Dew-Scented releases ‘Ode to Extinction’ lyric video


With their tenth album “Intermination” due out later this month, German metalcore group Dew-Scented have released a third new track, “Ode to Extinction” with a lyric video.

Due to technical problems in the website, the review of Dew-Scented’s album previously published on DMU cannot be readily accessed. You can read it below:

Having been called everything from thrash to death or melodic death metal, Dew-Scented play metalcore in its original inception, as inspired by At the Gates’ style on Slaughter of the Soul.  Everything from the simple drums which half of the time fall into variations of fast d-beats, catchy and short melodic ideas on the guitars with a tendency towards breakdowns for variety, to the blatant imitation of Tomas Lindberg. Being an heir to this tradition reviled by the fans of the old school styles and hailed as an improvement and distillation of the best aspects of the older music by the mainstream audience, Intermination invites a comparison with At the Gates’ come back album released last year, At War with Reality.

While the seminal band tried to bridge a gap between fans of its older and later styles by taking its metalcore-founding album and introducing more complex elements as visited in Terminal Spirit Disease and vaguely from With Fear I Kiss the Burning Darkness, thereby creating a middle-of-the-road offering that pleased neither group, Dew-Scented plant themselves solidly on the style developed in Slaughter of the Soul and part faithfully from there to create variations without bringing down the delicate and extremely constricted walls delimiting the definition of this minimalist, extreme pop genre.

Being the catchy, duple-time riff-fest that this genre is, Dew-Scented do a phenomenal job at creating solid, punching riffs which if not necessarily connect concretely with each other too well throughout a song (given the shock-oriented nature of this modern style), go a long way to maintain the drive of songs by switching and keeping the overall feel, avoiding the over-use of a particular riff. Without any ill-will towards this talented band, we must clarify that the album presents a very flat result, which is a necessary result of the definition of the genre as driven by impacting riffs and sonic shock tactics. The tight upholding of ideals of the genre in Dew-Scented’s hands, even with their carefully and appropriately crafted variations, becomes a hindrance in the context of a crippling genre.

Raping of Sacred Assholes: Nocturnus – The Key (1990)


A cult classic of death metal, Nocturnus’ The Key often elicits outwardly moderate yet intense praise from connoisseurs of the genre. Reading online reviews and commentaries on the album one realizes that these praises are based on a three points. The first is the prominent use of keyboards throughout the album, then there is the ubiquitous, ripping guitar solos and last, its supposed resemblance to Morbid Angel, which is mainly based on the fact that Mike Browning took charge of the vocals on Nocturnus but also on the so-called thrash/speed-death amalgam this style is supposed to be. Let’s shoot each of these down one at a time.

The much-mentioned “pioneering” death metal with keyboards is an example of how too much of the metal critique is bent on praising novelty. Not only is the use of keyboards in the album amateur but it is often gimmicky, half of the time being out of place, the other half being completely extra and unnecessary — not strongly integrated into the music except in a very few places (“Neolithic” has a gesture in the solo section that shows promise). There are very good reasons why you do not hear keyboards often in death metal, and it goes beyond the fact that most death metal musicians are not learned enough to integrate them and would rather just make “pummeling and brutal riffs”. Style has to accommodate instrument choice. As it stands, The Key only crams keyboards wherever it can, but it is little more than a gimmick. Overall, a metalhead should look up to In the Nightside Eclipse for a better example of keyboards in underground metal.

On to the much lauded guitar solos in this album. What can I say? Besides being mindlessly infantile and trivial in their transparent scale runs, the solos throughout this album are, like the keyboard sections, often out of place and come off as being only superimposed on top of the rest of the music rather than composed within it. On their own and apart from the discussion on whether they fit into the music or not, it is not the messiness of the solos but their complete lack of character that would give one a good reason to ditch them and never think about them again.

Regarding Nocturnus sounding like a “Morbid Angel on steroids” or “an improved version of Morbid Angel”, we can say it comes from extremely superficial comparisons and a complete lack of discernment concerning composition quality. While Nocturnus perfectly exemplifies the brand of speed metal that wants to be death metal but is not quite there yet, early Morbid Angel was known as “death-thrash” only as a result of the audience’s ignorance. In this respect and given that The Key was released in 1990, when death metal had already solidified as a genre, we can say Nocturnus’ music is retrograde gimmick.  The distinction between the death metal of Morbid Angel and the harsh, late-speed metal of Nocturnus lies in the phrase construction of the first that becomes the central development of the music, while the latter produces riffs to carry the voice that end in hooks. Death metal is progressive-symphonic phrasal music, speed metal is still heavy metal of a pop nature. Rather than compare them to Morbid Angel it would be more fitting to compare them to that other famous retrograde and gimmicky act called Death.

All in all, The Key still captures the imagination despite its amateur character and its great faults. I believe the reason for this is that in spite of its immature musical notions, its concept is very clear and this comes through in a very strong manner, outshining the blunders it houses. For the sake of metal, its future and the education of the audience, it is important to give albums like this their correct place. This is enjoyable and fun in much the same way that Sharknado is. You know it is silly, you know its appeal comes from its exaggerations and awkwardness, but a focused awkwardness with a clear idea in mind.


Masturbate on the throne of god
Crucifixion of a thousand saints
Stakes are mounted with the heads of angels
Nocturnal spells are casted,
Heaven begins to bleed


Warbringer announce 2015 South American tour and 2016 North American tour


Speed-power metal band Warbringer have announced their North American tour with Enforcer and South American tour with Nervo Chaos and Hateful Murder.

Frontman John Kevill said this about their 2016 North American tour:

We are excited to announce the return of Warbringer to the road across North America. It looks to be a completely excellent lineup, with heavy metal warriors Enforcer and Cauldron, and longtime friends/total shredders Exmortus. Looking forward to firing up the engines again and getting back out there on the warpath, hell, it’s about time!

North American tour dates

  • 1/5/16 – Gramercy Theatre – New York, NY
  • 1/6/16 – Championship – Trenton, NJ
  • 1/7/16 – Trickshots – Clifton Park, NY
  • 1/8/16 – Webster Theatre – Hartford, CT
  • 1/9/16 – Palladium – Worcester, MA
  • 1/10/16 – Foufounes – Montreal, QU
  • 1/11/16 – Salle Multi – Quebec City, QU
  • 1/12/16 – Ritual – Ottawa, ON
  • 1/13/16 – Hard Luck – Toronto, ON
  • 1/14/16 – The Apk – London, ON
  • 1/15/16 – Montage Music Hall – Rochester, NY
  • 1/16/16 – Agora – Cleveland, OH
  • 1/17/16 – Altar Bar – Pittsburgh, PA
  • 1/18/16 – Ace of Cups – Columbus, OH
  • 1/20/16 – Token Lounge – Westland, MI
  • 1/21/16 – Fubar – St. Louis, MO
  • 1/22/16 – Mojoes – Joliet, IL
  • 1/23/16 – The Metal Grill – Cudahy, WI
  • 1/24/16 – Triple Rock – Minneapolis, MN
  • 1/25/16 – Zoo Cabaret – Winnipeg, MB
  • 1/27/16 – Nite Owl – Calgary, AL
  • 1/28/16 – Pawn Shop – Edmonton, AL
  • 1/30/16 – Rickshaw – Vancouver, BC
  • 1/31/16 – Studio Seven – Seattle, WA
  • 2/1/16 – Hawthorne Theatre – Portland, OR
  • 2/2/16 – Thee Parkside – San Francisco, CA
  • 2/3/16 – Whisky – W. Hollywood, CA
  • 2/4/16 – Brick By Brick – San Diego, CA
  • 2/5/16 – Club Red – Tempe, AZ
  • 2/6/16 – LVCS – Las Vegas, NV
  • 2/8/16 – In the Venue – Salt Lake City, UT
  • 2/9/16 – Bluebird Theatre – Denver, CO
  • 2/10/16 – Aftershock – Merrriam, KS
  • 2/11/16 – Red 7 – Austin, TX
  • 2/12/16 – 210 Kapones – San Antonio, TX
  • 2/13/16 – Scout Bar – Houston, TX
  • 2/14/16 – Trees – Dallas, TX
  • 2/15/16 – Siberia – New Orleans, LA
  • 2/16/16 – Orpheum – Tampa, FL
  • 2/17/16 – Haven – Orlando, FL
  • 2/18/16 – Masquerade – Atlanta, GA
  • 2/19/16 – Expo Five – Louisville, KY
  • 2/20/16 – Canal Club – Richmond, VA

Regarding their upcoming South American tour, Kevill said:

We are excited to venture forth on our first-ever full South American tour. We are covering a lot of new ground here, and we can’t wait to go down there and wreck some people. Let’s see which country can mosh the hardest! Cheers!

South American tour dates

  • 7/16/15 – Mistika – Lima, Peru
  • 7/17/15 – Monolith Festival – La Paz, Bolivia
  • 7/18/15 – tba – Bogota, Colombia
  • 7/19/15 – Cuerdas de Acero Open Air – Cali, Colombia
  • 7/22/15 – Encuentro Gutural – Quito, Ecuador
  • 7/23/15 – tba – Santiago, Chile
  • 7/24/15 – Asbury Club – Buenos Aires, Argentina
  • 7/25/15 – Circle of Infinity Fest 3 – Limeira, Brazil
  • 7/26/15 – Circulo Operario do Cruzeiro – Brasilia, Brazil
  • 7/27/15 – Aristos Pub – Caxias do Sul, Brazil
  • 7/30/15 – Let’s Go Rock Pub – Forteleza, Brazil
  • 7/31/15 – Estelita – Recife, Brazil
  • 8/1/15 – Che Pesticaria- Areceju, Brazil
  • 8/2/15 – Baba da Amizade – Paulo Afonso, Brazil

Gomorrah release new track



Nu-thrash band Gomorrah has revealed one track from their upcoming album to be released later this year. The single is called “Phantom Sun” and bears unmistakable resemblance to modern acts like Sylosis.


Guitarist Colton Deem says:

This song is but a sample of the new refined Gomorrah sound we’re trying to encompass with the new record. A lot of the new tracks are a bit more diverse in their flow and construct than our prior work. “Phantom Sun” is one of the first songs we finished writing for the album and it’s  a good representation of what’s to come.


May 2015: The decent and the rescuable



This is a “best of the month” list for this month, but making the title “Best of May 2015” sounds like giving too much of a spotlight for such a short span of time, and devaluating the word “Best of” somewhat, in my opinion. Therefore I chose a title to reflect reality more clearly: these are the only albums we heard of on this website this month that were decent enough to not be considered utter disgraces to the metal genre (those were in the SMRs or were ignored). The “decent” are those that show consistency in style, coherence, a direction and a clear artistic voice and goals. The “rescuable” are those that are still confused in their composition — unclear, or that seemed to be impeded from development by their own approach to music-making (or that of their own genre).


The Decent

  • Ascended Dead – The Advent                                      review
  • Blasphemic Cruelty – Crucible of the Infernum      review
  • Exhumation – Opus Death                                           review
  • Luciferian Rites – When the Light Dies                     review
  • Necrophor – Exterminatus                                          review
  • Nekromanteion – Cosmic Horrors                             review
  • Perversor – Anticosmocrator                                      review
  • Shroud of the Heretic – Unorthodox Equilibrium  review
  • Undead – False Prophecies                                           review


The Rescuable

  • Blind Guardian – Beyond the Red Mirror                review
  • Bureviy – Concealed Beyond the Space                     review
  • Dew-Scented – Intermination                                     review
  • Maruta – Remain Dystopian                                       review
  • Undergang – Døden Læger Alle Sår                           review
  • Wende – Vorspiel einer Philosophie der Zukunft    review

Frosthelm Release Official Video for “Silent and Dark, The Everlasting Sky”


Playing a Speed Metal with black metal tinges ala Immortal on At the Heart of Winter, North Dakota’s Frosthelm offers the public a brand new video of their song “Silent and Dark, The Everlasting Sky”, from their new album The Endless Winter.

Encyrcle to release new album

encyrcleDanish Power-Speed Metal band Encyrcle will be releasing their new album on June 2. You can listen to a preview of the album on Soundcloud.

While the label and the media would have you believe the band is playing some innovative form of mixture of genres, this is a laughable marketing attempt at disguising what is just a band playing a refined and expertly played Speed Metal in the vein of Epic Power Metal full of hooks.



Final Fright – Artificial Perfection


Hailing from Italy, Final Fright play ripping speed metal right out of the mid 1980s. Established in 2010, the band played covers, released the demo Abusive Grindhouse in 2012 and now in 2015 present us with their first full-length album, Artificial Perfection.

Unabashedly retro in their choice of style, Final Fright feels completely at home and does not try to impose modern conventions on the language of this particular brand of speed metal. Neither is the band copy pasting from particular acts. Artificial Perfection sounds like a someone learning and dominating a foreign language. When this happens, the music does not come out sounding like a cardboard front disguising something else, but the artists are able to express themselves as native speakers in the lingo of the genre.

But speaking a language does not necessarily imply you have something worth saying. So it is that the honest and proficient handling of the musical language by Final Fright is satisfactory and even enjoyable but unexceptional all the same. People looking for bouncy, authentic speed metal in a different mouth and voice but offering nothing different will find this is a fantastic release for them.

UnKured – Mutated Earth


A riff-salad is often deemed to be intrinsically affiliated to music with no order and random ideas.  But the best use of this song-writing approach make use of different kinds relationships between one riff and the next, and between all riffs in the song. Given the superficial independence of motifs and patterns of different riffs, stylistic consistency is, above all, indispensable.

Advertised as Thrash, UnKured make schyzophrenic music materializing the worse riff-salad nightmares.  Not only does each new riff that comes do away with whatever the previous riff was saying, but influences from the most undefined and messy prog-speed albums like The Sound of Perseverance to almost deathcore-like breakdown rhythms and back to late 1980s barking death metal make an appearance.

Fans looking for the fun provided by Chuck Schuldiner’s naivete will enjoy this release even though this is less organized and more confusing for anyone trying to get an integral view of the music.