Ripping extreme metal band Perdition Temple (ex-Angelcorpse, Immolation, and Ares Kingdom) has released its latest blast of high-speed terror with “Desolation Usurper” from the upcoming third album of the band, Sacraments of Descension, due out sometime this year.14 Comments
Social justice warrior deathcore band Bestial Evil are one of the seven openers for Angelcorpse at a pay to play show in Washington, DC tonight. Yes this is the same Bestial Evil you think it is, the antifascist and antiracist and probably Black Lives Matter supporting deathcore band whose antics and temper tantrums have been covered on Death Metal Underground Past. This time Bestial Evil, despite their antifascist stance, are opening for Angelcorpse. The bassist and vocalist of Angelcorpse is none other than Order From Chaos front man, existential social Darwinist and author of The Conqueror Manifesto Pete Helmkamp.39 Comments
Tags: angelcorpse, antifa, antifascists, attention whore, bestial evil, bestial evil (US), bestial evil (usa), deathcore, isten, metalgate, order from chaos, pete helmkamp, scenesters, shawn wright, sjws, social justice warriors, washington dc, zachary ohler
Webzine Bardo Metholody interviewed frontman Pete Helmkamp (Order From Chaos, Revenge) and guitarist Gene Palubicki (Perdition Temple, Blasphemy Cruelty) of Angelcorpse. Helmkamp talks about music as a sort of arcane magic ritual, quitting drinking, his career, and why Order From Chaos and Angelcorpse both disbanded. Palubicki reflects on the weaklings of modern metal.No Comments
Hells Headbangers has released a free compilation featuring every band that will be playing at their upcoming Hells Headbash Part 3 festival in Cleveland, Ohio on September 2nd-4th. Mailed paper tickets may be purchased from the label’s webstore, online tickets may be purchased on Yapsody, and more information may be found on the festival’s Funbook event page.2 Comments
Tags: acid witch, angelcorpse, bandcamp, compilation, demoncy, Embalmer, festivals, Grand Belial's Key, hells headbangers, Hells Headbash, hobbs' angel of death, incantation, necrophagia, perdition temple, profanatica, revenge
Ripping, furious death metal in the vein of 1980s death metal with vestiges of speed metal, solos that bear the mark of Trey Azagthoth, this band is one of the many followers of the legendary Morbid Angel. However, Blasphemic Cruelty is not content with being a clone and continues the work of Angelcorpse by playing a style that takes one facet of Morbid Angel and expanding on it. It is basically the older band’s most brutal side taken as the parting point and center of the music. While Azagthoth would mix a few fast sections with his own trademark of mid-paced and slow riffs, Blasphemic Cruelty pushes the pedal to the max throughout the entire pieces.
While Crucible of the Infernum will not distinguish itself as innovative in any way, it is an example of excellent composition for this style of ripping, blasting death metal. The band’s work here is ideal in the sense that within the limitations it sets for itself, every single space it uses is purposeful by virtue of its integration within the big picture, even if this picture isn’t very big. Admittedly a work of modest reach, Crucible of the Infernum is a solid release strongly recommended for fans of Angelcorpse, Sodom and early Morbid Angel.
At long last, Blasphemic Cruelty return from the dead with a new mini album, Crucible of the Infernum, set for international release on July 20th on both CD and vinyl formats. Seven long years after their debut album for Osmose, Devil’s Mayhem. Led by six-string assassin Gene Palubicki (Perdition Temple, ex-Angelcorpse), this power-trio remain committed to deathrash rooted in the 1980s but loaded up with modern arsenal.
Check out the first promo track on their facebook upload.1 Comment
Perdition Temple’s sophomore album is one of riffs written and dispersed as discrete packages. These are sewn together into short, explosive bundles extremely dense in content but not always boasting the smoothest of transitions.
Often the tonal shift between adjoining bars is far too drastic to convey any sense of uniform texture, giving the impression of an album constructed from a granular, low-level perspective rather than a more holistic, top-down approach. Meaning that the band came up with a whole bunch of riffs first, before cobbling them together into songs. Performed at near-always breakneck speed, songs pass by in a whirlwind of intense activity that isn’t always easy to discern. This is blistering and warring death metal displaying none of the stalling tactics practiced by modern death metal bands, and for that much it deserves credit.
There is interesting micro-play within individual parts but the whole doesn’t foster or even attempt to put much store in memorability. The addition of Bill Taylor as guitar foil has given Gene Palubicki free rein to indulge himself as he never had chance to on past efforts in Angelcorpse or even the Perdition Temple debut. The role of rhythm is sometimes completely dispensed with, the two guitars intertwining like Hermes’ serpents about a support of hyperactive drumming, sniping and spitting out angular phrases that, in surface aspect, wouldn’t be unseemly on a tech-death album. But this act’s pedigree being firmly rooted in death metal, the constant barrage of information never loses its essence of violence. A return to themes familiar from older works, primarily through the use of groove as introductory and relaxation device, is in greater evidence during the second half of the album.
As always, incendiary solos faithfully modeled after Trey Azagthoth find space on a Palubicki album. Azagthoth’s best work was unparalleled, however, because it was the original extension of its creator’s will and personality, much like the eternal consciousness standing outside of time and space, before the birth of time and space, that Eastern monism proposes, willing all creation into existence from within itself. Palubicki’s solos are the finest replicas of Trey Azagthoth that death metal has seen but ultimately they fall on, and should be judged by, the sword of rote inspiration that created them in the first place.7 Comments
Perdition Temple, a band composed of Angelcorpse and Immolation members, will release its second album The Tempter’s Victorious on Hells Headbangers Records on March 24, 2015. The album shows the band refining their militant high speed slamming phrasal riffing in a style of death metal similar to Vader and Fallen Christ.
In many ways the underground’s response to the technical metalcore currently in vogue in the above-ground “underground,” Perdition Temple crafts songs from high speed strumming and extensive fills. On the new album, the band intensifies this approach and adds chaotic lead guitars which give it an oddly occult flair.
Simultaneously Perdition Temple announced that the band is slated to play Hells Headbangers’ forthcoming Hells Headbash 2 label anniversary festival on September 4-6 in Cleveland, Ohio (USA). The band will join other such Hells Headbangers-affiliated bands as Profanatica, Archgoat, Deceased, and Cianide.
- The Tempter’s Victorious
- Extinction Synagogue
- Scythes of Antichrist
- Goddess in Death
- The Doomsday Chosen
- Chambers of Predation
- Diluvium Ignus
- Devil’s Blessed
- Gene Palubicki – guitars (Apocalypse Command, Blasphemic Cruelty, ex-Angelcorpse)
- Bill Taylor – guitars (Immolation, ex-Angelcorpse, ex-Feldgrau, ex-Xenomorph)
- Impurath – vocals (Black Witchery, ex-Irreverent)
- Ronnie Parmer – drums (Catalysis)
- Gabriel Gozainy – bass
Former Angelcorpse guitarist Gene Palubicki and his band Blasphemic Cruelty have announced the cover for their upcoming mini-album Crucible of the Infernum to be released on Hells Headbangers in early 2015.
The EP will feature three new tracks and a cover of Sodom “The Crippler,” in addition to cover art by Juanjo Castellano Rosado. Palubicki says: “It has taken a bit of time, since 2008, to get back here with some new Blasphemic Cruelty material, but time has come for our death engines to rattle, and it is in the form of Crucible of the Infernum. It will feature three new full-force death/thrash insanities as the band is known for from the previous output and a merciless cover version of Sodom’s ‘The Crippler.’ Final mixing sessions are in mid-January, and we’re aiming for an early 2015 release.”No Comments