyond The Gates is generally an inferior work, it still has some good moments. Even the demos from 1991 and 1993, which featured a very different lineup than the “classic” lineup, are a curiosity to listen to.

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Mørketida – Panphage Mysticism (2018)

Written by Merlin Lemasters

Hailing from Finland, Mørketida present us their debut album which, unlike most of the festering horde laying claimant to the precipitous banner of black metal this year, has some actual merit. Perhaps what is most impressive about this release is that, despite its utter reliance on the most elementary of black metal chord and note progressions, there is such a wealth of depth in the interplay between elements that the essential lethargy and entropy prototypical of the modern form of this threadbare genre is fully exceeded. Verily —and in traditional, true black metal fashion— they have made the utmost out of rudiments. Every section here is wrung out, thoroughly, meticulously and by means of layering, coalesced into a microcosm of sound. This is aided by the production’s overlaid murk, an intensely atmospheric affair; manifold veils reveal obscured information upon close inspection, in this way taking its cues from early Burzum. Indeed, most parts of this album can be traced back quite easily enough to the cornerstones of the genre. As mentioned before, the language that makes up the barest essence of this genre is present here in full force and yet that language has been twisted to fit its needs, to create an experience. There is no concession to vanity here, all is arranged in service to a pervading darkness and this puts the craft of this album above most. In this way, it is true, it has not simply regurgitated the requirements of the genre but used them in expression. Traces of Darkthrone, Gorgoroth, Graveland, Ancient and Burzum, all make appearances here, though not in imitation by any means. These classic bands have indeed scribed the language but the arrangement and order of its morphemes is fully Mørketida’s own.

A deliberate brooding pace sets the tone for much of this album, at times finding brief resolution in well-worn, thrumming tremolo bursts, hallmark of the Norwegians. Drums too, are played in the classic way, wisely devoid of any clutter they rumble, blast and accentuate without syncopation, pure in that they do not attempt to suffer arbitraries upon the listener. Vocals chant in intonations obscure, oft buried in the umbrage and at times barely discernible, only made known by their echo, like chanting heard from a cave some distance away. Some brief sections of keys, emphasize moments of power or ambience, they are present in much of this album however, usually as another layer in the foggy production. In its most fervent moments, there is force of passion here, etched out as sharp contrasts between the meandering stride. The brunt of this work appears uniform with its slow chords and droning arpeggios but sections are arranged in repetition only with the greatest patience, never failing to end that which has dwelt too long. In fact, this album is utterly untouched by the inertia of lingering thought-forms past their day; all sections have been measured diligently and like the ancients they shift when it is time, never after or before.

This organic sense of composition is much missed in these days of note clamor, where the essential power of the black metal language is roiled by the entropy of an unnecessary, incessant changing of riffs, vomited out with little application of artistry. Songs are well wrought, there are no loose ends to composition and another impressive facet of this release, there is no excess of vanity, no flirtations with extraneous influence. The uniformity of this approach, with just enough discernible waymarks to keep the listener guided throughout its realm, lends a rare strength to this release. Very few parts make any attempt to be seen as indelible, and of these, the title track in particular sets itself apart by letting the bass wander, exploring different trails and in one glorious moment lets it solo, a longing sonority against the melancholic scratching of the guitars. Moments like this one are rare and with good reason, this is the type of black metal that longs to dwell in worlds away from modernity, it crushes the ego, it spurns the trappings of the mundane. The goal of a permeating, consuming, crepuscule is always in mind and with it; the apprehension of an atmosphere pure, reveling in its fealty to an ultimate darkness. A mature and conservative work in all aspects, what may at cursory glance appear to be contrived or unremarkable will soon prove itself well worthy of study.

Experience it as a whole and experience it with headphones!

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Alpha Hydrae – Venomous Devotion – The Hematic Lust (2013)


Article by Belisario

Alpha Hydrae is a rather recent metal outfit hailing from Monterrey, northern Mexico. Their only official release to date is their full-length Venomous Devotion – The Hematic Lust from 2013. Despite its misleading title, this is no symphonic metal, but rather old-style melodic black metal with a strong use of keyboards. It could be described as “gothic” as well, not in reference to the terrible metal subgenre of the same name (that swarm of early-Paradise Lost copycats), but according to its ambiance and obsession with tales of vampiric fantasies.
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