Article by Anton Rudrick.
Now that a thorough overview of Sodom’s career has been completed, and a short analysis from that overview has provided us with new insights, we can be more confident in our evaluation of their new album, Decision Day, in a way that allows us to tentatively explain the origin of its strengths and faults. This becomes especially useful with an album displaying averageness on all levels, showing no prominent ideas that distinguish it neither in the abstract nor the actualized, and furthermore, certainly not being more than the sum of its parts. The situation is one in which all that remains are the references that these streamlined and pre-fabricated pieces meant in their original contexts, and how this commercial product attempts to play on them for maximizing revenue.
Sodom has earned a solid reputation among the metal crowd through the years. Most fans of the metal underground will probably have heard about Sodom, or that of Tom Angelripper, and will express respect at the mere mention of either name. Their newest album displays traits which one would associate with their own brand of speed metal (a.k.a. thrash metal, incorrectly dubbed), but these seem filtered through mannerisms borrowed from styles acquired over the last two decades and a half while Tom Angelripper explored the mainstream side of metal. Decision Day is catchy, and every step and turn is a hook optimized for comprehensibility and mass consumption.
Continue reading Sodom – Decision Day (2016)
Article by Lance Viggiano.
It’s ten thirty, you’ve just park your primer printed Ford Escort next to a mail box. As you approach the house party, you hear the faint but present rolling of open e rumbling which causes your fist to clench; unconsciously clamping the thirty rack of PBR you are carrying with heightened anticipation. As you approach the house, the scent of tobacco and descending drum fills leaks through the cracked garage door while brief phrases of frantic power chords begin alighting a fire deep inside… Insane fun awaits.
Continue reading Insane – Wait and Pray (2005)
Humans are by nature delusional. They overestimate their importance and demand that reality fit their simple expectations. And yet, they are very good at mastering known skills, so they are highly proficient, but void of purpose. This hollowness is the left side of the metal Bell Curve, and to separate it from the good stuff, we have Sadistic Metal Reviews!
Continue reading Sadistic Metal Reviews — September 1, 2016
Longhena is grindcore that is actually musical. Takafumi Matsubara (Mortalized) became the sole guitarist after Orphan and brought a longer, more narrative, heavy metal sense of songwriting to Gridlink’s hyper proficient blend of their musical influences. The riffing varies from post-hardcore chord progressions to New Wave of British Heavy Metal harmonies of the type originated by Thin Lizzy. Somewhat shocking for a grindcore band not Carcass or Bolt Thrower, Matsubara actually progressive his riffs to tell short narratives in short, cyclical compositions varying from one to three minutes in length, usually climaxing in a bittersweet, often melancholic solo. The drumming is blasting, inspired, and semi-tasteful, with fills that feel almost as if they are about to go off the rails but return to be properly enslaved by the riffing. Vocals are reminiscent of Assuck with lyrical topics ranging from nuclear holocaust to anime and lamentations of the destruction of the player-controlled spaceship in shoot ’em up arcade game. All melodically and lyrically reflect upon listeners certain Buddhist mental concepts of the emptiness, nothingness, and meaninglessness of human existence and suffering.
Continue reading Gridlink – Longhena (2014)
Conqueror wanted to be a part of the “scene” but did not have musical ideas. The band discovered that the muddied sound of early Beherit and Blasphemy circa Fallen Angel of Doom could be used to obfuscate their dearth of ideas. Furthermore the hostility between the Norwegian scene and the rest of black metal could be amplified under false pretenses while not offering any truly satisfying alternative themselves. Basically, point to candy assed pop drivel like Dark Funeral but go to the other end of the spectrum entirely with a paper thin wall of television white noise with a drunken chipmunk howling nonsense. Conqueror’s “music” is structured which ironically stands contra to the concept of all out war. A little anarchy would at the very least allow the essence of battle to bubble up from the pot. Instead it’s a tame morass of very low effort grindcore riffs and mostly incomprehensible low E-string noodling. The best that can be said about Conqueror is that J. Reed has an identifiable sound.
Continue reading Conqueror – War Cult Supremacy (1999)
Article by Anton Rudrick.
Originally babtized as Amerindio at its time of conception in 2014, the project today known to us as Itzamná presents us with one of the forms of Thrash that are most authentically crude. This flows from an inner knowing of violence and adversity which foundation upon personal experience can alone provide. As per Thrash tradition (not to be confused with Speed Metal, also known as “Thrash Metal” in less versed circles), Itzamná channel the spirit of hardcore punk through the phrase-like riffcraft of underground metal. This lends a more apocalyptic character and a bloody thrust to the music in the form of heaviness that it would otherwise be remiss to lack, given the unapologetic finality of the propositions to be found herein.
Continue reading Itzamná – Maldito Predicador (2016)
Murder Construct recently released as a single their contribution to the Undead: A Tribute To Disrupt album of cover songs honoring this well-known crust band. While this is a faithful cover, it adds a few layers on top of the original that keep it from becoming boring and inject the personality of Murder Construct into a standard for the post-1980s punk movement.
Continue reading Murder Construct – “Mindlock” (Disrupt Cover)
Article by Anton Rudrick.
German ritual black ‘n’ roll band Possession Ritual released a full-length going by the name of Incense of Opened Gates, with striking artwork by Ars Leprosa in the year 2011 through Nihilward Productions. A note is made that the music itself was written and recorded in 2006. Being one of those limited editions which are rather hard to come by and probably also partially hidden away from the unworthy prying eyes of mundane minds, the author has only been able to listen to two pieces from the album. Hence, all commentaries and reflections upon the band’s work can be traced to perceptions of these exclusively. It will be useful to meditate upon a holistic impression of the band as an entity, and to take each of those to tracks to task separately, to finally arrive at a judgement of the musical work as manifested result of a series of evocations.
Continue reading Possession Ritual – Incense of Opened Gates (2011)
Article by Lance Viggiano.
Arpeggiated minor chord melancholy culled from or composed during belligerent improvisational tirades given body by a sluggish left hand approximating power chords to provide the work a lattice to the traditions of metal. Yersinia Pestis abstains from its predecessor’s thematic coherence – an accident of writing what were essentially cover songs of a famous painter – to make marked but mishandled improvements in its individual presentations through tuneful reprisals of established Goatcraft trademarks. The dependence upon staccato and arpeggio retain the artist’s characteristic stiffness in execution which blemishes through its brutishness.
Continue reading Goatcraft – Yersinia Pestis (2016)
Article contributed to Death Metal Underground by Anton Rudrick.
Septic Flesh have always oscillated between dark goth rock and simple death metal. Esoptron1 strode past both genres with expressive ambient interludes and enveloping everything in arcane rock akin to Fields of the Nephilim, reorienting Septic Flesh’s sound towards a suitable incarnation of their music’s abstract themes.
Continue reading Septic Flesh – Esoptron (1995)