Cirth Ungol have awoken from a twenty nine year slumber to preview the song “Legions Arise” from their new album Forever Black set to be released on Metal Blade on the 24th of April. The band ended on a sour note with Paradise Lost and the revival is sounding even worse. The vocals have been toned and layered to sound more conventional. Guitars stick to a few simple riffs and some arpeggios. The song is lackluster and has none of the passion or energy that the band once had. Metal Blade have been very good at killing old bands recently. It’s incredible how well Angel Witch survived this. If this is what the band have to offer, the album is set to be a very dull affair.
Fans are reporting that online music streaming service Spotify has removed the Slayer album Repentless from the service in Mexico. If this is verified, it may show that online services are further adjusting their content to each nationality in order to avoid local taboos, including blasphemy and violence.
French Death/Black group Necrowretch return for their fourth full length that attempts to break out of the limited confines that have defined them for the entirety of their twelve year existence. Though there is valour in trying fix one’s errors no matter how late. Necrowretch strive to do this in the worst way possible.
The case of Rob Darken is a symptomatic one. He is undeniably the most important (and enduring!) metal musician from Poland and Eastern Europe in history. And yet, when black metal or folk is concerned, even on his own soil he is overlooked in favor of others, like Behemoth or Percival Schuttenbach respectively, solely on basis of some external attributes of their music. It seems that for some time now Darken is trying to gain at least a bit of the recognition he deserves: the exposure in Nergal’s biography, playing live with both Graveland and Lord Wind, and now the changes in the very formula of Lord Wind on The Forest Is My Kingdom.
One can find much to like on this later grindcore release, but it never quite gained traction in the canon. One wonders why, since it has Bolt Thrower and Carcass styled thunderous fairly technical grindcore, guttural vocals that sear ears and hope simultaneously, and carefully paced songs which accelerate for choruses.
To Make Rotten was initially released in 1991 by the band Sepsis and only seventy handmade copies existed at the time. La Caverna records have re-released this record twenty eight years of its initial release. While many expect another band that is rediscovered uniquely for existing at the right time and having a certain “spirit”. Sepsis put these claims to rest with a good demo that shows untapped potential.
Peer into the intense fury of three decades ago when Malevolent Creation unleashed their powerful fusion of speed metal and percussive death metal, The Ten Commandments (1991). Full of nice meaty riffs cleated to pounding double-bass drumming, this album explored the side of death metal that stayed closer to conventional metal.
During the 1990s, which was when we got the first inkling that the postwar liberal democratic order was going out the way of the Soviets, just more slowly, black metal bands made a name for themselves with an orgy of violence, with a dozen dead and almost a hundred churches burned across Europe.
Peripheral Cortex – God Kaiser Hell
Various Necrophagist riffs arranged in a mathcore style with no rhyme or reason as everything is thrown into the kitchen sink. Vocals are annoying shouts that devolve into nonsensical off-key singing. The best parts are the genuine carnival breakdowns featuring random saxophones as they are less annoying than the Epitaph ripoffs. The gimmick here is “creative freedom” but by doing it in such a random manner, all creativity is lost and what we are left with is a collage of unrelated music packaged into an album.
Ripping melodic and atmospheric black metal band Sacramentum gained a cult following for their lush use of melody without missing the riff-focused methods and intense morbid darkness of traditional black metal.