Sepultura‘s Morbid Visions is my favorite thirty year old album. Released in Brazil on November 10th, 1986, Morbid Visions saw Sepultura slither past the primitive Hellhammer, Celtic Frost, and Sodom worship of their initial Bestial Devastation extended play (included as a bonus on almost all CD versions of Morbid Visions) and into ultraviolent, progressive but still primitive, death and black metal.
Blasphemy suddenly released a live album today. The CD of Desecration of Sao Paulo now. Check the usual distros if you’re a war metal, bestial maniac. Hopefully this will sound better than Fallen Angel of Doom if you care to revisit Blasphemy’s material.
Brazilian black metal band Mystifier outed themselves as avowed socialists, black supremacists, and evolution deniers in an unpublished interview from 1999 posted years ago to the Nuclear War Now! forum by the interviewer Werwolf.
Article by Corey M.
While 1349 did not quite make good on their promise of delivering a battlefield soundtrack at blistering speeds, Rebaelliun have taken the reigns and driven their blazing chariot into a chaotic realm of vicious blasts and reckless shredding the likes of which many bands have intruded upon only to be cut down due to their inability to survive such an onslaught.
In the past, bands such as Aeon have presented some unworthy offerings at the altar of Deicide, but Rebaelliun diminish those halfhearted efforts even further by adapting their mentor’s tactic of relentlessly aggressive songcraft while actually understanding intuitively their spirit of hatred and hostility. Using the individual musical elements of the band as gears in clockwork, the players rev up the horsepower until the cogs are spraying white-hot sparks.
Article by Corey M.
At the beginning of this album, I thought I was in for some ironically incompetent Venom worship with affectations of naivety: “Metal about metal” as it can be rightly called. The drums are played in a bare-bones punk style. The guitar(s) loop punk riffs in predictable verse-chorus style structures while the vocalist rants in a smoke-shredded voice about typical metal stuff. No virtuosic leads or even harmonies are present. However, as the record progressed, the raw efficacy of the chords overcame my cynicism and my head began to nod to and fro of its own accord. Maybe these guys are a throwback or tribute act. Maybe they have actually never heard anything more recent than the first Bathory album. Either way, their riffs have an undeniable ability to hook energy-pumping tentacles into your brain and stir in your heart the desire to get off your ass and be a living, bleeding, raging human. When it comes to music, is there anything better than that?
Brazilian black/death/speed metal pioneers Vulcano are about to tour Europe to celebrate the thirtieth anniversary of the release of the bestial Bloody Vengeance. They will of course be playing their most well-known record in its entirety along with later material too. European fans should avail themselves of this rare opportunity to see the band on the continent.
Roadmaster Booking agency is proud to announce the commemorative tour of 30 years of the classic album ‘Bloody Vengeance’ from the Brazilian legend Vulcano. The band will play the record in its entirety, as well as songs from their latest releases.
Zhema, guitarist from Vulcano says:
“We are looking forward to this fifth European tour and ready to give 110% in every show, because our fans mean a lot to us and we really appreciated their support. We promise to do the best in every show and the fans – that’s why we are still going strong after all these years. Let’s play in full the Bloody Vengeance album, and songs from the the last three releases.”
Beer metal exists on the weekends for bored western, white collar office workers wanting a safespace where they can shoot the shit with their flanneled friends and show off their tattoos three times a month. Self-aggrandizing social metal must be impaled on an iron spike.
Incubus (Opprobrium) – Serpent Temptation (1988, 2016)
Everything old is getting repressed, even horrible Jesus metal that doesn’t deserve it. Jesus wept when he saw Relapse repressed this “lost gem”. All of Jesus’s favorite eighties speed metal that he got wine drunk to with his apostles in Joseph’s garage was sodomized like an altar boy. His favorite riffs were simplified so drunk Brazilians who crucify themselves as they don’t understand Catholic theology could play them. Metallica, Sodom, Kreator, Bathory, Destruction, Slayer, and Sepultura all were held down, bent over, stripped, and had their riffs forcibly tossed into salads. Jesus couldn’t think of anyone else that wasn’t defiled by Incubus in his name. “Why do they always have to break before they start blasting like Sarcofago?” wondered Jesus, pondering Incubus’s instrumental inadequacy as he hung upon the cross. Jesus wished he had approved of abortion so these Brazilians with microcephaly would never have been born. The pain and horror to his eardrums were much worse than his shoulders screaming in pain. Why hadn’t he just listened to Cogumelo’s Warfare Noise compilations again? Incubus were two additional nails in his ears. Jesus would torture all the straight-edge hardcore kids and their youth pastors who wanted to channel their passionate slam dancing onto their penises for all eternity in the lake of fire. He would sear the flesh from their faces and force them to consume their fellow sinners. As the majestic pantocrator sitting on the throne of the former sky-father Jupiter Optimus Maximus, it was he who cursed Brazil with favelas, mosquitos, and raw sewage for Incubus’s cargo-cult copying.
Kreator – Coma of Souls (1990)
Frank Blackfire was the only fumes keeping Kreator going by the nineties. Jumping shit from Sodom, his riffs and leads “enlightened” Kreator from their Extreme Aggression manifested as Teutonic speed metal to a toned-down, NWOBHM made “technical” approach. This emasculation reveals every song as a verse-chorus-verse riff salad composed of riffs that can sometimes be considered clever and catchy alone by themselves but together don’t come close to anything resembling coherency. Three tracks in and you’re fucking bored and wish that annoying Mille Petroza would go back to his pizza parlor and stick his head in the oven. This proto-Heartwork polished turd is the origin of melodeaf: Euro speed metal meets whiny, post-hardcore randomness. Coma of Souls has as much Pleasure to Kill left in it as Bob Dole’s limp, Viagra-less penis.
Malokarpatan – Stridžie dni (2016)
There’s not a lot to do in Slovakia except drink beer and listen to Bathory. Malokarpatan get shitfaced on Golden Pheasant every day. You know the ten-thousand hour rule? These guys definitely listened to ten-thousand hours of eighties metal while drinking. Being a hard rock band at heart, they rape Batlord in every song , constantly breaking into something Kansas could have written. Malokarpatan probably couldn’t find a good singer so they went faux black metal with the folksy Slovak schtick to appeal to hiking hipsters. Those Mercyful Fate leads are there as Malokarpatan were supposed to be djing at the metal pub. Note that the album was recorded in the cellar keg storage room with the landlord’s fish tank. Malokarpatan even pestered the barmaid into doing female voices to ape Absu and Goatlord Darkthrone! Stridžie dni is pilsner metal complete with farmer’s tan cutoffs and aviator shades in black metal bar rituals.
How many people listen to Hellhammer’s Death Fiend? What about Sodom’s 1982 Witching Metal? How popular are Death’s earliest demos? When it comes to early proto-underground bands, these earliest demos probably don’t get the listening attention they used to in the deep past, even from people who would rush to their defense on the internet. Part of this could be that they’re still harder to obtain, which theoretically makes this repressing of Sarcofago’s demos quite helpful. This joint effort between Cogumelo and Grayhaze Records claims to go beyond making the band’s early demos officially available by also doing the typical “release more rarities” trick, notably including demos from the Rotting EP and The Laws of Scourge. It probably won’t replace INRI or Sarcofago’s other studio albums in your rotation, but it’s another way to give Wagner Lamounier money in case you’re worried he isn’t making enough teaching economics.
Greyhaze Records is set to unearth Bloody Vengeance, the 1986 full-length debut from Brazilian death metal pioneers Vulcano. Formed in 1980, Vulcano is thought to be the first band from Brazil, and possibly South America, to play extreme metal. An early influence for the likes of Sepultura and Sarcófago, Vulcano’s primal blend of black, thrash and death metal sparked a flame that quickly spread across the mid-80s underground metal community.
Bloody Vengeance is being reintroduced to a new generation of metalheads. Fully remastered and restored, the album is accompanied by a DVD that features a live performance from the 1986 Festival Da Morte. Greyhaze Records will reissue this cult classic as a six-panel digipak CD/DVD on May 18.
Vulcano will celebrate the reissue at this year’s Maryland Deathfest. The MDF set will be the band’s first-ever live performance on American soil. With no other U.S. dates in the works, MDF XIII looks to be the only chance to experience the madness that is Vulcano north of the equator.