Article by Anton Rudrick.
German ritual black ‘n’ roll band Possession Ritual released a full-length going by the name of Incense of Opened Gates, with striking artwork by Ars Leprosa in the year 2011 through Nihilward Productions. A note is made that the music itself was written and recorded in 2006. Being one of those limited editions which are rather hard to come by and probably also partially hidden away from the unworthy prying eyes of mundane minds, the author has only been able to listen to two pieces from the album. Hence, all commentaries and reflections upon the band’s work can be traced to perceptions of these exclusively. It will be useful to meditate upon a holistic impression of the band as an entity, and to take each of those to tracks to task separately, to finally arrive at a judgement of the musical work as manifested result of a series of evocations.
Article by Anton Rudrick.
Following a tradition of Finnish death metal, Serpent Ascending first proved its allegiance to the old stream of thought on The Enigma Unsettled. The project stood out as possessing that rare gift that grants vision past forms and into the value therein encased as dormant power, codified, awaiting a worthy hero who can pull the Sword from the Stone. While using techniques and musical structures that are well-known, interesting counterpoint and chant-like melodies can be seen in that first album, inserting them in between more conservative power metal riffs that were eerie enough to belong to occult death metal but also displayed a penchant for memorable phrases. Five years have elapsed since then, and several Desecresy albums have seen the definition and reaffirmation of that band into a distinctly esoteric style. Many were keenly expectant upon the future of Serpent Ascending.
Heresiarch are featured on an upcoming four way split with Genocide Shrines, Serpents Athirst, and Trepanation. The CD will published by Cyclopean Eye and the LP by Dark Descent Records.
The mentally ill delude themselves into believing they’re something they’re not and expect the rest of the world to fall in line with their fantastical psychosis. The Death Metal Underground staff doesn’t.
Article by Johan P.
I’ve never been overly impressed by the folk metal phenomenon, which emerged in the middle of the 1990s and began to gain popularity some years later. I do not mean to imply that there isn’t any good folk music out there. On the contrary, there’s a lot of rewarding traditional music to discover. Many musicians – metallers included – have realized that their respective countries’ folk music reservoir is a gold mine for potential ideas to integrate into more modern forms of music. It was on these premises that folk metal was born. However, if the source material is to be successfully re-animated and be brought into metal or any other genre, it requires some serious work from the composer and performer. Most folk metal bands fail at this point for a variety of reasons, with the end-result often sounding like bad heavy metal adorned with folk-melodies that have been stripped of all subtlety to fit into a rock-based harmonic and structural environment.
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.