Metalucifer, the heavy metal loving parody side project of Gezol from Sabbat (Japan), released a new video to Youtube from their upcoming split 7″ with Sabbat. “We Are Still Metal Kids” is a disposable, haphazard parody of NWOBHM bands such as Iron Maiden and Judas Priest just like all other Metalucifer songs . It will also eventually appear on an upcoming album to be released on Iron Pegasus / R.I.P Records. Metalucifer’s previous albums (Heavy Metal Drill, Heavy Metal Chainsaw, and Heavy Metal Bulldozer) and all of their other cash grab releases are all pretty much disposable kitsch but still better than most of the war metal, metalcore, and crypto-indie rock the Funderground attempts to force down our throats.
Mortalized was the other grindcore band of Gridlink guitarist and riff master Takafumi Matsubara. 呪われた …Complete Mortality is the total and complete collection of everything the Japanese grindcore legends ever recorded. Since Mortalized is a grindcore band, Complete Mortality is effectively a giant collection of effective riffs in various styles: grindcore, death metal, heavy metal, black metal, Gothenburg, hardcore, post-hardcore, crust, speed metal, you name it and Matsubara probably had an original riff resembling that style of metal or hardcore on this release. Complete Mortality is a true riff bible from the mind of an incredibly creative and talented guitarist.
Article by Johan P.
The Final Damnation could be Abigail’s most worthwhile release since their sleazy blackened speed metal debut Intercourse and Lust twenty years ago. After tons of insipid punk/speed metal releases, more vicious black metal elements have once again made their way into Abigail’s repertoire.
Japanese label Obliteration Records is releasing a War Master anthology CD consisting of both the debut Pyramids of the Necropolis LP and the Blood Dawn EP, along with a slew of bonus tracks from demo tapes and splits. The Houston, Texas throwers of bolts are one of the better modern death metal bands and a perennial on Death Metal Underground’s best of lists. This release will be an easy way for Hessians in Asia to obtain the band’s material on a physical format.
For all Death heaz in Japan,
Finally, Bolt Death Metal WAR MASTER attack in Japan!
They will change battlefield here and take no prisoners!
Are you ready to die??
Obliteration records proudly release their Blood Dawn EP + 1st album and bonus trax on CD format.
Limited of 500 copies in Asian coutry only.
First sale on their Japan tour in May.
May the Metal be with you
While acts such as Immolation, Suffocation or Vader are routinely and falsely accused of making the same unchallenging album all over every few years without bringing anything to the table, this judgement is much more accurate when directed at a band like Coffins. While the attack leveled on the former bands is merely a lack of appreciation of the subtlety of the progression (in their early career) and latter downfall (mostly after the year 2000) of bands that were never stagnant but rather extremely consistent in their trajectory, in Coffins we find a band presenting Cianide-like doom-death cliches in a string of riffs that have no head, no tails, no climax, but rather a sequence of pleasing moments for the fan of the style.
These Japanese death metallers started this project right during the start of the worse decade for metal, the decade when all progress was dead and which had, apart from a few respectable echoing the remains of a golden era ten years in the past, a penchant for completely empty and lavishing parading of style cliches. Four full-length albums and a billion demos, EPs, and splits into their career, and Coffins still does not have a sound of its own. In them we can hear Cianide, and echos of other bands (but most Cianide). There is absolutely no trace of something that belongs to them. In fact, when played back to back with the aforementioned underground classic one wonders if Coffins’ release isn’t just an uninspired album by the first band.
Cult classics are usually (but not always) “cult” — that is having a very particular and reduced audience that listens to them almost as a guilty pleasure or with a fanatical eye for a very special reason — because they are not very good to begin with. Their is the underground, and then there are the “cult” bands. We can not apply the same rule to every band, but a good rule of thumb is: they did not make it for a reason, and they also became cult for a reason. In the case of Coffins, it is just a very faithful superficial imitation of cliches of the genre, which pleases all those looking for the exterior fascination but who apparently perceive very little of the progress of a music piece and what it has to communicate. Any serious death metal fan would do well to avoid losing their time with this passing bland piece of junk.