Goatcraft – Yersinia Pestis (2016)

goatcraft - yersinia pestis

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.

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Septic Flesh – Esoptron (1995)

septic flesh - esoptron

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.

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Undead – Blood Enemy

undead_-_blood_enemy

This one arrived in the mail some time ago. Apparently, it got held up in US Customs because our address is on the terrorist watch list. Looking beneath the skin, which is tasty gore-dripping old school death metal, this 7″ EP in fact owes its origins to the speed/death crossover bands of the late 1980s, sounding like a cross between Merciless and Sadistic Intent with Swedish death metal style elegant riffs concluding each song.

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Nothing Left – Demo 1999 (2016)

tnothing_left_-_demo_1999

Some compare this to Mortician but to these ears, it sounds more like a Cathedral, Cianide and Asphyx crossover. Where Mortician adopted slowed-down grindcore stylings to death metal, Nothing Left bring a pure grindcore approach to the type of pummeling, rhythm-driven riffing that powers Cianide or Asphyx, and adds the droning doomy feel of later doom bands like Cathedral.

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Sorcier des Glaces / Ende – Le puits des morts (2016)

sorcier des glace and monarque - Le puits des morts

Le puits des morts is a split album featuring Sorcier des Glaces and French black metal band Ende. On the first side, Sorcier des Glaces present four all new songs in their distinctive style of epic black metal continuing from their last few albums (including North from earlier in 2016) after the band’s abandoning of keyboards.

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Innsmouth – Consumed by the Elder Sign (2014)

innsmouth - consumed by the elder sign

Innsmouth play primitive blackened death metal in the vein of Darkthrone‘s A Blaze in the Northern Sky with the addition of several other metal riffing styles to the three chord hardcore Hellhammerisms. Consumed by the Elder Sign attempts to build an atmosphere resembling the terror and corruption of Lovecraftian Elder Gods through atmosphere, production, and samples that often come across as comically charming rather than haunting; cries of hatching star spawn sound like baby dinosaurs from Jurassic Park.

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Abigail – The Final Damnation (2016)

Abigail - The Final Damnation - cover

Article by Johan P.

The Final Damnation could be Abigail’s most worthwhile release since their sleazy blackened speed metal debut Intercourse and Lust twenty years ago. After tons of insipid punk/speed metal releases, more vicious black metal elements have once again made their way into Abigail’s repertoire.

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Experiencing Chasmic Transcendence

desecresy-chasmic_transcendence-cover

Article by David Rosales. This review is written on behalf of Akherra Phasmatanás, who so graciously bequeathed his own copy of the album so that its value as a promo investment by the band would not go to waste. He lost his harddrive and the review shortly before completion. Too busy later on and out of metal-reviewing circles, he asked David to review it on his behalf and to officially mention this copy came from him so that the band know he didn’t just drop the ball on them.

It is customary to start off a review of a Finnish death metal band by stating that they are Finnish. This generally carries a tacit implication that the band in question adheres to the particular sound developed more than two decades ago in albums like AmorphisThe Karelian Isthmus and DemigodSlumber of Sullen Eyes. Such a useful hint, carrying so much information for those familiar with regional old school death metal distinctions, only takes one so far and while satisfactory to the casual customer, does little for the serious listener looking forward to knowing what sets Desecresy apart and what they bringing to the table.

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