Upcoming Miasma – Changes Reissue

miasma changes reissue

Miasma’s Changes is being reissued on CD and LP by Rotten Relics Records. This pressing of the long out of print and compositionally coherent caveman death metal classic is the first with the original sound since the original Lethal Records one from 1992.  It is being done with the approval of all band members, who contributed comprehensive art, photos, lyrics, and liner notes. Rotten Relics says T-shirts will be available too and warns that a Brazilian reissue intended for the South American market only (yeah right) without authorization of the band and probably without the original master is scheduled for release at the same time so watch out.

Listeners may stay informed on Rotten Relics’ Facebook page.

 

Sadistic Metal Reviews: Sunday Funday!

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Today’s F-grade death metal is brought to you by Corey M.

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Mortuary – Nothingless than Nothingless (2016)
The opening track is made up of the same chords for two and a half minutes. That the drummer can play five different beats over the chord progressions illustrates the pointlessness of the progression. This happens with most of the progressions in any given song – the drum beat is switched up in middle of the passage. Why does the band even bother writing these progressions if they’re so boring that not even the band wants to hear them played with the same beat for four cycles straight? This is the kind of “metal” that fans of modern “hardcore” get into. I can practically hear the PETA stickers and Vans shoes. You needn’t listen long to hear the influences – Pantera, Rob Zombie, and various Warped Tour-tier metalcore. At least Mortuary spared us any ironic rap verses or shout-outs.

 

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Phobocosm – Bringer of Drought (2016)
Though it was easy to feel optimistic about Phobocosm’s future based on 2014’s Deprived (which this author still recommends – C.M.), it’s now time to give up on the band. Bringer of Drought shows Phobocosm embracing the Deathspell Omegacore post-modern metal virus, complete with songs of absurdly excessive length, mind-numbing guitar drones, artsy-fartsy dissonant chords that ring and grate, and minimal blasting-riffing which is the one part (all of about two minutes) that still sounds like death metal. The term “sellout” is severe and reserved for dire circumstances, but in this case it applies; Phobocosm has abandoned their obscure malevolence and Immolation-style warped riffcraft in favor of inoffensive but “deep”-sounding D-grade post-rock (see also: Adversarial). People who hate metal are the target audience.

 

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Ferium – Behind the Black Eyes (2016)
Extremely repititous, faux-angry-man vocals set to white-boy groove-metal rhythms. Choppy, math-rock-wannabe drum beats. Guitars that barely even play melodies, just semi-random notes on whatever beats the drummer somehow decides to play. My guess is that he is using a random number generator, or maybe a set of dice, to decide the rhythm. One cringe-inducing track made up of three piano chords and a whining voice repeating “She feels like home”. Mix all these ingredients in a big rusty pot, heat over an open flame til melted to a liquid, apply liberally to your (or a consenting partner’s) scrotum, and then revel in searing agony. Recommended for fans of being raped.

 

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NilExistence – Existence in Revelation (2016)
Terrible band name, terrible title, and terrible art aside, this is some tastefully brutal blasting with skillful musicianship and some evocative riffing. The vocals quickly become overbearing, which is a shame, since the intriguing Morbid Angel-style riffs sway to and fro, one moment up-close and vicious like a buzzsaw held to your face, the next distant and vast like a yawning cavern begging to swallow you whole. As usual with bands that try this, NilExistence trip on their own artillery by crashing together too many dissimilar riffs, like pages of a book shredded and then glued back together at random. These songs lack focus and therefore lack identity but something good may come out of these guys if they stay true to their influences and reign in the random deviations.

 

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Hemotoxin – Biological Enslavement (2016)
Human-era Death worship by competent musicians with a keen sense of exactly how much melodic variance per riff it takes to keep a listener’s attention from wandering. This could be a strength rather than a handicap but the riffs aren’t related through anything other than temporal closeness. The feeling of each song jumps from here to there with little rhyme or reason. Slow, chugging sections interrupt tremolo-picked blasting segments, then vice-versa. Occasionally, a tasty guitar lead explodes out of nowhere and then vanishes without so much as a trace of smoke, leaving us longing and dissatisfied. Lyrically we get a mish-mash of edgy lyrics about homelessness and suicide that seem to hint toward some insincere positivity by outlining gruesome subjects in a “profound” light. This all makes for a very frustrating listen since it’s apparent that the band care much for their presentation and musicianship but lack the crucial element that makes metal tolerable: the natural intuition required to coherently structure songs. Sound familiar yet?
Not even AIDS can keep Chuck in the grave.

 

4.1.1

Vader – The Ultimate Incantation Reissue

VADER ultimate incantation reissue 2cd
Vader
‘s debut, The Ultimate Incantation, is being reissued on June 3rd on both CD and LP by Polish label Witching Hour. The original, discarded recording session produced by Tomas Skogsberg at the famous Sunlight Studio in Stockholm, Sweden is included as a bonus disc. The lost Swedish session released for the first time should make this reissue worth checking out for fans of the band along with those of Swedish and Slayer-style death metal in general.

We are proud to present the long awaited reissue of VADER’s debut album “The Ultimate Incantation”. This album was a milestone in death metal history and a groundbreaking masterpiece for the Polish scene allowing our bands to be heard beyond the Iron Curtain. With this record VADER’s international career begun and it’s a cult classic since then. Once again we made our best to deliver this classic album as a top notch release. To match our words we will attach an extra stuff with never before released original album session done by THOMAS SKOGSBERG in SUNLIGHT STUDIOS. And that’s not all. We also asked the master himself – DAN SEAGRAVE to prepare new artwork for this release.

The 2xCD digipack may be pre-ordered from Witching Hour here.

Profanatica reveal The Curling Flame of Blasphemy

profanatica the curling flame of blasphemy

Profanatica have revealed the art and track list for their upcoming album The Curling Flame of Blasphemy. One of the few fruitful artists in current metal and a mainstay of our best lists, drummer Paul Ledney (also a founder of Incantation) and guitarist John Gelso have spent the third millennium refining the first wave.

Track list:

1. Ordained in Bile
2. March to Golgotha
3. Magic & Muhr
4. Black Hymna
5. Host Over Cup
6. Rotten Scriptures
7. Yahweh Rejected
8. Bleed Heavenly Kingdom
9. Vile Blessing
10. Curling Flame

Track six, “Rotten Scriptures” may be previewed on Hells Headbangers Compilation Volume 8.

Scheduled for an early summer release, the frequently “funderground” label promises that The Curling Flame of Blasphemy will be another:

metalucifer heavy metal bulldozer

Here In After Turns Twenty


immolation here in after

2016 marks twenty years since the release of Immolation’s sophomore album Here In After. Completely leaving speed metal convention behind, dissonant riffing and jazzy drumming weld into an infernal, polyrythmic Bosch canvas. All songs burn narratively: verses melt into Vigna’s Luciferian leads. These guitar heroics marshaling the hellfire make Here In After a dawn-bringer for the uninitiated in Immolation. Crucify the criminal Christ again!

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Sadistic Metal Reviews 3-26-2016

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Here I go again on my own, down the only road I’ve known. Like a drifter I was born to walk alone. And I’ve made up my mind; I ain’t wasting no more time. – Whitesnake feels appropriate to quote now after listening to this trash.

 

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Tombstalker – Black Crusades (2015)
Using an HM-2 pedal and inserting bluesy leads into your crappy kang punk doesn’t make you Dismember; you’re still shitty d-beat punk. I’d rather truly d-beat the skin off my dick with a potato peeler than listen to you graveyard dwelling junkies. Did you know Three Dog Night had his penis pop from too much sex? How would  they repair that? Would they need to make a new fake one or just do a penis transplant? Would Three Dog Night need one of those robotic implants that bend up like Larry Flynt?

 

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Gluttony / Sordid Flesh split (2016)
Entombed metalcore that borrows from every period of Entombed including the hated Wolverine Blues. Unleashed’s fat, vested ginger corpse is raped too. If you can think of a dumb, bouncy punk riff from 1987, it’s on this split. These guys really need to overdose on fentanyl cut with powdered laundry detergent like crusties usually do. The needle needs to be jabbed directly into their eye; all the other Swedeath veins are necrotic.

 

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Phazm – Scornful of Icons (2016)
Blackened Surgical Steel with metalcore breakdowns and without Bill Steer’s guitar virtuosity. Surgical Steel sounds like the Symphonies of Sickness compared to this deathcore ‘n’ roll. There’s no Holy Wars on this. When’s my punishment due? Do I have to listen to Reinkhaos again?

 

The Curse That Is
Graves at Sea – The Curse That Is (2016)
Flannel and gauges sludgy stoner rock for untermenschen who quit heroin in 1998 and now sell classic rock LPs mastered from CDs to fat hipster scum. The CD booklet states that all the band members have hepatitis C and thank the other regulars of their methadone clinic for watching their cats while they shoot up.

 

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Burning Hatred – Carnage (2016)
No. Stop naming albums after the band whose CDs you love so much you fisted them into yourself like James Woods in Videodrome. There is little riff variety here. Why are there deathcore songs in the middle of the Swedish Crustcore? Why is the deathcore the only material that stands out on your album?
james woods videodrome

 

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Ice War – Dream Spirit (2016)
My head just hit the desk. Why did someone press this idiot’s demo? I’m too drunk to lift my head off the desk. I must do so. I need to pull my head off the desk. What’s with these standard chord progressions? I must pull my head up. Too much Asbach Uralt. I need to kill this fucker. Why is he so tone deaf? He deserves to die. Another retro metal cash-in, cuckold autist who wants to tie grandmothers up with rusty chains and guitar cables to rape them like the Boston Strangler.
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Ides – Sun of the Serpents Tongue (2016)
Idiot deathdoom of the smoke weed and bash chromatic power cords together at slow tempos variety. The band is too lacking in musicianship to strum them fast enough as needed to play psychedelic rock disguised as Sabbath-worshiping doom metal.

 

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Abyssic – A Winter’s Tale (2016)
Symphonic sludge core rejected X-Files themes. Gillian Anderson is still attractive somehow. Abyssic never was; they are Tori Spelling “metal”.

 

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Prisoner of War – Rot (2016)
Morbid Angel covered by Kiwis with distortion pedals. Sometimes songs are  jammed together as they were too blacked out and forgot which one they were playing.

 

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Gallower – The Witch Hunt is On (2015)
Possessed with zero talent, drunk, and Polish.

 

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Ithaqua – The Black Mass Sabbath Pulse (2016)
Varathron emasculated.

 

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Abhomine – Larval Offal Swine (2016)
Boring war metal from Pete Helmkamp of Revenge. This is Angelcorpse if Angelcorpse had mediocre guitarists instead of only mediocre songwriters. A repetitive, riff salad for Helmkamp to spout off his social Darwinist philosophy. Put on Order from Chaos instead of reminding yourself that Helmkamp lost his marbles just like that retarded guy from Steven Spielberg’s Hook.

 

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Sammath releases “De Heidense Vlam Zal Branden” lyric video

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Sammath have released a lyric video for “De Heidense Vlam Zal Branden” to promote the vinyl reissue of their debut album, Strijd, on Hammerheart Records.  Strijd is more conventional than Sammath’s later albums and one of the best releases in the atmospheric, late nineties black metal style reminiscent of Summoning. Unlike their tawdry contemporaries, Sammath arranged primal tremolo-picked riffs with keyboard leads into narrative compositions. While the keyboards sometimes may seem a tad excessive today, the record succeeds in conjuring up romantic visions of dark age barbarity worthy of its Arthur Rackham cover. Those who enjoyed Kaeck’s Stormkult should take special note.

 

Strijd may be listened to in its entirety on Folter’s Bandcamp page. The LP may be ordered from Hammerheart Records.

Demolition Hammer reunites

demolition hammer epidemic is reborn

Demolition Hammer have apparently reunited according to the group’s Facebook page. The brutal New York speed metal band last released notable material almost a quarter century ago with the hammering death/speed hybrid Epidemic of ViolenceAlex Marquez of fellow death speedsters Solstice (and Malevolent Creation’s Retribution) is taking over the drum stool from the deceased Vinny DazeWhether any touring or quality material rises from this reunion remains to be seen.

Gorguts preview new Pleiades’ Dust EP

gorguts ep

Article by Daniel Maarat

Gorguts have previewed (https://www.youtube.com/watch?v=RDyn5lkVNlo) their upcoming EP to be released on Season of Mist. “Wandering Times” is the first track of Pleiades’ Dust sole, thirty three minute long composition. Listeners can expect Luc Lemay’s LP length EP to continue in the technical life muzak style of Coloured Sands: Random dissonant verses clashing with jazz fusion interspersed with ambient interludes incongruent as a whole to all but music theory majors. The commissioned cover and lyrical theme of the Islamic Golden Age suggests this release will persist in trying to irrumate headbangers with vaguely oriental spiritualism. Lemay seems to be appealing more to coffee shop guitarists wanting salvation from their poor life choices.

Werner Herzog made a documentary (Wheel of Time) about fifteen years ago on the same sand mandalas as Coloured Sands. Here are his views on yoga to spare you from Lemay’s orientalism:

Mithras releases upcoming track from On Strange Loops

While I wait for a review of Sarpanitum’s Blessed Be My Brothers to make its way through the review queue, another Leon Macey project is making its way towards fruition. Mithras is an approximate descendant of Steve Tucker era Morbid Angel that presumably gets most of its media attention for throwing in some occasional melodic and muddy atmospheric sections. The upcoming On Strange Loops is the first new material from this band since their 2011 EP Time Never Lasts. Today’s track sounds about like what you’d expect from Mithras, which should make extrapolating whether you’re going to be interested in this band a trivial task.