Article by Corey M.
While 1349 did not quite make good on their promise of delivering a battlefield soundtrack at blistering speeds, Rebaelliun have taken the reigns and driven their blazing chariot into a chaotic realm of vicious blasts and reckless shredding the likes of which many bands have intruded upon only to be cut down due to their inability to survive such an onslaught.
In the past, bands such as Aeon have presented some unworthy offerings at the altar of Deicide, but Rebaelliun diminish those halfhearted efforts even further by adapting their mentor’s tactic of relentlessly aggressive songcraft while actually understanding intuitively their spirit of hatred and hostility. Using the individual musical elements of the band as gears in clockwork, the players rev up the horsepower until the cogs are spraying white-hot sparks.
Tags: Brazil, death metal, hammerheart records, Rebaelliun, review, The Hell's Decrees
Article by Lance Viggiano.
The Escalation perfects the misunderstood Australian art of Cimmerian metal – a deliberately low-brow affair which has little tangible relationship to the Common Practice Period and therefore easily panned. Vomitor deliberately flaunt rock’s loud and emotive ethos through boorish motifs qualified further by a thin and mid-centric texture executed in characteristically poor-taste. Constructed primarily out of recombination of past forms, The Escalation is a deliberately retro affair which succeeds by forming a singular and immediately identifiable voice. Historical precedence for this identity is found in the work of Spear of Longinus – specifically the first demo contained within Black Sun Society. Vomitor do not present a way forward for metal; instead the entity finely maps a territory which was discovered but left largely unexplored by ancestors who clung to the safety and security of the coastlines looking into an inhospitable thicket which obscures a familiar but nonetheless unique landscape.
Tags: 2012, Australia, beer metal, Black Metal, death metal, hells headbangers, Invictus Productions, Iron Bonehead Productions, review, Speed Metal, The Escalation, thrash metal, Vomitor, War Metal
Article by David Rosales. Occasionally our staff have differing opinions on unpristine works from upcoming or past their prime bands. The editor’s sobering take on Garroted – In the Court of Nyarlahotep was presented in Sadistic Metal Reviews: Taste the Rainbow!
A modernist acoustic guitar intro, an undefined progressive death metal tirade, cavernous vocals and death-grind guitar tones. An exquisite Old School written all over it, and yet, the young Garroted manage to avoid becoming guides in nostalgia trips. Like Colombian Condor, Garroted takes the tools from the past and forges a future strictly on the loyalty to those traditions.
Tags: death metal, demo, Garroted, h.p. lovecraft, In the Court of Nyarlahotep, Lovecraft, review, techdeaf, Technical Death Metal
Article by Anton Rudrick.
Consciously transcendental, voluntarily anachronistic, causing despondent exasperation among the pretentious and the untermensch. Kataxu blends the phantasmagorical reveries of dungeon synth with brief, unidentifiable nods to the nordic triune of atmospheric evil black metal. Kataxu Roots Thunder escapes morphing into ‘flowing black metal‘, layers majestically, layers in hiding, layers hiding, forms and shapes…
Tags: 2000, Black Metal, Kataxu, poland, Polish Black Metal, review, Roots Thunder
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).
Tags: dark descent, dark descent records, death metal, Doom Metal, Ghoulgotha, modern death metal, modern metal, review, To Starve the Cross
All metalheads secretly want the return of early 1990s death metal and black metal. Instead we get nostalgia bands who prey on our desires by delivering aesthetic imitation of the past, but with none of its depth, and by doing so, make a mockery of the underground as desperate metalheads embrace this stuff.
Tags: 2014, blackened death metal, crust, crustcore, death metal, noise, review, teitanblood, War Metal
Article by Johan P continuing Death Metal Underground’s progressive rock coverage.
Morte Macabre is a collaboration between members of the Swedish prog revivalist groups Landberk and Anekdoten, who joined forces to create progressive rock that is equal parts beautiful and disturbing. Their only album – Symphonic Holocaust – is a real treat for those who enjoy creepy music in general, especially 1970s Italian horror movie soundtracks. It is a tribute to the darker side of 70s progressive rock, with reference to Italian groups and composers like Celeste, Goblin, Museo Rosenbach, Fabio Frizzi and Riz Ortolani. An explicit Red-era King Crimson influence permeates the album as well.
Tags: 1998, covers, hard rock, Horror, horror film, horror films, horror movie soundtracks, keyboards, mellotron, Morte Macabre, movie soundtracks, prog rock, progressive, progressive rock, review, Sweden, Symphonic Holocaust
Dark Fury present a mid-paced black metal work of catchy lead melodies atop generic power chord metal riffing. These leads are never jaw-dropping or profoundly clever but mostly effective in the context of the songs. This Story Happened Before‘s problem is that many of the best leads send out a sense of déjà entendu and are only occasionally progressed to fitting melodic conclusions; Dark Fury rely too much on highly-structured rock song formats with bridges and breaks almost making the album a riff salad. Many of the rhythm riffs are the sort of filler power chord chugs used by death metal bands and the few war metal bands that actually care to occasionally have metal riffs such as Diocletian. Dark Fury too often use this as a songwriting crutch.
Tags: 2016, anti-islamic, Black Metal, Dark Fury, islam, Lower Silesian Stronghold, poland, review
Ritual is the pinnacle of the Central European black metal style characterized by continuing the riffing tradition of traditional heavy metal and strict adherence to speed metal song structure; Hellhammer, Mercyful Fate, Slayer, and even Megadeth influences are easily heard along with Bartók’s folkishness and Chopin’s romanticism. While their compatriots Root presaged the Hellenic scene, Master’s Hammer’s operatic use of the mellotron inspired the divergent atmosphere Emperor employed on In the Nightside Eclipse.
Tags: 1991, bartok, Black Metal, chopin, Czech black metal, Heavy Metal, Master's Hammer, occult, review, Ritual, Speed Metal
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.
Tags: 2016, beer metal, blood incantation, dark descent, dark descent records, death metal, modern metal, review, Starspawn, techdeaf, timeghoul, wanking