Following up on its doom-death full-length Reduced to Sludge released in 2011, Funerus surges forth with three new tracks on a 7″ entitled The Black Death to be released on Dark Descent Records within the next few weeks. This short work shows that where Reduced to Sludge finalized the Funerus style, newer works further intensify the strong doom-death sound which has propelled this band for decades of enjoyment in the death metal underworld.
Sounding very much in company with widely varied acts such as Divine Eve, Cianide and Asphyx, Funerus writes grinding death metal riffs which develop over the course of a song with hints of melody and layers of texture, building an incrementally crushing atmosphere around a strong theme. On The Black Death, melodic elements serve a stronger role but entirely without becoming fluff or reducing the impact. Funerus uses melody in death metal correctly, which is to underscore the evocative vocal rhythm of a chorus and bring out variation in riffs so that repetition increases the crushing sense of morbid doom instead of adulterating it. These songs build like the experience of descending into a deep cave, with the heaviness of the air growing more oppressive and the fear surging with each foot further into the void that return from this abyss will be impossible. Where older Funerus relied on more varied technique and sometimes conflicted with the pure power of its doom-death riffs, this new incarnation clears out everything but the essentials and uses them to complement the fiery riffing to give it a further sense of oppressive hopeless violence.
In addition, vocals provided by bassist Jill McEntee, who shares instrumental duties with her husband John McEntee of Incantation, both through clarity of production and greater savagery produce an effect of urgent despair like chanted emergency messages broadcast by loudspeaker in the ruins of a dystopian city. Of the three tracks on this album, “The Black Death” grinds almost like a Bolt Thrower track but builds to a staggering sledgehammer doom-death riff instead of a melodic counterpoint to the abrasive chromatic dirge. The second track “The Minding” applies a melodic Swedish-style death metal riff much as might appear on a Carnage or Amorphis record but throws behind it a bulldozer of rhythmic momentum. Closing out the record, “On the Edge of Death” charges more like early Asphyx and keeps the intensity higher at a mid-paced speed with relentless vocals calling forth like battle command. Together these three tracks show a streamlined, stripped-down and more articulate Funerus that intends greater malice and achieves a sound competitive with the best of the underground that shows us this band at its greatest power yet.
Coming from the tradition of thunderous American death metal that incorporates doom passages, Funerus write European-style melodies through their songs and as a result create an architecture of moods that gives us song a distinct presence.
Reduced to Sludge uses rolling rhythm riffs, upset by longer fretboard-walking riffs that set up a more complex rhythmic expectation, and then as these riffs repeat modifies them to bring out a melody. Often this is a simple riff that, like a rebuttal, speaks back to the verse-chorus arrangement and expands its two and three notes into a whole melodic phrase.
Funerus shows its influences strongly from all over the map. The easy ones to pick out are Asphyx, Cianide and Entombed, and it’s foolish to expect this band to avoid some influence from Incantation from which its guitarist is loaned. Its faster riffs are simpler and evoke more of a NYDM feel, while its phrasal riffs sound more like the Incantation-Revenant-Profanatica-Demoncy spectrum of cavernous occult doom-death.
While Reduced to Slude demonstrates a range of powerful death metal riff archetypes, its vocals emerge straight from the early days of death metal, sounding both gruff and breathless without being fully guttural while also avoiding the rasp of black metal. These guide the onslaught of riffs when intense, and as it slows the textures meld, creating a sonic veil from which the listener gradually emerges.
Although Funerus stays with a classic death metal sound and thus does not offer a quirky or unexpected aesthetic, the result is that Funerus stays true to its roots and has a voice it is comfortable with. The result is an album of shorter songs that feel like longer songs, and despite being rudimentary and using similar techniques, avoid boredom by staying true to their essential mission of creating a dark and thunderous mood.
First, a quick update on Jill Funerus and her health challenges. She had 100% blockage in one artery and less in another, but the damage was still extensive enough to cause a heart attack and kidney problems.
She went into surgery about 22 hours ago. However, she does not have health insurance and neither does her husband. Thus, she’s going to face some heft medical bills when this is all over.
To counter those bills, the Glorious Times team have partnered with death metal bands across the world to throw a fundraiser. Bands will donate items for a raffle, and perform, with the proceeds going to Jill for payment of her medical bills.
If you, dear reader, wish to help her out in this time of need, you can send funds via PayPal to email@example.com. Here’s the list of bands who have pledged donations for the Jill Funerus benefit:
Mike Browning (Incubus)
If you are a band, label or distro and want to help out with the Jill Funerus benefit, please send an email to firstname.lastname@example.org.
Jill Funerus, wife and bandmate of Ibex Moon label head and Incantation guitarist John McEntee, and composer of songs for Funerus along with McEntee and Sam Inzerra on drums, has been diagnosed with a heart attack in response to recent health problems.
Funerus began in the early 1990s in Pennsylvania as a Swedish death metal-influenced doom-death band. Jill Daily, who uses the stage name Jill Funerus, went on to become the bassist for this band influenced by Entombed, Bolt Thrower, Obituary and Carcass.
After terminating in 1994, the band resurrected itself with a new line-up in the early 2000s, and with the help of John McEntee (Ibex Moon/Incantation), rose again in a new form and began gigging. The band are known for being professional and easy-going at the same time, in addition to making crushing grinding doomy music.
Our thoughts are will Jill, John and their family and friends at this time.