Timeghoul – Complete Discography CD

For the first time ever on CD Dark Descent Records proudly presents the complete discography from the legendary Science Fiction / Fantasy Death Metal TIMEGHOUL (USA). Born in the Midwest United States in 1987, Doom’s Lyre remained relatively quiet, recording no material before changing their name. In 1991, Doom’s Lyre, now renamed Timeghoul, set out by releasing two demos; 1992’s Tumultuous Travelings and 1994’s Panaramic Twilight.

Largely ignored and mostly forgotten, these recordings did not receive the recognition they deserved until years later. Timeghoul’s eclectic and complex style of US death metal started to gain momentum within the underground as overlooked and classic material.

Prepare for one of the most unique and complex death metal offerings the early 90’s had to offer.

Mark Riddick’s fantastic original tri-panel artwork covers this fitting six-panel digipak with matte finish. Additionally, this digipak comes with a six-page folder with lyrics and additional notes. This is a one-time limited edition pressing. Get your copy before it’s too late!


Horrendous – The Chills CD

Horrendous’ 2010 demo titled “Sweet Blasphemies” was merely a brief showcasing of this band’s tremendous potential. In addition to the CD-r version of the demo, two separate 200 copy pro tape pressings were made and sold; first via a cooperation with Dark Descent and Skeleton Plague then later through Dark Descent Records.

Horrendous’ debut full-length titled “The Chills” is a full-on assault of the aural senses. Horrendous mixes HM-2 sound with unique melody and solos creating memorable and terrific song-writing . This is no “retro” band but a band that has clearly created a nine-song death metal masterpiece which ends with the epic nine-minute closer “The Eye of Madness.”

Do not mistake this band for a clone of Entombed, Autopsy or Incantation. Doing this would be a great disservice to a masterful album and you would obviously miss out on what will be one of 2012’s best death metal albums, hands down.

Cover art by Raul Gonzalez (Morbus Chron, Deceased, etc.) adorns this eight page booklet.


Cianide – Hell’s Rebirth Digipak CD
Cultes Des Ghoules – Spectres over Transylvania CD (Restock)
Decrepitaph – Conjuring Chaos MCD (Restock)
Fidei Defensor – Cognoscenti CD
Galdr – Galdr CD
Omision – In the Shadow of the Cross CD
Shemhamforash – Spintriam Satyriazis (Phallus Prestige) CD
Shemhamforash- Luciferi Omnis Ysighda…CD
Spectral Mortuary – Total Depravity CD (Restock)
The Cleansing – Feeding the Inevitable CD (Restock)
Turbocharged – AntiXtian CD
Warfield – Trivmvirat CD
Weltmacht – The Call to Battle CD

Dead To This World- First Strike for Spiritual Renewance (Color)
Hacavitz – Hacavitz 7″ EP
Mpire of Evil – Creatures of the Black LP
Sabbat – Sabbatrinity LP

Questions – darkdescentrecords@gmaiil.com



Dark Descent Records
PO Box 18056
Colorado Springs, CO 80935

Timeghoul – Complete Discography Digipak CD


Two near hits

The two albums discussed here are very similar in one crucial way: both use riffs that are derived from obvious “inherent” musical structures in such a way to appear modifications of an off-the-shelf technique, which muffles the clarity of organic expression the artist is trying to achieve. Of the two, I’m more positively disposed to the Beithíoch because it is less self-consciously aware of its audience, but is still too self-conscious regarding itself. The end result in both is like seeing someone put up a bone-normal scaffold, and then strategically paint it random colors or alter its shape; you can still discern the underlying shape, so it does not appear to have a genesis of its own, but be a conscious alteration of a normal format for some demonstrative purpose. In the Beithíoch it is acceptable because this band is attempting to stretch itself past its previous tendency to make wallpaper music, which cycled in the background but achieved no direction. Blut Aus Nord should know better.

Beithíoch – Dúchas

A music reviewer can have no friends. He cannot allow any personal motivations or feelings to get in the way. If he likes you, or you just stole his girlfriend and he hates you, he has to separate your album from you and judge it on its artistic merits, with an eye not for casting aside so much as pulling out whatever of value is there. As said above, Beithíoch resembles scaffolding that has been strategically modified to game your brain into thinking you see a different shape. It is boxy. However, when it waxes ambient, it does well, both in the keyboardy/distortiony parts and in the use of King Crimson-esque lead picked chord progressions and high speed noodling. Like earlier Beithíoch, this one has a crisis of knowing what the songs are about. This one-man band has just about nailed his technique, including song development and epic-feeling conclusions, but the parts don’t all connect up and so the boxiness hits us in the face. Much like myself, often he needs to de-cerebralize and just let fly with some feeling and if it comes out as three notes and someone chanting “Watermelon Penis Bouffant Christ,” that’s OK too. There’s a lot of promise here but it’s like a vocabulary in search of a topic.

Blut Aus Nord – 777 – The Desanctification

Thematically this is a near remake of Abyssic Hate’s much-celebrated and immediately forgotten 2000 album “Suicidal Emotions” and will be forgotten for much the same reason: it is a manipulation of surface attributes without any underlying direction, narrative or structure. The result is that you become immersed in a particular mood, and then it stops. Each song is like a fragment of a painting, enough to pick up on one mood that is in common between all of these songs, but not enough to figure out the story or where it fits in. In addition, it’s “boxy” in the sense of using archetypes with slight modifications that are designed to game your perception and make you think something new has been created. This is as much deskwork as crafting a memo or making a sales call. The resulting insincere shit is not particularly interesting musically and has nothing to offer otherwise, although it appears to be intense and so fools the same people who are getting fooled by Opeth and Ulver but want something “heavier.” d00d


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GORGUTS new album near ready

From Gorguts: “This is still all the news we have. Patience.”

Reactivated Quebec, Canada-based technical death metal band GORGUTS recently entered the studio to begin pre-production on their new album for a tentative late 2011 release via an as-yet-undetermined record label. The group’s current lineup features genre heavyweights John Longstreth (drums; DIM MAK, ORIGIN, THE RED CHORD, SKINLESS, POSSESSION, ANGELCORPSE), Colin Marston (bass; DYSRHYTHMIA, BEHOLD… THE ARCTOPUS, BYLA, KRALLICE, INDRICOTHERE) and Kevin Hufnagel (guitar; DYSRHYTHMIA, WHILE HEAVEN WEPT, BYLA, EUCLID STREET, THE FIFTH SEASON, GREY DIVISION BLUE) alongside guitarist/vocalist Luc Lemay.

“Just a few words to let you know where we are with the songwriting of the new album. We got together at the end of January to finish up the last songs to complete the album. Colin and Kevin have contributed to the album with a song each. Amazingly well composed, their songs suit the GORGUTS aesthetic wonderfully.

“The album will have a total of nine songs, including one instrumental piece for string orchestra composed by me. [It] is going to be over one hour long. It still very brutal but darkly, ambient and progressive as well.

“The album main concept is going to be a musical journey that will talk about the wonders of Tibet as well as the dramatic fate they’ve been going through for over 50 years now. – BlabberMouth

This band still has no idea why people liked them in the first place.

Obscura was death metal with a progressive flair without leaving death metal behind.

The newer stuff tries too hard to be current; there are too many “modern metal” influences.

What made Gorguts great was never the style, but the content, which expressed a beauty in darkness.

This new stuff expresses a desire to free-form jam as trapped in a post-hardcore style. It is far from bad, but it is also a work about itself. Old Gorguts was a work about life.

Throw in the towel and just make an all-out progressive rock album. There’s no need to hold on to metal after it has run out on you.


Demoncy “Enthroned Is The Night” Update

Demoncy “Enthroned Is The Night” Update

We’re are still patiently in the proofing stages for this. We are making sure everything is the way we want it to be and once this is done and approved it will move into production. We are expecting a mid January release although it will still be printed as a 2011 release. This album has been recorded for awhile now its just taken longer than we expected making it ready for the final product. – Forever Plagued Records


The hipster takeover of metal

Whenever NPR gets involved, you know you’re listening to state-sponsored propaganda. They also tend to favor any topic that humbles the strong and caters to the weak of spirit.

NPR’s favorite “metal” albums of 2011

Other than a few honorable mentions, there are no metal albums here. Only the indie, post-rock, punk, sludge, emo and shoegaze mixture that is popularly infused with a few metallish riffs to become the non-mainstream form of nu-metal.


Sadistic Tidbits

Absu – Abzu

Starting with Emperor’s Reverence EP, this is the kind of music that ruined black metal: salad. It’s mixed riffs and influences with no coordination except repetition, and it adopts the “carnival music” style of variety show riffs, meaning that nothing makes sense as anything other than a grab bag of random stuff designed to distract you. As a result, this has zero staying power and while your favorite metal heroes will be hyping it today, they will from that day forward only put it on to do laundry. Get it? As background noise. It’s less organized than the noise from your air conditioner as and a result is mostly spam for your brain, just as pop music is. The cynicism behind releasing this and calling it “black metal” suggests a massive scorn for all metal fans. “These idiots can’t tell the difference, throw some guitar practice at them, then we’ll sample an elevator and let the press release talk about our ‘industrial influences.'” Metal pundits should be ashamed for pushing this as a continuation of the old school, or even as being good; I would use the first few Absu albums to show my friends that metal is talented, but I wouldn’t push this sophomoric dog’s breakfast on anyone. In fact I’d hide it, lest they think metalheads are cretins who think random catchy off-time riffs make a band talented. I realize it’s heresy to not cheerlead for Absu because the Absu guys are such nice fellows and all, but that has nothing to do with musical quality. This sucks. It’s annoying. And dumb. Really stupid. You have to live in a plastic world to think this is good. 0/10

Asphyx – Deathhammer

I had high hopes for this, but an unsettling feeling with Wannes Gubbels having left the band. During the Wannes years, Asphyx went from trying to make two riff songs that carried themselves on pure rhythm, and instead tried to make mood shifting experiences that used melody and harmony as well as greater texture to create a sense of having gone somewhere. This new song is entirely circular. It goes nowhere; its precepts equal its conclusions. Instead, you get a horrifically catchy song that is pure rhythm and uses melody only as a hook but then drops it, leaving you in grinding chromatic land as your brain atrophies. They cannot possibly say “deathhammer” one more time can — oh. Oh. And again. Again. Oh. It keeps on going. This song is only 2:30 or so, but it feels like The War of the Roses. As one forum poster noted, this may be a Hail of Bullets song more than an Asphyx song. Gone is the old school heavy mood. It has been replaced by dressed-up pop. It’s as repetitive as Justin Bieber, and that isn’t lightened by the fact that these guys howl about the joy of endless war instead of teeny sugar pop training-bra romances. Asphyx has completely lost direction and forgotten what made them great, which was not “smashing riffs” but “smashing riffs in epic songs.” Even the riffs are dumbed down, like the recent Pestilence output. I have zero incentive to buy the album or even download it.

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