Article by Corey M.
To Starve the Cross sounds like the result of having chopped up a dozen good death metal songs and pasted the bits back together in such a way to eliminate any sense of continuity. Ghoulgotha is obviously made up of experienced and skilled players including the drummer of Ascended Dead and the guitarist from Father Befouled and Decrepitaph (among several other projects).
Article by Lance Viggiano.
Blood Incantation give birth to a star which rapidly dissipates its vibrant material into a pale dwarf by exhausting concise songwriting early in its lifecycle to leave only the raw core of extended jam sessions which cause the dead to be grateful for their passing. Each proper song begins with a clear objective but rapidly loses focus through descents into ill-fitting random pastiches of mosh riffs, doom, beer horn ready chug or atmospheric atonal ambience. By and large, the latter half of these songs are used to adroitly drift in the vacuum of purpose wherein it makes its residence. Unlike Altars of Madness which similarly abuses the listener by stretching the limits of tolerance towards virtuosity, this group lacks the voracious songwriting that is necessary to avoid wandering by achieving focus to force the captive into loving punishing bouts of self-indulgence.
Blood Incantation have announced their debut full-length Starspawn out for release August 19th on Dark Descent Records.
Swedish blackened death metal band Vanhelgd announced the release of their fourth album, Temple of Phobos
Dark Descent and Unspeakable Axe Records have released a new free sampler CD of their recent upcoming releases. It is freely available with a purchase from the Dark Descent online store and for free download on their Bandcamp page with four additional tracks that couldn’t fit on the CD.
The new Dark Descent Records/Unspeakable Axe 2016 CD sampler is now available. This is a FREE sampler and available with purchase through our web store and at Unspeakable Axe. Included on the disc is 16 tracks (8 from each label) with premieres from Blood Incantation, Excommunion, Lantern and Ruinous. The sampler also includes an discount code good for our web stores. Get yours now before it’s too late!
Trenchrot – Hell Pilot’s Call
Blood Incantation – Chaoplasm
Ripper – Anthropophagic Life
Ghoulgotha – The Sulphur Age
Hemotoxin – Transparent Eyes
Sheidim – Without Reins
Nucleus – Cube
Excommunion – Nemesis
Mortal Scepter – Violent Revenge
Nox Formulae – Hidden Clan NXN
Scorched – Lust for Strangulation
Lantern – Cleansing of the Air
Manic Scum – Strapped to the Gurney
Ellorsith – Jerome I
Obscure Evil – Enchants of Bitterness
Ruinous – Dragmarks
Article by David Rosales.
We tend to be skeptical when receiving a promo of a retro Swedeath band given the history of the style, but we can’t help but feel a vague and healthy excitement for the raw feeling this improved grindy sound can offer when done well. Despite the long history of shams, Dismember and Entombed followers receive an enthusiastic and welcoming reception here every time. This is also, perhaps, the reason why they also get beaten down with the most derisive of tones when found ‘guilty’.
Interment‘s Scent of the Buried is one of the best cases of the usually-unfortunate retro Swedeath we have seen in the last few years. While much praise is due, it is also interesting to try and understand when and how blatant such style appropriations fall short of the excellence of the originals. The band does a very good job at creating a flowing narrative in the style of Entombed, taking the best from the older band and approaching Dismember’s power chord and tremolo melodies in low tones while discarding the most overt poppisms of the first. After the first half of the album, the B-ness (the quality of being a B-grade album) of Interment’s release becomes obvious, after which it is easy to see that the band ran out of things to say.
While for some this has to do with style itself, and a superficial appreciation of music leads some to want stylistic variety, this is not what is meant here when pointing out the bands shortage of meaningful content. It has to do with a narrowness in the variety of patterns in melodies and riffs, not stylistic divergence itself. This is something that does not happen in the seminal works of Entombed and Dismember, whose style is natural-born from themselves, hence their whole effort is bent on trying to say something. In the case of stylistic followers and clones, which encompass the likes of Interment, there is a conscious will towards adhering to the stylistic conventions those older bands laid out.
This is much more confining and goes beyond genre style; these b-bands are not trying to reflect abstract ideas but the most superficial traits of the music. Hence, Scent of the Buried has enough excellent material for a 3-track EP, but not a full album. Despite the technical re-production of this vintage style being a success1, Interment doesn’t have much more to offer other than a passing pleasure for those who enjoy the hell out of the Swedeath sound.
1Scent of the Buried was actually recorded by Tomas Skogsberg at his legendary Sunlight Studio were most of the Swedish bands recorded back in the early nineties. – Editor
Today’s F-grade death metal is brought to you by Corey M.
Mortuary – Nothingless than Nothingless (2016)
The opening track is made up of the same chords for two and a half minutes. That the drummer can play five different beats over the chord progressions illustrates the pointlessness of the progression. This happens with most of the progressions in any given song – the drum beat is switched up in middle of the passage. Why does the band even bother writing these progressions if they’re so boring that not even the band wants to hear them played with the same beat for four cycles straight? This is the kind of “metal” that fans of modern “hardcore” get into. I can practically hear the PETA stickers and Vans shoes. You needn’t listen long to hear the influences – Pantera, Rob Zombie, and various Warped Tour-tier metalcore. At least Mortuary spared us any ironic rap verses or shout-outs.
Phobocosm – Bringer of Drought (2016)
Though it was easy to feel optimistic about Phobocosm’s future based on 2014’s Deprived (which this author still recommends – C.M.), it’s now time to give up on the band. Bringer of Drought shows Phobocosm embracing the Deathspell Omegacore post-modern metal virus, complete with songs of absurdly excessive length, mind-numbing guitar drones, artsy-fartsy dissonant chords that ring and grate, and minimal blasting-riffing which is the one part (all of about two minutes) that still sounds like death metal. The term “sellout” is severe and reserved for dire circumstances, but in this case it applies; Phobocosm has abandoned their obscure malevolence and Immolation-style warped riffcraft in favor of inoffensive but “deep”-sounding D-grade post-rock (see also: Adversarial). People who hate metal are the target audience.
Ferium – Behind the Black Eyes (2016)
Extremely repititous, faux-angry-man vocals set to white-boy groove-metal rhythms. Choppy, math-rock-wannabe drum beats. Guitars that barely even play melodies, just semi-random notes on whatever beats the drummer somehow decides to play. My guess is that he is using a random number generator, or maybe a set of dice, to decide the rhythm. One cringe-inducing track made up of three piano chords and a whining voice repeating “She feels like home”. Mix all these ingredients in a big rusty pot, heat over an open flame til melted to a liquid, apply liberally to your (or a consenting partner’s) scrotum, and then revel in searing agony. Recommended for fans of being raped.
NilExistence – Existence in Revelation (2016)
Terrible band name, terrible title, and terrible art aside, this is some tastefully brutal blasting with skillful musicianship and some evocative riffing. The vocals quickly become overbearing, which is a shame, since the intriguing Morbid Angel-style riffs sway to and fro, one moment up-close and vicious like a buzzsaw held to your face, the next distant and vast like a yawning cavern begging to swallow you whole. As usual with bands that try this, NilExistence trip on their own artillery by crashing together too many dissimilar riffs, like pages of a book shredded and then glued back together at random. These songs lack focus and therefore lack identity but something good may come out of these guys if they stay true to their influences and reign in the random deviations.
Hemotoxin – Biological Enslavement (2016)
Human-era Death worship by competent musicians with a keen sense of exactly how much melodic variance per riff it takes to keep a listener’s attention from wandering. This could be a strength rather than a handicap but the riffs aren’t related through anything other than temporal closeness. The feeling of each song jumps from here to there with little rhyme or reason. Slow, chugging sections interrupt tremolo-picked blasting segments, then vice-versa. Occasionally, a tasty guitar lead explodes out of nowhere and then vanishes without so much as a trace of smoke, leaving us longing and dissatisfied. Lyrically we get a mish-mash of edgy lyrics about homelessness and suicide that seem to hint toward some insincere positivity by outlining gruesome subjects in a “profound” light. This all makes for a very frustrating listen since it’s apparent that the band care much for their presentation and musicianship but lack the crucial element that makes metal tolerable: the natural intuition required to coherently structure songs. Sound familiar yet?
Not even AIDS can keep Chuck in the grave.
“All viable players will be considered. If you can play anything and everything onSpeak English or Die, you are welcome! Classic-era Slayer worship is also a plus. Contact the band at firstname.lastname@example.org. Join us in the war on morons!”
BIRTH A.D. released I Blame You in March 2013 on Unspeakable Axe Records. Purchase and/or stream the album Here.
Early death metal band Morpheus Descends is back in the action, with future tours lined up and a re-issue of its complete recordings heading to stores. The compilation From Blackened Crypts combines the full-length Ritual of Infinity with the two EPs that followed, Chronicles of the Shadowed Ones and The Horror of the Truth along with other rare recordings.
The box set includes, in addition to the 2CD digipak, two new and unreleased tracks wich will see issue as a separate 7″ entitled From Blackened Crypts and a DVD entitled Visage of Malady which contains tons of live footage as well as interviews with the band, accompanying a 11×17″ double-sided poster and 24-page booklet. The tracklist is:
1. Oozing from the Urn
2. The King’s Curse
3. The Way of All Flesh
4. Corpse Under Glass
5. Immortal Coil
7. Proclaimed Creator
8. Accelerated Decrepitude
9. Submerged in Adipocere
10. Enthralled to Serve
11. Ritual of Infinity
13. Accelerated Decrepitude
14. Triformed Limbs
15. Stigmatic Crucifixion
16. Residual Kill
17. Cairn of Dumitru demo 93
1. The Cruciform Hills
2. Cairn of Dumitru
3. Autumn Bleed
4. Signs of Gehenna
5. Moupho Alde Ferenc Yaborov
6. Begging for Possession
7. Valley of Undead War
8. Shaitan the Unborn
9. The Horror of the Truth
10. Corpse Under Glass (Live Reunion-Martrydoom)
13. Triformed Limbs
15. The Cruciform Hills pre-release ’94
16. Residual ’91
17. Autumn Bleeds ’93