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.
Pestilence’s demos have been repressed at least once before, most notably on some printings of Malleus Malificarum, but this most recent compilation of them may end up being of at least historic value to the band’s fans. The Dysentery Penance combines both of the band’s 1987 demos into one release, showcasing what we described about two months ago as the “formative years” of the band. Possible added value comes from some remastering work provided by Dan Swano, as well as some live material bolted onto the end of the album. Whether or not the remaster ends up enhancing this product, it’s still probably a better purchase than the band’s post-reformation studio albums.
These contemporaries of seminal Canadian act Blasphemy are seeing another release of their demos. Incantations of Demonic Lust for Corpses of the Fallen contains both their original demos (1990’s “Rebirth Into Evil” and 1991’s “Coming of Hate”) and was initially released in 2004. This re-release promises improved sound quality and will most likely be of interest to anyone who seeks to explore the Vancouver scene, or simply fans of early “primitive” death metal.
The record label offered this statement:
In the years since its inception in the late 1980s, the cryptically-named Ross Bay Cult has earned a degree of reverence and mystique that is arguably unequaled by other scenes in death/black metal history in terms of its contributions of both music and legend. While the band most commonly referenced as the face of this British Columbian horde is undoubtedly the notorious Blasphemy, others such as Witches Hammer and Procreation shared members and/or stages with them and made significant impacts of their own. Procreation’s morbid tenure in this cult dated from 1989 until 1993, and although they suffered some defections in their ranks over the years, they maintained a steady nucleus throughout and played numerous live shows in the Vancouver area with the likes of Blasphemy, Tumult, Armoros, Nuclear Assault, Anvil, and Forced Entry.
Although Procreation did not survive long enough to unleash upon the masses a full-length album that demonstrated the primitive amalgam of death metal that pervaded their live rituals, they did leave in their wake two demos that were professionally recorded at the same Fiasco Brothers Studio also desecrated by Blasphemy. Both of these recordings, Rebirth into Evil and Coming of Hate (from 1990 and 1991, respectively), provide evidence that the Vancouver metal scene of the time was anything but one-dimensional. In contrast to the speed metal attack of Witches Hammer and the bestial black metal of Blasphemy, Procreation’s demos can best be characterized as a purposefully non-technical, mid-paced death metal that at times resembles a record cut to vinyl at 45 RPM that is being played at 33 RPM, perhaps mistakenly, but to greater effect. With all songs clocking in between the two- to four-minute range and with a dearth of gratuitous guitar leads, Procreation ignored the perceived need that many bands felt to build as much complexity into death metal as possible. Instead, they relied on a simple and straightforward but successful prescription of steady rhythms and riffs that prove their worth by gradually dismembering the listener, piece by piece.
Set for international release on October 1st via Nuclear War Now! Productions, the CD version of Incantations of Demonic Lust for Corpses of the Fallen includes both of Procreation’s demos in their entirety. For this second pressing, the audio has been remastered by James Plotkin to improve sound quality, while still succeeding to maintain the raw integrity of the original recordings. Additionally, this release once again features the demonic artwork of Wes Gauley, which serves as a fitting visual complement to the possessed nature of the sound that once stalked the Vancouver area and will continue to fester undead with the circulation of this compilation. Cover and tracklisting are as follows:
Tracklisting for Procreation’s Incantations of Demonic Lust for Corpses of the Fallen
2. Morbid Reality
3. Caking Blood
5. Darkest Force
6. Tomb of Assyria
7. Darkest Force
8. Rebirth into Evil
9. The Coming of Hate
10. Tomb of Assyria
Following in the steps of Repulsion, mid-period Blood and Napalm Death, Honduran band Corruption write mid-paced Grindcore with lyrical content ranging from the socio-political to the more gore-oriented character. Corruption’s music also features tonal guitar solos that stress a dark mood rather than a wild outburst of chaos.
This self-titled demo released in early March 2015 is the culmination of a 5-year interaction between guitar player Manuel Velásquez and vocalist Ángel Mejía. The demos were recorded in december, 2014, under the following line up:
Manuel Velásquez – guitar and vocals
Christhofer Ayestas – guitar
Roberto Molina – bass
Arnold Flores – drums
The band has made this demo freely available. It has been reuploaded and can be downloaded here.
Century Media Records will release all demos of Finnish death metallers Necropsy on June 3rd in a compilation containing three CDs, all songs remastered from the original tapes. CMR promote it thus:
The result is mindblowing: Without ever destroying the analog charm of the old tapes, all songs sound fresh, just like they have been recorded just a few years ago.
Tomb Of The Forgotten – The Complete Demo Recordings will start anno 1989 and end in 1993, a time period in which the band, frankly, only recorded demos, with the exception of an EP and a split with Demigod in 1992. The band’s first full-length, Bloodwork, arrived as late as in 2011, after a 17 year long hiatus.