Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.
Some compare this to Mortician but to these ears, it sounds more like a Cathedral, Cianide and Asphyx crossover. Where Mortician adopted slowed-down grindcore stylings to death metal, Nothing Left bring a pure grindcore approach to the type of pummeling, rhythm-driven riffing that powers Cianide or Asphyx, and adds the droning doomy feel of later doom bands like Cathedral.
Cryptopsy‘s None So Vile turned twenty this month. A more successful turn off your brain death metal work than Cannibal Corpse, simplified and straightforward deathgrind song structures allowed each musician ample opportunity to show off and drop jaws. Unfortunately aggression and technical showmanship can only cover up for so many repetitive mosh, hit people verses, funky slap bass, and taking three steps back towards verse-chorus-verse speed metal songwriting from their inspiration Suffocation. Nevertheless, None So Vile remains worthy of the occasional, once every couple of years listen due to Jon Levasseur’s superb heavy metal leads when not caving skulls in with a rock or something and Flo Mournier’s over the top ferocity that the original Dark Legions Archive review famously compared to a police beating.
Violent Opposition presents a one-man grindcore assault that upstages the milquetoast nature of recent underground music. This one musician plays the Jesus out of each instrument with raw pure aggression. The bass and drums are punchy and give the recording a lot of energy and verve. His song names are realist and take a strong stand against empire and against state sponsored violence.
Some metal was created to be enjoyed drunk and alone with reality TV blaring in the background.
This band is a pretty decent Bolt Thrower clone, with two caveats: their riff-writing relies on Pantera-blockhead phrases based purely in rhythmic expectation, and their songs are extremely simple in form in part because they are based around tropes borrowed from albums by that English band.
This promotional contribution from the Social Justice Warrior-ridden Baltimore metal scene is terrible; it sounds like Pig Destroyer meets Christian metalcore. The anonymous local supplier bravely contributed a shocking report of a recent Bestial Evil show in Baltimore.
Oh here she comes. Watch out boy she’ll chew you up. She’s a maneater. – Darryl Hall and John Oates, 1982.
Black Tusk – Pillars of Ash (2016)
A fusion of party rock, screamo, and hardcore punk, Pillars of Ash brings a risible contribution to the rock/punk spectrum that many a beginner is prone to confuse with metal. The relevant question here is whether or not Black Tusk have anything worthwhile to offer to the listener that may not be found in higher quality elsewhere. The answer is a resounding NO. The album plays like a tenuous stream of echoes of 1980s hardcore bands rearranged with Mario Paint.
Tombs – All Empires Fall (2016)
Tombs is described in some places as black or post metal, and while there is some borrowing from black metal techniques in the use of some blast beats and an imitation of traditional black metal vocals, Tombs isn’t isn’t black metal. The post-metal is correctly applied in that this isn’t much more than a poor excuse for pseudo-ambient experiments with haphazardly connected sections being paraded as composition. There are strong references to doom metal, cheap and stompy heavy rock, with post rock being added as the way to get away with 3rd rate writing. All in all, boring, generic, unfocused, and unoriginal background music. Tombs is lounge music.
Howls of Ebb – Cursus Impasse: The Pendlomic Vows (2016)
Entirely random pastiche of metal clichés loosely held together by psychedelic interludes and a drunk vocalist feigning faux lunacy. If a blend of Voivod, galloping heavy metal, canned black metal and fuzz drenched noise rock wah wah soloing wasn’t pointless enough, the band commands and impressively dissociated catalog of occult vocabulary to match.
Nucleus – Sentient (2016)
Nucleus have fun in the studio and they want you, dear listener, to have fun at home with them. If you like Demilich but thought it was too strange, too serious, or too weird to play around your sister then Sentience is the record that delivers all the thrills of Finnish extradimensional insectoid death without danger of unthrashability. All the more perfect for fucking your sister behind the dumpster at the skatepark.
Candelabrum – Necrotelepathy (2016)
Two twenty minute tracks of spooky landscapes, sad vampire vocals, and canned drum patterns. If the goal was to stride the line between hysterical and uncomfortable, this record is a resounding success. Necrotelepathy is more Vampire Diaries metal.
Abyssus – Once Entombed (2016)
Another pizza thrash band with a veneer of death metal fronted by a Greek John Tardy fan. The album art and song titles make adequate use of Death Metal Band Generator. Perfect comedy for those Saturday mornings when you are drunk with fellow “scene veterans.”
Clawhammer Abortion – Slaughter Campaign (2016)
This band took every criticism levied against death metal and wrote an album of it. In order to get through, I turned it into a drinking game: Hear a cliché, drink. The only problem is I passed out drunk after three songs and the Editor took over. He heard so many Sodom breakdowns and generic grindcore riffs that he kicked my ghetto blaster into the campfire. Only the most calcified kidneys and fattiest livers prevail in the Eternal War.
Article by Corey M.
Too many death metal bands these days are attempting and failing utterly to convey the more obscure, ghastly effects of Onward to Golgotha or early Gorguts rather than the grisly, gory, in-your-face ripping and grinding style that was more prevalent at the time of those classics. Emanations from the Crypt is revitalizing to these ears as there is no effort made whatsoever to “enhance” the “atmosphere” of the music with excessive reverb or eight-hundred layers of guitar tracks; there is only brutality and aggression. Early Deeds of Flesh is an obvious inspiration for this juggernaut album as the guitar riffs squirm and shred through gnarly contortions, while the drums attempt to restrain and sensibly contextualize their wild leaps and bounds. The vocals are very convincing growls and gurgles that switch up just when needed to suggest a shift in dynamics, much like Infester used theirs and never attempt to take control or drive the music. Also present is some of Deicide‘s spirit announcing itself through the jittery, psychotically antagonistic riffs that seem to only represent melody tenuously. Embalmer’s Emanations from the Crypt some of the best death metal on the brutal end of the spectrum since Scalpel‘s Sorrow and Skin.