Abrasive Audio – The Hideous, The Diabolical, The Obscene and the Serene

The Hideous, The Diabolical, The Obscene and the Serene (Part the Fifth)

Greetings, and welcome to yet another variation on the Abrasive Audio medium hosted by your dark souled degenerate host, namely me, B.
Admittedly, I’m playing catch up. I’ve been absent for a while and it appears Cult is having a hard time juggling adulting duties, the accursed three letter word and numerous other mundane reduces which fill his dull existence. So, I’m here to step in. Now I can only assume that the object of this faction of the AA stable is centered around art, with only a short commentary on the actual audio itself? And now its what I deem it to be, expect silliness, dark humor, grammatical mishaps and an odd naughty word or two and I’ll even toss in a score based on my own enjoyment. Hey, I can get down with this revamped setup. I’ve even finagled a handy-dandy new collage especially to go with this segment. Let’s explore that which is on offer.
Starting with…

Horrifying (Chile) – Dreadful Parasomnia
March 24 (Veins Full of Wrath Productions)

The Art
Now, if you’re anything like me this image is undeniably engrossing, utterly fascinating. Obvious similarities exist to a slew of releases (art wise), chief among them Morbid Angel’s Altars of Madness. Others of similar ilk are swirling in somewhat of a blur motif, caused in all likelihood by the fact that A.o.M was released over thirty-five years ago. For those who weren’t around when this gem dropped, let me tell you it was literally ground-shaking. An album of epic proportions for the genre, and a milestone for an act that only seemed to gain diabolical prowess with maturity. But enough about Azagthoth, Vincent and crew. Let’s get back on track here.
Dreadful Parasomnia boasts a bubble of torment, a tableau of visages encased in a myriad of emotion. Screaming, smirking, smug, horrified and enraged (there’s an album if ever I’ve typed one), there’s a recognizable vibe here for anyone who’s ever unwillingly dated a psychotic. But it doesn’t stop there. For some reason the art also puts me in mind of a melting fella from an underrated film showcasing the wicked talents of Rick Baker. Something about an individual returning from space to find that he’s allergic to the inner lining of his encumbering astronaut suit. For some reason his reaction is akin to cheese on high heat as seen over time in the microwave. Poor chap gets to literally witness the side of his face in close up technicolor as his eyeball plummets from the socket. The colors on display here also remind me of the same movie. Yellows, icky greens, pus, rot, and decay and in all likelihood a splash of vomit. A glorious slab of art that’s certain to grab the attention, as well spawn a few most probably deserved nightmares. Kudos to the hugely talented person responsible.

https://veinsprods.bandcamp.com/album/dreadful-parasomnia

The Audio
In their close to fifteen year existence it is hard to fathom that this is the bands debut (full-length). Harder still with the albums quality in mind. This is damned good audio. The tone, the aura, the overall stunning OSDM motif lends one to believe these guys have done their homework, as well practiced all the moves. There’s diabolical menace on display here (ala The legendary Floridian act mentioned above), as well enough spiderlike fretboard manipulations to incite metaphoric boners (because let’s face it not all DM fans sport strictly stand up to piss chromosomes) within the ‘DM-has-to-be-technical-rather-than-mere-chuggery’ community. However, that’s not all. Dissonance flutters about like a drunken, wounded, butterfly somehow finding its way to the finest locations, the vocals are top-notch, unhurried, somewhat decipherable, and wicked pace variances add to the overall enjoyment. In fact, I’m of the mind that there’s close to nothing about this audio affair that I don’t find impressively enthralling. This reeks of OSDM worship yet stands upon its own stellar merits. So why is it then that this isn’t being mentioned more? Message boards, social media posts, utterances from the elderly and infirm wondering around in a state of drug addled delusion. I have not a clue, but I’m hoping my scribbles might in some small way help to change the situation.
Let it be noted that I appreciate this and reward it with the highest of approval.

100

Torturers Lobby (USA) – Deadened Nerves
June 24 (Caligari Records)

The Art
At first glance one might wonder upon that which stares back at the retinas. A lime green neon image showcasing the remains of something being picked upon by a ravenous bird. The whole appears splattered with a crimson tainted liquid of sorts, likely blood? Is this a still image carried upon a lens which has somehow found itself part of the carnage. Are the remains that of the cameraman squealing in pain as the machine continues to execute its pre-programmed demands? I’m getting Cannibal Holocaust vibes which leaves me silly excited for the mysteries encased within.

https://caligarirecords.bandcamp.com/album/deadened-nerves

The Audio
Not sure what to expect I was greeted with audio that’s swirling and frenzied, sporting a dizzying transformative nature that’s admittedly rather puzzling. Typically when faced with audio such as this I tend to tune out. It’s often just too much to comprehend, warranting several listens to piece together. Thankfully, that’s not the case here. Compositions here bleed and blend a variety of genre influence; blistering speed metal riffs, hard rock hooks, Alternate meanderings, Punk attitude, Crossover vocals, and definite BM sensibilities mesh to leave ones head spinning. And it all somehow works, albeit in a manner that invokes memories of yesteryear, snatches of unforgettable audio, over time compiled  etching an individual taste palette.
Impressive to an Nth degree.

96

Desolus (USA) – System Shock
May 24 (Hells Headbangers)

The Art
Well, this image certainly makes one sit up and take note. A blistering landscape, a portal cracking the horizon, a smirking demonic type figure taking the place of the sun, and a gaping fissure in the foreground hemorrhaging zombie demon type entities. This has me seriously pondering upon a slew of past dreams following an intimate evening spent with discounted gas station sushi, hooch and hours spent lazily absorbing decades old sit coms. Paradise, I tell ya.

https://desolus-us.bandcamp.com/album/system-shock

The Audio
Hankering for raw speed, biting vocals and minimal progressive elements? Of course you are. Bored of supposed ‘Thrash’, audio which doesn’t transport you back thirty years to when viciousness and Tuetonic acts ruled the scene? Well, your search has finally produced results worthy of praise.
Desolus do not fuck around (sorry kiddos, I often brandish the dirtiest of potty mouths). Theirs is a style which cuts to the chase and boasts zero fat. Likely how a hybrid of early Slayer, vintage Kreator and classic Sodom might sound, heaped with a generous helping of South American aggression. This seriously could have been released in the late 80’s and raised zero complaints. Look past the fact that this isn’t altogether that inventive, it hits hard and fast to smother all the pleasure sensors in undeniable nostalgia. Prepare the neck for a workout!

91

Chainsword (Poland) – Born Triumphant
February 24 (Independent)

The Art
Famous for showcasing a many (pierced) titted war beast upon the art of their first full-length offering, as well a style arguably influenced by British Dirge legends Bolt Thrower, Chainsword are at it again. The Art here seems pulled back somewhat. An overhead view of either an epic war campaign (and that folks is where my knowledge of Warhammer 40k ends) or a extreme audio festival within which the band has invited all their friends, family, and any (other) act influenced by the OSDM composition works of Karl Willets, Jo Bench and crew. But who am I kidding? It’s more probable this depicts legions of single mothers attempting to stock up on toiletries during the Covid pandemic.

https://chainsword.bandcamp.com/album/born-triumphant

The Audio
Undeniably and unabashedly influenced Born Triumphant is in all likelihood where fans of the aforementioned act are want to turn their attentions following (BT’s climactic final offering) Those Once Loyal. With that being stated however the compositions here are slightly more diverse than that found upon the aforementioned. Sure, the driving dirge is here, the dense tone and the conflict-based lyrical similarities (be they fantasy or reality based) but I can’t help but be of the inclination that this is more melodic, contains enough groove to get the limbs spastically twitchin’, leans more toward Doom Death arenas, and it must be mentioned there’s a damn sight more soundbites here than BT ever pondered upon utilizing. Both decisions raise zero complaints from me. Overall, this is an impressive offering which sees the band tinker somewhat with the tried, tested and true siege machine parameters of their influences to great effect.

86

Serpent’s Oath (Belgium) – Revelation
March 24 (Odium Records)

The Art
It’s apparently a quiet day in the Great Halls of the Dark Lord. His subjects appear somewhat spent. Perhaps they’ve exerted too much energy within the last orgy-to-end-all-orgies? Moshed a little too hard to the last musical act passing through? Is a simpler explanation too blame? Are the rigors of adulting also exhausting in Hells vast arena? I’ve heard rumors of a recent spiking of the banquets virgin blood supply, though I’m of the opinion that Fentanyl would likely only surge the rampaging throes of wickedness and insatiable lust.
This image captures the attention, offering a porthole into the most diabolical of details within the unholiest of lairs.

https://odiumrecords.bandcamp.com/album/serpents-oath-revelation

The Audio
Basted in scathing and vicious composition values; unmerciful riffs, rhythms reeking of nostalgic tones yet brimming with a wicked intent all their own and a snarling vocal approach sure to excite any Black hearted fan, this assaults with unrepentant fury. Brimming with atmosphere and a melodicism that carves an impression with its frigid might, this incites excitement in all those yearning for speed and grandiose textures blanketed in enigmatic archaic menace.

92

Subterraen (France) – In the Aftermath of Blight
April 24 (Frozen Records)

The Art
Rendered in delicate BnW ink (obviously only black, for those paying close attention) this image portrays either a statue, or an angel of sorts likely taking a smoke break following a successful carnage laden foray into demontown. Sure, the wings appear a little tattered, are definitely in need of a spot of TLC, but the form still appears upright. Exhausted, but standing. Other possibilities include, but are certainly not limited to, an alien form visiting Earth searching for “the newest taste sensation to sweep the galaxy” (points for whoever can pinpoint the quote), and a faded polaroid of a runner up in the Southend-on-Sea 1986 village spring fete dress up parade.

https://subterraenband.bandcamp.com/album/in-the-aftermath-of-blight

The Audio
For all those demanding that this installment include a Doom type release, here it is! There’s little doubt this might be the case when the album comprises of four tracks and is barely shy of forty minutes in length.
Those hoping for a traditional Doom type affair might be disappointed, or rather pleasantly surprised (depending upon their tastes). In the Aftermath of Blight is dramatically not predictable, is multi-layered, epic in texture, and certainly demands a listen, or six, to fully unpack. Chock full of Sludge sensibilities, cinematic atmospheres, prog landscapes littered with a varied composition palette including Post and DeathDoom passages, and offering terrific builds, this is an album that delivers, especially for those with an openminded enough nature to willingly want to embrace what’s on offer. Similar artists are varied and range from the likes of Gojira, YOB, Pallbearer and Paradise Lost.
Admittedly, this isn’t what I had assumed it might be, but it’s hitting the demands of the moment; a brief sojourn on the couch with a beverage and snacks, with not a care in the world.

91

Christ Denied (Spain) – Christopsy
May 24 (Xtreem Music)

The Art
Vivid, wicked and gloriously sacrilegious, this image depicts what might have happened if George R Romero had directed the last supper. There’s an u denial vicious nature slathered across numerous faces of the feasting, whilst others yet have a visage draped in wonderment. …”Like, seriously am I about to partake of the sweetbreads of Christ?” Is it that the disciples are famished? Or perhaps they’re taking the eucharistic to mean literally to ‘eat the body of Christ’. Questions remain, but there’s little doubt that this sublime tableau leaves little to the imagination, sure to excite the gorehounds among us and leave those with a penchant for Glen Barton Deicide/Vital Remains themed DM eager to place the ears upon that which is nestled within. Fun fact; a wafer in the modern day equivalent weighs a quarter of a gram. It would take eating 234,960.85 wafers to literally have ‘consumed’ all 129.5 pounds of the (I’d say somewhat ‘stringy’) Holy bearded fellow.

https://xtreemmusic.bandcamp.com/album/christopsy

The Audio
With an image such as this, one has their digits crossed that the audio is as equally distracting. Admittedly, I’m of two minds about it. The included soundbites, no doubt plucked from a wide array of cinematic productions, are especially effective and truly make one ponder upon the usefulness and abuse perpetrated by religion throughout the ages. The music, quite unlike the aforementioned two acts, is a mixture of Brutal DM, Slam and to a lesser degree Goregrind. Provided rhythms are choppy, crunchy and pulverizing with the vocal accompaniment a filthy mix of growl and bree-bree stylings with the odd excitable frog, likely squeezed a tad too hard for its own liking, tossed in for good measure. It isn’t all up in the air however. There are a few tracks which rise above the rest, a likely combination of ‘pig squeals’ being at a minimum and the tracks technicality being slightly more pronounced. Otherwise there’s a great deal of ‘samey’ going on. This is a hit and miss affair for me no doubt dependent on my mood.
I’m giving this a generous, based on the art, soundbites, and its being more accessible than most in the same arena.

72

Six Feet Under (USA) – Killing for Revenge May 24 (Metal Blade Records)

The Art
“Heads…on a schtick!”
Yeppers, this art showcases a cranium kebab. Messy. I find it interesting that the image here contains the same tones found in another acts imagery. But more specifically, that encasing output unleashed a few years following Mr. Barnes departure (from the act in question).
With the obvious being stated, I’m left wondering how much of an impact it might make? It has my attention, I’m eager, infinitely more intrigued to spin a SFU album, than admittedly I have been in many a year.

https://sixfeetunder.bandcamp.com/album/killing-for-revenge

The Audio
And, this ain’t half bad. I’m pleasantly surprised in fact. There’s little argument that SFU has churned out some real stinkers, so to say I entered here with assumptions is a little of an understatement. But let’s not get too hasty here. This isn’t a landmark album, Killing for Revenge doesn’t break any new ground, nor carve any fresh paths, and Mr. Barnes isn’t resurrecting his glory CC (Butchered, Tomb, The Bleeding) days vocal wise. However, there are moments here, riffs to incite movement, notable tracks sure to alight excitement in those who held out hope that there was something, anything, left. Perhaps there is? Is this the dawning of a new era? It remains to be seen, but there’s definitely a sizable chunk of hope based on what’s bouncing between my ears. I’m liking this a damn sight more than I thought I ever might.
Give it a shot, even though odds are Chris has likely blocked you on Twitter for no reason.

75

That’s it, that’s the end.
B

Abrasive Audio – The Return of B (April 24)

Abrasive Audio (in b sharp)

_{Nope. This isn’t me. Nice headphones tho.}

Greetings, my long-lost friends. It’s been a while. Some of you may wonder where I’ve been, while others will merely skip this introduction to pounce upon the juicy parts, the ‘meat’ if you will.
To keep this short, I’ve only recently found myself. Quite literally. To be lost for a while in foreign surroundings is frustrating, terrifying, and an emotional rollercoaster to most. But for me, it’s a rather fascinating and unforgettable experience. I’ve discovered new lands, a slew of email addresses, and a crowd of faces I’ll likely never terrorize again.
But enough about me. What say we unearth some fresh sensorial shredding tunage? I’ll endeavor to keep this short, painstakingly etching my ponderations upon a one-time listen experience.

Brat (USA) – Social Grace
March 24 (Prosthetic Records)
Naturally, the albums cover gets the mind spinning. As well, it should. A splash of color in an otherwise drab, run of the mill family portrait. The music follows suit. To my knowledge, which is rather limited (so keep those email pounding digits in check), I can’t recall another band of similar ilk, fronted by a  double X chromosome venom-spitting
being. Sure, there are plentiful examples of such within the DM and BM realms, but not necessarily within this, Grindcore/Powerviolence, arena (Pupilslicer after further consideration come to mind).
So, the burning question… How does she (can I even use that phrase anymore without fear of correction and reprimand without first asking?) fair? Exceedingly, well, I’d say. The whole is an experience akin to tumbling from a monstrous cliff face. As one plummets, the landscape transforms at a startling rate. In places, the terrain is jagged, greeting one with undeniable angst, an angularity designed to snap limbs, and shred flesh. In others, the gradient is slightly less devastating, a tumbling sensation complete with a dizzying effect but jarring nevertheless. But much like the experience, the album comes to a close all too soon. Ten tracks in about twenty minutes. Sure, this isn’t enough to sate the true Gatekeepers of the Realm. The purists who believe an affair within this arena should be of a striking similarity to that of the founding pioneers. Perhaps fifteen tracks in four minutes? Thankfully this isn’t so, Brat give the audience a little more to chew upon, theirs is a controlled chaos, a brutality which leaves one wanting more without resorting to flagrant noise – a stylistic nature akin to a television sets, after hours, adieu.
So, are Brat the new darlings of the genre? Perhaps. I’d bet they’d shy away from the term. But the one thing that is neon glaringly obvious is that this leaves a mark, did I mention they’re from Louisiana (a hotbed of Sludge experimentation if ever there was a locale), has a smorgasbord of passages incorporating a slew of “genrelistic” (hell of a word that!) traits to get the juices flowing and is likely to drag fans from as far afield as Dillinger Escape Plan, Acid Bath, EyeHateGod and Brutal Truth (to name but a few) in a blissful album appreciating collective.

93

https://brat504.bandcamp.com/album/social-grace-2

And how about that for an opener?

Ischemic (Canada) – Condemned to the Breaking Wheel
April 24 (Independent)
And the album art here certainly sparks medieval textures. A time within which one feared sharing ‘life hacks’ for fear that they might soon taste the flame whilst attached to a hastily constructed pile of twigs by a collective of religiously mind washed, miniscule intellect, villagers. But enough of my attempts at humor, how does this audio tickle the pleasure receptacles?
First, I feel I must ask. Is this an EP or an album (a full length)? Boasting four tracks, this runs close to thirty minutes. Is an EP subject to the number of tracks therein or the affairs running time? Submit your answers on a postcard and address it to questions that probably should have been posed within the pages of a Douglas Adam’s tome. And another question (while I’m of a curious disposition), what does ‘Ischemic’ actually mean? Research informs me …”it’s a lack of blood flow to a part of the body…”
If I were a medical student, I’d uncontrollably salivate, but I’m not, neither am I a rabid fan of vintage Carcass audio, so let’s move on…
Opening with a thunderous percussive cavalcade, the audio grabs the attention and fast. As the album (?) progresses several genres come to the fore; Old School DM and DeathDoom leading the pack. Undeniable melody crescents the mouth, while an underlying groove elicits the limbs to bounce free of their otherwise static constraints.
In short, the audio flows surprisingly well considering the opening tracks length nearing ten minutes (the remaining three close to the seven minute mark) obviously bring to mind Doom realms. Not surprisingly, is that the style encased here recalls the yesteryear of golden era Peaceville. With stylistic elements sparking My Dying Bride, Anathema, and Paradise Lost nostalgia. Melody is entwined with brutality encased within a dense dirge tone and pace, which is neither too slow nor too fast. The vocal style is exactly what the doctor ordered, with the whole fluid enough to keep the listeners’ attention from the myriad of existence dulling mundane adulting activities.
With the quality on offer here in mind, I can’t fathom why these fellas aren’t on a labels roster. I’m guessing they have their reasons?

https://ischemic.bandcamp.com/album/condemned-to-the-breaking-wheel

90

Blazar (Spain) – Fatal Cosmic Wound
March 24 (Carbonized Records)
This audio offering was a gimme based on the fact that it comprises in part of members from Old School DM peddlers Cruz. Unsurprisingly, the audio here centers upon stratospheric elements, more specifically the unfathomable exapanse of the cosmos.
Stylistically, this is unhurried, sluggish, and undeniably dense. Much the same as… well, you guessed it! What might come as something of a shock (but likely not) arrives in the form of injected Synth elements. Alongside an at times Funeral Doom motif and Sludge tendencies it aids in the overall feel of incomprehensible vastness, adding a chilling, harrowing essence to a tableau of unending encompassing most everything one could imagine, but also infinitely more.
In terms of what this offers think mid- era dirge commanders Bolt Thrower colliding with Irish Doom merchants Mourning Beloveth, with a splash of (yes, I’m famous in part for leaving Morbid Angel prior to them becoming somewhat a household name) Mike Browning helmed Nocturnus, who later reformed with the initials AD (meaning After Death) to stray from copyright infringement litigation.
Understandably not for everyone. This leans more towards those whose tastes are varied and whose mood often dictates listening material. An album to complement those quiet nights in, when it’s just you, a copious amount of mind- altering smokage and a telescope. But that’s only a ‘serving suggestion’, as large companies often print in tiny letters to make something appear more delicious than it actually is. That isn’t an issue here. This goes down smoothly and comes highly recommended.

https://blazardoom.bandcamp.com/album/fatal-cosmic-wound

87

Ett Dödens Maskineri (Sweden)  – Kulterkriget
November 23 (Suicide Records)
Prepare to get smashed!
Although this is delivered with (mostly) Swedish vocals, there’s little argument even without translation that the album overflows with frustration and angst.
Unlike many other offerings following similar parameters, however, this is supremely accessible, akin to vodka without the ‘bite’. Rhythms are criminally easy to get behind, much like, for many, the rhetoric the band hopes to convey. And there’s little doubt that a full play through will leave one smiling like an absolute maniac, dazed, bruised, exhausted, and likely scrambling for texts to support the bands viewpoint and arguments.
Standout elements include varied percussive approaches, including but not limited to Punk sensibilities as well Alternate leanings, varied pace, and varying degrees of palpable angst. I have little doubt that if this wasn’t so anti-establishment in composition, it would feature dominantly on a slew of radio playlists. Huge props in this regard to the band  for “sticking to their guns,” and it should go without mentioning more so for creating an audio collection that’s so readily consumable and thus effective. This is surprisingly listenable and eons removed from that which one might assume based on the materials synopsis. This isn’t your parents’ punk, that’s fer’ damn sure.

https://suiciderecordsswe.bandcamp.com/album/kulturkriget

90

Hyperia (Canada) – The Serpent’s Cycle
November 23 (Independent)
I’m not sure what to make of this album’s cover. A decaying yellow landscape trodden underfoot by a wandering mystic. Topped by the Eye of Sauron? I’m most probably reading too much into it. Perhaps a dissertation on the color yellow is in order?
The audio, however, is on another level entirely.
This is Thrash! It’s vicious and nasty at times, classical tinged in others, with smidges of Power metal sensibilities tossed in wily nily to spice things up.  The musicianship is top notch, the energy level hardly lets up for an instant, the rhythms are boisterous, change at a whim, and evolve with wicked potency. Prog elements are at a minimum, and this doesn’t feature the ‘disjointed’ feeling I’d typically associate with Exodus. This is melodious, features a slew of humorous soundbites, and even a passage or two which recall Speed Metal meets Classical ala The Great Kat (which likely only the true connoisseurs will recognize). But I have yet to mention the vocals. They would truly have to be special in order to fit the albums shred-tastic motifs, and they are indeed. Marlee Ryley has the vocal prowess to fit without qualm within many an extreme audio genre. The albums bonus track, a play on Heart’s ‘Crazy on You,’ proves this point. In this instance and genre, her qualities shine, only making the album that much more enjoyable.
Recc for fans of Thrash, Power, and melodic DM. Don’t sleep on this!

https://hyperiametal.bandcamp.com/album/the-serpents-cycle

88

Coffins (Japan) – Sinister Oath
March 24 (Relapse Records)
A virtual maelstrom of severed hands, a severed head and a cathedral like snail construct. I typically wouldn’t write all these elements off together as something which I could look upon and call insanely wicked as shown here. Suffice to mention that this art has my attention. Now, for those living under a rock, Coffins have been around for twenty-five years, are Japanese and by all accounts boast a discography to leave a fan of the OSDM scene with sopping wet knickers.
It doesn’t take long to find out why this isn’t just merely rumor, or hearsay, but a concrete fact. It isn’t just that the opening track entices you in the Coffins lair, it’s that the following track proceeds to inform you that the lair isn’t that in the slightest, but rather a gaping void. A space within which the listener will gladly accept whatever it is that’s offered. In this case there’s a smorgasbord of audio torture in the offering. Bludgeoning riffs, doom laden harrowing soundscapes, rumbling chaos, groove to loosen limbs from their perch and unadulterated filth; a swampy morass strewn with putrescent unidentifiable detritus which the listener will gladly bath within as this is allowed to slither through the senses. It’s truly difficult to put into words the emotion an album such as this elicits. True, it doesn’t deliver Post or Prog elements, typically associated with the word ’emotion’, this isn’t that type of album or band, but rather a quality (of OSDM) which leaves one dazed, ecstatic and delighted and truly honored to be able to experience.
Forget the posers, the wannabes, those who draped in hype. Coffins are the standard bearers, whose maturation is akin only to a fine wine (perhaps whiskey fits better here?). Though likely a liquid one wouldn’t wish to ingest orally, I could only imagine the internal fallout from such.

https://coffins.bandcamp.com/album/sinister-oath

100
And yes, for those paying attention, that’s my first perfect score!

Lucifuge (Germany) – Hexensabbat
May 24 (Dying Victims Productions)
First off, I love the name.
Fun fact, it’s the title of my absolute favorite ‘pygmy crooner’ album (a gold star for any reader who can name the artist). Secondly, the hyper Frazzetta styled art. It’s gorgeous, vividly adult in tone and rendered in stunning BnW. A Barbarbarian, a Bloody axe and plentiful Boobs. In essence, the three B’s of fantasy. What more could one ask for, seriously? Sure, I’m being a little adolescent here, but it’s all in good fun. As too is the audio. Wickedly swift, manacing, and steeped in homage to the most vicious speed metal of yore it excites, incites movement, throws one back a few decades to nostalgia ville and makes one wish the stereo had an extra volume setting. The album unabashedly wears influences on its sleeves. Another definite aspect of such comes by way of the Hardcore and Punk realms, as heard here in the gruff n blunt vocal approach and through the albums slightly muddy, undoubtedly vinyl throwback, but nevertheless still highly enjoyable, production values.
Thus is a fantastic slab of Blackened Speed made only better by the realization that a single person (Equinox) is responsible, except obviously in the instance of live performances. To make this short, the art brought me here, and I stayed because of the audio and also, again, because of the art.

https://lucifuge666.bandcamp.com/album/hexensabbat

88

Noctem (Spain) – Credo Certe Ne Cras
October 22 (MNRK Heavy)
Blast beats, snarled evil tongues, a hellish unforgiving battery, archaic textures, criminally infectious rhythms, and palpable atmosphere all seeped in stunning ancient mystery. There’s literally nothing here that doesn’t get my ears hard, and dripping in excitement!
This is Blackened death par excellence. While some decide to stay with the heavy hitters and prefer to stay on the same well trodden path, I’ve decided to veer. And I’ve found Noctem. They quell those darkened musical urges with undeniable savagery and precision. Might I suggest a listen, or six?

https://noctem.bandcamp.com/album/credo-certe-ne-cras

96

And, Why the Hell not?

A Recc via @joewebber (Twitter)
Fires in the Distance (USA) – Air Not Meant for Us
April 23 (Prosthetic Records)
It takes but a quick glance at the track titles, the albums name, and the elongated track running times to come to an assumption. This is likely Doom in nature, perhaps with a touch of melodic death tossed in for good measure.
And it is!
But don’t log off just yet!
Whereas some albums might veer too much in a certain direction; either too much of the synth dreamy textures, composition tipping the death scales. Or perhaps it’s likely the two styles don’t mesh. Hey, it happens! In this instance the stars have somehow aligned (nope, sorry, I’m not going to pontificate upon the magnificence or lack thereof in regards to the recent eclipse). This is actually good, damn good. In fact, it’s utterly sublime. The album flows without sounding forced, time loses substance as one becomes transfixed, gleefully immersed in the perfect marriage of melody, heavy and melancholia. Synth elements, although heavy in the mix, perfectly accentuate the evoked emotion courtesy of driving percussion and a vocal style sporting exquisite cadence; a growl of sorts that’s (appreciatively) perfectly decipherable, although I never tjought Id write those words, ever. Think Novembers Doom, at instances Be’lakor and also Insomnium for this is where this delightfully brilliant audio collection resides. This is so impressive, I believe I could honestly spin this several times without getting bored.

https://noctem.bandcamp.com/album/credo-certe-ne-cras

98

And Another Recc

Courtesy of Metalegion Magazine
Varathron (Greece) – The Crimson Temple
December 23 (Agonia Records)
It is truly daunting trying to keep abreast of all that the (metal) scene offers. Especially since there are so may more genres now than there has ever been before. For those in the know, and within BM realms, the name Varathron should be all too familiar. Formed around 88′, theirs is a moniker synonymous with the very foundation of the Hellenic scene. Now imagine, how silly I must feel on account of this being my initial experience of that which they offer onto the ever-thirsting extreme audio masses.
The Crimson Temple is the bands seventh full length within a discography that spans over thirty-five years.
Stylistically, the album borrows heavily from melodic Heavy Metal, has its fair share of Folk essence and oozes atmosphere by way of synth created accompaniments. The whole is likely not what one might expect given the BM label description. However, the audio is exceptionally easy to appreciate. Vocals, arrive by way of the only original member (Stefan Necroabyssious) are of traditional origins, and delivered with enough bite and venom to please even the most devout purists among us (you know who you are!). Cultural flavors are infrequently peppered throughout, fantastic touches, accompanying diverse composition arrangements, to aid in the audios undeniable, often lulling, hypnotic, appeal. Varathron’s percussive approach (it might be mentioned) recalls another Greek acts output, namely Rotting Christ. Although there’s certainly enough individuality here to be able to differentiate between the two.
In short, The Crimson Temple is arguably an album one would not expect from an act with journeyman status. One might assume bearing in mind the bands celebrated history and longevity that this might be a watered down, or a phoned in affair.
Nope. Not at all!

_{And in all their black-cottoned glory the band themselves!}

Not here.

If anything, this is a prime example of that which is possible when one decides to meticulously craft without fear of the possible reprisal resulting from the tinkering of assumed BM parameters. And don’t think for an instant that this doesn’t deliver that which fans demand. This bears the atmosphere, a wicked mixture of melodies, swiftness in all the right places, cresting riffs, archaic textures and an exquisitely molded palpable essence which enthralls. An album showcasing a multitude of ingredients, a recipe delicately produced by master craftsmen making for a result that’s well worth the wait. Or for those like me experiencing Varathron for the first time an excellent jumping on point within a discography which promises to be intoxicating.
96

That’s it,
I need a nap.
B

Scorching the Retinas- Glorious

Another Glorious Movie Review

Welcome to yet another Movie Review which literally no one will read (a heading I’m pondering upon using in the near future). In this entry I’ll be dropping thoughts upon a(nother) film within my collection that has taken me a great while to actually pounce upon. The film in question stars two actors who require little introduction; Ryan Kwanten famous for his potrayal within the HBO blockbuster, featuring writhing nekkidness and plentiful crimson, series True Blood, and J.K. Simmons whos been noted lately for his part within humorous insurance commercials but also his stunning performances in Whiplash, and a media mogul everyone loves to hate within one of the many recent Spiderman franchises on offer.
This isn’t all that Glorious offers. Other than a moniker which every fiction writer is more than willing to abuse, the film also showcases cover art that screams “stop-what-you-are-doing-and-pay-attention! Vivid purple, pink and blue spark undeniable cosmic vibes while Ryan (front and center) is angrily wielding a disembodied leg, an image that certainly raises a few queries. But let us not ignore the tentacles in attendance. Now, I’ve been fooled in this regard before, so I won’t state without reservation that this is another Lovecraftian offering. However, I will add (following a spot of research) that Glorious is based upon a short (“Out of the Aeons” first published in Weird Tales magazine 1935) by the Master of the Otherworldly Deities himself.
Onwards…

Glorious (USA) 2022
Writers – Todd Rigney, Joshua Hull & David Ian McKendry
Director – Rebekah McKendry
Runtime – 79 minutes

A gay ditty (a happy musical number from the 30’s) introduces the film and Ryan. At the wheel it appears he’s been driving for some time, is exhausted and prone to bouts of nodding off within which vivid nightmarish scenes assault his senses. Pulling into a rest area he stumbles upon a vending machine. Details around him compile to ramp up the sudden blossoming enigmatic qualities and the films tone darkens somewhat adding to the intrigue. Soon it becomes clear that Ryan appears to be running from something, someone, or the ramifications of his actions. A prolonged evening of ridding himself of memories, via immolation, while embracing a bottle of liquor brings him unceremoniously to a bathroom stall, a purging, and the warm rich voice of J.K. Simmons. It is here where the film takes on an even more bizarre tone (and I still haven’t supplied any more spoilers than the DVD’s box art synopsis). Forget that the rest areas bathroom stall is devoid of toilet paper, the room is sans adequate operational plumbing (somewhat typical operating procedure I’d say), that there’s a huge mural depicting a triple breasted, sea creature esque goddess of sorts perched upon a mountain of skulls and a mysterious figure in an adjacent stall boasting the somewhat puzzling penchant of wanting to spark intellectual conversation whilst in the bathroom. There’s plenty more going on.

_{likely in competition for “the worst toilet in Scotland…” (Trainspotters) yet its not in Scotland.}

Queries wrap around enigmas which frolic with multi-faceted mysteries, and I’m left utterly enthralled.
Part way in one discovers that the dialogue, the interaction between Ryan (known here as Wes) and the mysterious stall occupant (the voice of J.K. Simmons), is what drives the movie, the writing is sharp, intelligent, witty (in a deliciously dark way) and doesn’t seem at all forced. And although Glorious has its fair share of effects, often showcased in not quite the way one might imagine, the flowing narrative is that which truly takes the breath away; a precise all-knowing presence conversing with Ryan (a figure mired in regret) trapped at the behest of fate (ever-attempting to awaken from what he can only assume is a drug addled interlude). Two figures strangely entwined within the bidding of an unfathomable entity.

_{Ha! Look at me now Sookie!}

Glorious is directed with undeniable style and panache. It’s hard to think of another toilet stall based celluloid entry which has garnered my interest in such a way as this (“Stalled” is in another league altogether, nowhere close). The score/soundtrack only increases the appreciation of scenes which though so fantastically strange are so easily consumable. Ryan’s acting is top notch, his is a character who effectively displays a wide range of emotions ranging from the obvious dismay, shock and incredibility to sorrow, regret, denial and frustration. Not to mention that the rich, timbre and delivery of J.K. Simmons voice fits his character to a tee (this amazing attribute can also be found in a slew of video games and the not quite so family friendly animated superhero series entitled “Invincible”).

_{Let it be known that I don’t actually make a physical appearance in this film. Just so we are crystal clear.}

Among other stunning attributes Glorious is also incredibly quotable, oftentimes  wickedly displaying its sense of pitch levity (that fits the films tone perfectly). Quotes such as; “May I remind you that you were perfectly willing to give me your penis a few moments ago…”, “excuse me for being a tad selfish…”, and (but not limited to) “…it’s on the other side Wes…” raise smiles while also elevating the nature of Wes’s mind boggling plight to a relateable level. After all, who doesn’t try to diffuse horror and the unimaginable with humor? The stall itself isn’t without the most essential mod con of the ‘drifter’ lifestyle, as well a grisly image to get some in the required mood.

Trailer courtesy of IGN

In short, and to bring this waffling diatribe to a close, I’ll happily report that Glorious is utterly captivating, aided by stellar performances, menacing atmosphere, wicked visuals, an excellently composed twisting storyline, and exquisite directing. In short  a transfixing example of Lovecraftian lore transformed in celluloid form. A film that held me in thrall throughout.
Regardless of whether you’re a fan of the H.P mythos, a casual genre fan, or a rabid aficionado, I recommend you add this to the watch list, and pronto.

Cult

Scorching the Retinas – Monster Party

Another Indy Celluloid Entry – Monster Party

Welcome back. Recently I found myself contemplating my physical media cache. I have a small library of genre films, a couple of shelves of “collected” genre films, a shelf or two of martial arts films, a small space reserved for questionable films (including the uncensored “Serbian Film”), an overflowing area featuring numerous and genre diverse VHS entries which I really need to look for a player in order to enjoy and a general DVD area which I share with my loving spouse. In essence a few bookcases overburdened with features which are not quite wholesome family entertainment, but close enough. Scouring my collection my digits alighted upon an entry whose title alights a veritable smorgasbord of possibilities. Alas, this isn’t what many might assume, it isn’t an over the top live manga entry, neither is it a vintage cartoon-esque NES game, or a high budget special effects extravaganza showcasing Lovecraftian entities knocking back steaming beverages (of dubious origins) whilst frolicking with an array of creations from the Universal Film catalog, but rather an intriguing predicament set in the Malibu Hills. Slightly disappointing, if truth be told, but I’m still on board.

Here are my thoughts.

Monster Party (2018)
Writer/Director  – Chris Von Hoffmann
Runtime – 89 minutes

_{trailer courtesy of Rapid Trailer}

Forced to pay a gambling debt for his father, Casper enlists the help of his two best friends in hopes to keep debtors from turning up the heat. Literally.

_{OK gang, let’s steal some “shit”.}

The job seems simple enough; get in, pretend to know how to cater to the rich and powerful clientele at a swank soiree, and get out with as many valuables secretly tucked away as possible. But all is not quite as simple as it at first might appear. The gathering is an exclusive, invite only, event. A support group celebration for recovering serial killers.
An intriguing story, and strangely, I haven’t given away any spoilers just yet. As this is all transcribed as the movies synopsis on the box art. So what gives? Where’s the mystery?
Apparently, there is little. The movie knows where it’s going, likely too does its audience and it gets to the hoped for destination successfully through the utilization of a introduction and utilization of a fantastic cast. There’s a great many faces featured here that most will be able to attach to a handful of successful features; including but not limited to “John Wick” and a series entitled “The Boys” which through its three seasons and a spin off has taken the world by storm.
Monster Party boasts a delightfully unhurried pace, though isnt afraid to shock with its ‘loaded’ dialogue, palpable creepiness factor, and initial octane fueled ‘plummet’.

_{“Manga. Manga”. Whoops wrong film!}

Once the stage is set the action is thick and fast, commencing with a wicked juxtaposition of scenes; one delivering a soulful confession, the other a vicious hack-tastic relapse. The remainder of the film plays out along ‘cat n mouse’ (stalker slash themes), us versus them lines (showcasing the elite and the struggling lower class), with definite Purge, Straw Dog and even Panic Room vibes.
Strong characters lend this an almost palpable edge. Erin Moriarty (Starlight of The Boys) a beauty with a look which screams innocence incarnate, portrays a sibling convincingly caught in the middle. Whereas, her sibling Elliot, Kian Lawley, plays a psychopath (who’s easy to dislike from the very first appearance) with shocking ease.
Plot twists lend this an edge over the traditional ‘paint by numbers’ type slasher affair with Milo, Lance Reddick (John Wick) leading the charge. Further text upon this details would surely place this deep into spoiler realms, so I’ll leave it at that!

_{*Breathes Heavily. I was in 100 episodes of Nip/Tuck, and I’ve also played Victor Von Doom. Does that excite you?}

_{Wait, Wait, Wait! For the record we do have a SPF budget we have to adhere to.}

Other standouts include Patrick played by Julian McMahon (Nip/Tuck and Victor Von Doom of The Fantastic Four films) whom I somehow seem to constantly confuse with Stephen Moyer (True Blood). His is a patriarchal role, an overbearing dominant type personality, a head of household trying desperately to hold it all together whilst simultaneously oozing a menacing aura.
Though not over the top, wall to wall, the effects are complementary, as to is a delicious slathering of dark (gallows) humor which many of the parties attendees unabashedly exude. Other elements making for a fantastic viewing experience includes characters one can easily root for, and a story which doesn’t necessarily follow traditional slasher parameters. A definite aura of maleovence is dense throughout, accentuated by a score which successfully heightens the films tension and a certain, hey this isn’t based in a cabin, the woods or the derp South refreshing nature.
All in all, this was a surprisingly decent watch. Sure, there were predictable moments, but appreciatively clichés are tackled, abused and spat upon. There are instances that make one want to yell at the screen in disgust and revulsion, and others in which one will take a moment to breath “What the F-!” A wicked element which makes any genre film worth it’s salt (whatever that means?).

_{What? We can’t kill everybody?}

It all makes for a fantastic waste of ninety minutes, a well crafted SnS which thankfully doesn’t rely on a masked figure, a mutant with a taste for blood with a murderous chip on their shoulder or any other beaten to death trope which the genre seriously doesn’t need to keep rehashing anymore. Seriously, who needs a Jason part… (I’ve lost count at this stage) no matter its ‘off the beaten path’ location, or another TCM? I’m done. Monster Party included just the right amount of creativity, the laughs, the gore, the middle finger to standard assumed genre troupes and plot twists that kept me interested for the features length. Give this a watch, don’t let it fall into obscurity.

8

Until next time,
Cult

Abrasive Audio – Reccs and Such

Laying Waste to the Metal Scene (March 24)
(aka Albums I’ve Missed & Others Demanding Attention)

Hello, and welcome yet again to another foray into the written dissection of extreme audio. In this entry I’ll be turning the attention toward a wide array of albums plucked from a recent calendar of releases. A few here have already seen the light of day whilst others are only just now about to be able to do so. All are releases which have either been highly praised or that which have somehow up until this point escaped my full attention albeit through no fault of my own (naturally, I’m full of excuses and arenas to which I can and often will point any blame). But enough of the waffling prose, the grammatically degenerate bollocks, the anticipation…
What say we jump in already?

Vomitory (Sweden) – All Heads are Gonna Roll
May 23
Metal Blade Records
It’s been a while since the last Vomitory audio assault. Many thought the legendary act were done. An act in the same vein as God Dethroned and Unleashed. An outfit who undeniably helped form the Thrashier Death darker side of the DM arena. Behind the scenes however, an air of relaxation, it appears, has spawned a regeneration, a reinvigoration, of sorts. And this album I’m pleased to report displays an act at the top of their form, a collective of journeyman musicians unafraid to tinker with (what many perceived) their undeniable style. Imbued with the undeniable melodic, yet brutal, swagger of that which has been composed before and accompanied by a myriad of twists and turns this serves to undeniably hold the attention, perking the interest, inciting the limbs to movement, of veteran, rabid, and casual fan alike. These guys aren’t through, the legends continue to entertain and influence.

https://vomitory.bandcamp.com/album/all-heads-are-gonna-roll

85

A RECC from LFCM (Twitter)
Suffer (USA) – KonQbine
July 15
Graves Media
Suffer are a grand example of an act who apparently have either done one of two things rather successfully; the first being the inability to gain a lasting cohesion, the second managing to get a foothold upon the scene.
This is the acts first LP (or full length within a career of 34 years). Suffer bears a discography is largely comprised of demos, EPs and compilations.
So then, how does this fare?
Just wow. With the audio in mind I cannot fathom how the act did not find themselves under a larger labels microscope. Immediately upon hitting play one notices that this isn’t what one would assume based on the acts geographic location (South Dakota,  USA) which would make me think more of Blues, traditional Rock and the like. Rather than an American tone, obvious mid-era Carcass worship (in both guitar tone and vocal approach) finds itself nestled within a style which is notably OSDM and so much more. There’s indications and teasing of certain passages breaking away from the assumed norm, other instances which display wicked pace transformation, and plentiful examples of wider than the aforementioned influence yet a fruition and full realization within the albums composition that’s appreciatively (and pleasingly) far from furiously aggravating copycat arenas. This might not be an album which grabs the immediate attention, it took me a second spin, but once it grabs ahold it makes one more than eager for more. Here’s hoping for another.

https://suffersd.bandcamp.com/album/konqbine

91

Kosuke Hashida (Japan) – Justifiable Homicide
April 24
Horror Pain Gore Death Productions
And how can I not find myself distracted by an album featuring (the “villian” from the 1985 cult movie House) Big Ben on its cover?
I can’t. Seriously.
This is a debut hailing from Tokyo from an artist who’s formerly covered live duties for Abysmal Dawn.
Intrigued yet, sure you are.
But it gets better. The album contains ten tracks and runs for about the time it takes for one to think of not much else other than the golden era of Grindcore, after unceremoniously destroying a room full of random room contents.
This gets to the point and quick, contains enough inciting rhythms, percussive brutal beatdowns and angst to leave one sore and dazed. Stylistically this brings to mind a wide array of influences, notably Lock Up, Oxygen Destroyer, Werewolves, Pig Destroyer and Napalm Death and is set to please fans of the aforementioned as well a somewhat similar wide swath of acts who take pride in practicing the art of bludgeoning brutality, of the Old School variety, slathered with undeniable groove. One of my more recent faves from the HPGD roster.

https://hpgd.bandcamp.com/album/justifiable-homicide

92

Bonestorm (Columbia)  – Under the Sight of Time
February 24
Green Revolution Productions
And that was a pleasing surprise! DM in an Old School vein with, it must be said, similarities to the almighty Bolt Thrower. Dirge similarities, pace to get any pit swirling in a killing frenzy and vocals of the brute variety which fit perfectly.
Place this within the albums you should discover stat folder.

https://bonestormdeath.bandcamp.com/album/under-the-sight-of-time

86

Angerot (USA) – The Profound Recreant
March 23
Redefining Darkness Records
If you’re anything like me (I’m sorry) you might confuse Angerot for a European outfit, even though you’ve checked several times (each time a new release invades the senses) to see that they originate from South Dakota. Theirs is a bombastic grandiose style; audio which evokes a well known Swedish tone without bringing to mind thoughts of litigation, and is far removed from repetitive unimaginative chuggery. This album touches upon Doom Death realms as well Blackened arenas, mixing melancholy with the majestic as well the enigmatic, an intriguing addition of medieval introductions and essence adds weight with masterful builds attributing to tracks with definite staying power. Overall the album bears remarkable qualities, delivers from its first to last note, and is yet another strong addition to a discography proving that Angerot are indeed a Midwestern DM force to be reckoned with. (Fun fact; Angerot and the previously mentioned Suffer share members.)

https://angerot.bandcamp.com/album/the-profound-recreant

90

Cruz (Spain) – Confines de la Cortura
September 22
Nuclear Winter Records
There are s few names in the scene which should honestly be household names, other than those already heralded as such. Cruz are one such act. With only a pair of releases and a demo to their credit this seems a mighty statement to utter (or even type) but bearing in mind the quality these affairs offer there really is little argument. Their 2016 offering “Culto Abismal” hit the scene like a continent leveling natural disaster with a multitude left wondering where the unholy hell the talent originated. How and why was a debut such as this possible? Well, I’m here to say Cruz have done it again. OSDM values are front and center, groove, brutality and rhythms leave one reeling, the tone is dense, a dirge of a kind slathered in delicious HM2 values. Compositions are exquisite; dense and dissonant yet busy and then there’s the groove again, making one ponder upon a variety of similar acts ranging from Entombed, Bones and Bolt Thrower. Yet, somehow Cruz also manages to weave cosmic textures without resorting fully to the audio likes of that which Tomb Mold and Gatecreeper peddle. Multi layered yet surprisingly accessible this is another notch on the belt of an undeniable genre champion. If you haven’t yet laid ears upon Cruz, make time to do so. You will not be disappointed!

https://cruzbcn.bandcamp.com/album/confines-de-la-cordura

94

Engulfed (Turkey) – Unearthly Litanies of Despair
April 24
Me Saco Un Ojo Records
My first experience of Engulfed came by way of “Vengeance of the Fallen”.  And although it was merely four tracks, I was quite literally floored. Suffice it to say that when faced with laying the senses upon another (an LP no less) I became rather excited, and salivatingly happy in order to be able to do so.
Weaving the same complex spell which transfixed me upon first introduction Engulfed again bring the carnage, the rumbling chaos, the menace. Nestled within the miniature space between brutal, technical and traditional, is where this resides albeit viciously unhappy and able in an instants notice to decimate the boundaries of any of the aforementioned genres. Stylistically the album brings to mind a smorgasbord of influence; Immolation, Morbid Angel and a litany of others to a lesser degree. Impish menace and heady diabolicalism are unmistakable, rhythms are appreciatively varied, a smirk inducing concoction mixing dirge sensibilities, a remarkable archaic aura and wicked compositions showcasing pace transformations and a transformative nature which successfully keeps its audience wide eyed, sweaty, unsuspecting and yearning for more.
This right here is prime, top notch DM, which was well worth the wait.

https://engulfed.bandcamp.com/album/unearthly-litanies-of-despair

96

A Recc from The Twitter Metal Commumity
Eternal (USA) – Cryptic Lust
March 24
Raw Skull Records
If it’s not the blue tone, it’s likely the Italian retro Gothic horror art which grabs the attention. A scantily clad mistress of the dark calling upon her cadaverous companions to do her unholy bidding. But also for me it’s the fact that this act hail from the same state, Arizona, I resided in for close to thirty years. But enough of that!
Diving into the audio itself brings the stark realization that the cover isn’t the only factor which deserves attention.
Compositions are undeniably Old School in tone and bear a wicked vintage European aura, Morgoth, Unleashed and Asphyx among the chief perpetrators, sparking both nostalgia and instant appreciation. Stylistically there’s definite indicators that other influences play an important role and originate from a myriad of source.
Definite menace exists, a foreboding nature which seeps from every note adding to the albums enjoyment. Rhythms are delightfully varied in pace and mood, melding Thrash, DM and Doom elements in such a way as to keep fans of the new school and those foremost within the scenes formation twitching in excitement and anticipation.
This is a fantastic listen, it grabs the attention fast, keeps it and is well-worthy of the praise it’s been given.
The future is bright indeed for this talented bunch, and I’m excited to hear more, as should you.

https://eternalaz.bandcamp.com/album/cryptic-lust

95

Unleashed (Sweden) – No Sign of Life
November 21
Napalm Records
Unmistakably Unleashed but with a slight rawness ala Master-esque production. Too viking in tone for Melodic Death, not quite HM2 enough for typical Swedish DM and not downtuned enough for the dense landscape/tone that is Old School. Unleashed have their own sound, this time with a delicious twist to keep naysayers from spouting that all their albums sound the fn’ same. Put this up there with Across the Open Sea and Victory in terms of riff structures and melodic qualities.
The flagship act of the vintage era of Century Media are back!  And this demands attention!

https://unleashed.bandcamp.com/album/no-sign-of-life

87

Alkhemia (France) – Abraxas
March 24
Malpermesita Records
There’s so much noise out there that is rather daunting pondering upon where to start exploring, especially when most within the seething rabble vie constantly for attention. Imagine then my surprise when I stumbled upon both a new act and label. Alkhemia are from France, and play BM. If you’re not excited yet, you should be, as France and BM fit together in a sentence to evoke undeniable expectations based on what’s gone before. And, I’m ecstatic to announce this is a debut which fits the same parameters. Unyielding in its blast beat composition, it also boasts  melodies of the most hypnotic qualities. A vicious vocal approach keeps the rabid fans at bay whilst the whole points to a debut exuding a confidence and experience well beyond its years. Atmospheric, melodic and wholly intoxicating this nods to the old school whilst pointing the way forward. In my opinion this an album that should be heralded as a Top of the Year contender (yes, even this early on) and most certainly has my attention, as it should even those whose tastes rarely touch upon BM arenas.

https://alkhemia.bandcamp.com/album/abraxas

92

Crystal Coffin (Canada) – The Curse of Immortality
October 23
Independent
For those wondering if this acts first album was a one off (huge) success. I will say yes, although this is just as good. Blowing apart the notion that concept albums are normally quite difficult to get into this much like it’s predecessor has a definite theme (much like what’s gone before, also ‘science and the mystery of consciousness’ based) which is extremely difficult not to get behind especially based on the mind bogglingly easily consumable this is Black Metal though it’s not your parents Black Metal style. I honestly have no idea how Crystal Coffin have done it again, “The Starway Eternal” was stellar in its delivery, diverse yet far from off-putting experimental approach to tackling the genre and boasted elements which though unpredictable only boosted the albums overall enjoyment. This offers the same, though within a slightly different template resulting in an appreciation which only leaves the listener hankering for more.

https://crystalcoffin.bandcamp.com/album/the-curse-of-immortality

94

Overkill (USA) – Scorched
April 23
Nuclear Blast Records
Life’s decisions sometime come back to haunt you. In this instance it was my decision to not give Overkill a chance after thoroughly enjoying Horrorscope in my teen years. I quite honestly very nearly wore the tape out! I am still dumbfounded at my lack of sticking to the ‘fold’ as it were. But now I’m back. And wow! I’ve read a few words on how impressive this is, but never fully expected nostalgia to come flooding back with the force with which it has. This obviously isn’t the aforementioned album, but it does still reek of the same trademarks; the Blitz vocal assault, rhythms which are impactful, blunt and undeniably Overkill without resorting to this track sounds like this track dynamics and varied rhythms, riffs which are arguably chuggery though yet ‘cataclysm within a moshpit frenzy’ inducing. I’m pleased to announce there’s enough variation here to please most every Thrash aficionado; Crossover elemants ala gang vocals, a smorgasbord of pace, shredtastic leads, and a variation of style the band is known for.
The Dark Lord only knows why I allowed the bands putput to fall to the wayside. Perhaps it’s time to include Overkill into the Big 4 now that one member in particular has decided to “opt out”?

https://overkillmetal.bandcamp.com/album/scorched

89

Atrexial (Spain) – The Serpent Abomination
March 24
Non Seviam Records
Blanketed in a grandiose nature ala Septic Flesh and Behemoth, this album offers an unrelenting tableau of freezing, stark, rhythms, a ritualistic nature and an atmosphere basted in archaic dissonance that one could easily lose oneself within. Epic track lengths and mood evoking melodies heighten the already incredible listening experience to stellar arenas.
Harrowing, furious yet strikingly emotive this is a considerably entertaining audio affair that brings attention to all that the realm of Blackened Death offers.

https://non-serviam-records.bandcamp.com/album/the-serpent-abomination

93

Lutharo (Canada) – Chasing Euphoria
March 24
Atomic Fire Records
Power metal collides with melodic death with just amount of symphonic nuance here. Overlaid with an impressive vocal range, emotional charged lyrics and definite oomph courtesy of Krista’s (likely ironclad) vocal chords, as well soaring solos, limb twitching leads and more than several albums worth of memorable instances. The whole is an impressive package (if there’s even an ounce of justice within the scene) likely to appeal to a wide swath of fans from across the extreme audio spectrum.
Melodic enough and accessible for a radio audience yet impressively charged to sate the thirst of those wandering between genres, undecided as to where their attention should be focused.
Highly recommended, for fans of later Arch Enemy without alienating those who are also able to enjoy both traditional HM and Power Metal arenas.

https://music.youtube.com/playlist?list=OLAK5uy_ksdAm1fdbGdf-25pNLMDJaEFKjeSLIuQc

89

And that brings us to climax of this Abrasive Audio entry. Here’s hoping you can tell how excited I am about the above releases. My thanks for making this far and continuing to support the scene. Feel free to comment, suggest acts or albums worthy of discovery, and/or share this and the love of the scene.

Cult

Scorching the Retinas – Into the Abyss

Into the Abyss
(An Argentinean Lovecraftian Cinematic Affair)

Please excuse the assumption. This might or might not actually be a Lovecraftian themed film. I see large creatures of unknown origin, sea creature type appendages and a drab, unforgiving, landscape and I immediately latch upon the obvious. Please accept my apologies in advance before I continue to discover that the story here might be something completely unrelated. Alas, this still remains to be seen. One thing I do know for sure however, is that there aren’t too many films from Argentina which have managed to make their way onto the shelves of my local big box store (not a single entry of the “Plaga Zombie” franchise made it). This, obviously, is one of the main reasons this found its way into my possession. And apparently why my digits have sparked to life in the manner in which they currently prompt feverish scribbling activity.
In regards to that which is on offer…

Into the Abyss (Argentina)
2023
Director – Matías Xavier Rispau
Writers – Boris C.Q. & Matias Xavier Rispau
Runtime – 105 minutes

Bannon (played by Martin Rispau, likely a relation of the director) is introduced within the confines of a car in a darkened alleyway. He’s alone, hungry and scavenging for anything resembling sustenance (did I mention he bears certain similarities to a young George Eastman from many of  D’Amato’s infamous films; including, but not limited to, “Erotic Nights of the Living Dead” and “Anthropophagus”). The world, it appears, has been turned upside down. Strange lights in the sky have evolved into something that’s infinitely more troublesome than merely a rumor, a whisper, a long discussed conspiracy or a threat to the next Presidential election. Visitors of unknown origins have arrived and they are anything but friendly. Danger lurks at every turn, shadows pounce, a familiar noise could mean anything and originate from likely a myriad of unnatural source.
That, in essence, is the spoiler-free synopsis. The film I’m happy to announce works successfully on several different levels. The director and crew have excellently crafted a viewing experience fraught with tension, a believable environment far removed from the everyday and a commendable portrayal from a competent albeit small cast. Standout and especially well executed themes include a characters spiraling descent into madness (coupled with an unwillingness to separate from the previous normal everyday), and the sheer determination to survive.

_{Trailer courtesy of Rapid Trailer}

Although not exactly what one might assume, the film doesn’t develop into Lovecraftian realms as the cover and title largely suggest, neither does it display a myriad of monsters, other than a pair of HG Wellian War of the World’s type arthropods and a costumed character who appears type Genestealer (any Space Marine fans here?), and part bargain bin outfit Alien. So for those looking for creature shenanigan’s this feature likely isn’t for you. However for those with a willingness to be surprised, a penchant for a well crafted Indy production (largely dependent on character development rather than action and effects) and a soft spot for lighting effects and exquisite cinematography this might (at a stretch) hit the spot.

_{You want my wha-?}

Into the Abyss has its moments. It bears a soundtrack which works (to effectively build emotion) and isn’t dependent upon, and largely consist of, popular music for its familiarity. It boasts commendable acting which certainly aids in the visual consumption and mental processing of that which is fictional, foreign, stimulating, and a backdrop which has been expertly chosen to portray that which is bleak, unforgiving yet still quite familiar. The tension is at times palpable aided largely in part due to character portrayals which are surprisingly believable. In instances the visages of sheer terror transport me back gleefully to European genre affairs from decades past (Fulci, Bava, D’Amato come to mind) the result is a visual journey one can get caught up into and easily find themselves developing strong emotions toward.

_{More box art}

On the other hand however, the film is misleading, the accompanying text and box art promises galactic struggle (the likes of which fans of movies similar to Skyline would no doubt appreciate), action, fantastical monsters (this is where the Lovecraft assumption comes in) and most of all frantically wriggling tentacles, and a great many of them (of which there are actually here very few, if any). The action in this regard is at a minimum and other than a few examples of exchanged firepower one would assume the only threats come by way of the aforementioned single “costumed” gymnast and CGI anthropoids which barely seem to move at all.
Definitely not for those waiting a fireworks, stunt fueled, extravaganza with a story which has its loose ends tied up neatly together as the credits roll, this is more for those who celebrate the Indy scene, rising talent in directing, writing, acting and (in this instance) cinematography arenas. A celebration of that which one can produce with a severely limited budget. Into the Abyss is a huge success in that regard, but in the other (that which most seriously hoped for) somewhat a disappointment.
6

Cult

Abrasive Audio – February 24

Abrasive Audio 24 – Part the Second

Metal. Metal, everywhere as far as the eyes can see…and not a drop to drink.
Ok. Now I’m just being silly (and I’ve screwed up the quote).

It’s February, the year is rolling on, and I have a list of albums that have perked the interest which I’m twisting the digits into action upon laying a few words upon.
As is typical, my thoughts are my own, as too are my tastes, and they may not necessarily correspond to your own, there’s without question no issue in this regard. I’m here to promote and offer that which you might not have heard, perhaps audio offerings which have piqued the curiosity, or even albums that are not even upon the radar?
I’ve included Bandcamp (and/or other) links alongside the audio under scrutiny so that you can decide for yourself your personal level of interest. Needless to say that supporting the scene is of the upmost priority.
Without further ado may I present my thoughts upon…

Apogean (Canada) – Cyberstrictive
The Artisan Era
March 24′

Technical Death as a genre is, I’ll admit, a rather hit and miss affair for me. Some acts go all out, then far beyond what my tiny brain can appreciate, although I’m of the belief that coming from a musician standpoint (which I’m not in the slightest) this is likely where the appreciation jumps into hyper gear. In regards to Apogean, and (this their first full length offering) “Cyberstrictive”, I’m happy to report it starts out on a fantastic footing (the art alone is worthy of further exploration) a level of technicality which is delicate, intricate and stunning (yet thankfully not intent on veering upon a trajectory that’s unapologetically of the wizard fretboard wankery realm). Compositions boast obvious progressive tendencies, rather than an all out pummeling brutality approach, and are also injected/accompanied by passages of blistering pace and menace. Highly commendable is the bands creative ability, for let’s be honest there exists a certain sameness to a number of affairs within the genre which leads to frustration and a hankering for that which is slightly different, a quality in essence which stands out from the pack. I’m excited to announce that this is exactly what’s on offer here. “Cyberstrictive” is fluid, yet diverse, brutal yet atmospheric, contemplative yet pummeling. And boasts a collective of tracks with lengths to pull the audience in, yet not drag them into I-wish-this-track-were-over-already waters.
In short a collective of tracks delivering a caliber which makes me contemplate upon my decisions to not jump on, and scribble upon, this sooner.
Fans of Inferi, Vale of Pnath, The Zenith Passage and others who peddle top notch Tech Death with expertly injected intricacies imported from a wide swath if other genres need to make this a destination for the senses. The Artisan Era has done it again, another exquisite act from Canada to keep tabs on. Get those wallets ready, for March cannot come soon enough!

https://apogean.bandcamp.com/album/cyberstrictive

97

Child (Sweden) – Shitegeist
Suicide Records
March 24′

It would be truly remiss of me not to lay thoughts upon an album with the word “Shite” in its title, for quite honestly it’s one of my favorite ‘non-curse’ Celtic origin expletives. And as far as the bands moniker is concerned; obviously, I’m a mite intrigued. In this instance I’d hate to think what exact manner of an adolescent is in question, for Child brandish a style dipped in ferocious spite. Part Grindcore, part Crust and definitely all pissed-off drenched in fuck-off Punk attitude this album offers eleven tracks with an average of two minutes a piece, so this isn’t truly traditional Grindcore after all. But make no mistake it has the requisite markings. Shit! Even the album art displays possibly the worlds largest moshpit. It boasts dirge instances, breakdowns, hooks of a viciousness to make Jaws cringe and a vocal assault of a quality to scorch chrome. With all that in mind however this also boasts infectious rhythms (courtesy of its D-beat sensibilities) to incite movement and an accessibility to appeal to both new and existing fans of the genre within which similar artists such as Wolfbrigade and Disfear reside.

https://suiciderecordsswe.bandcamp.com/album/shitegeist

80

Cryptosis (The Netherlands) – The Silent Call (EP)
Century Media Records
December 23′

Place this under the bands I’ve to experience, though probably should have by now, heading.
This offering (consisting of two new and two live recordings) commences with blast beat driven melodies and grandiose atmosphere laden in archaic qualities, a nature of the type to make one immediately ponder whether this might be in fact a Blackened Death offering in clever disguise. Those of the impression that this is ‘Progressive Thrash’ (which a well known metal review site has it labelled as) might be thrown for a loop. The second track veers slightly from the style of the first and offers more a Thrash meets Death laden with European flavor. Heavily accented vocals again add to a quality which is criminally easy to appreciate. Rhythms are swift, Melodic with a brutal tang and varied enough ij pace and texture to intrigue even those who demand more than mere frenzied speed passages.
For those feeling somewhat cheated by a release which offers (only) two new recordings, I’d like to mention that the live pairings are of the top notch variety and thankfully free from a production tainted by the crowd being too close. Also to its credit is the fact that the musicianship of a stellar quality, and that the tracks are quite varied from the newer material yet still instantly likable. It’s safe to say that these guys know how to put on a great show and take pride in their performance.
Highly recommended for those who like their Thrash with a healthy dose of Death.

94

Veriteras (USA) – The Dark Horizon
Independent
April 24′

With two full lengths to their credit in the span of only four years one might deliberate upon the quality of this (the second of the two) offering. This is understandable, though not to worry as this bears all the hallmarks of tried and true melodic death that one could wish.
In this instance harsh vocals (typically par for the course, ranging in obvious grades of viciousness) complement an array of melodic passages accompanied by  symphonic atmospheres. It’s a dubious balance, oftentimes one element outweighs the other and the whole sounds rather messy. Thankfully here that’s not the case; there’s a fantastic balance with the whole giving off somewhat a Folk vibe whose presence varies from track to track. A barely noticeable power metal aura permeates the whole, though again thankfully it’s more on account of the swift flowing, fantasy- esque compositions rather than a vocal approach draped in falsetto notes. This is highly impressive from a first listen basis and is sure to alight the interest of acts within a similar vein including the likes of Children of Bodom, Black Guard and early Dark Tranquility.

https://veriteras.bandcamp.com/album/the-dark-horizon

92

Hatred Reigns (Canada) – Awaken the Ancients
Independent
December 23′

Whirling, churning, pummeling and blasting this album gets right to the point and quick. “Awaken the Ancients” showcases both Brutality and Technicality, incorporating a pleasing variation of the intricate union of the pairing and rarely let’s it’s foot off the gas; a style which fans of Suffocation and the like will instantly appreciate, whilst still remaining somewhat accessible for those whose experience of the genre is slight. The vocals are especially gruff, fit perfectly, and thankfully stray from plummeting into deplorable bree-bree-bree territories.
All in all, this is a fantastic example of an album released at the tail end of the year which slipped by criminally unnoticed. I’m hoping I might be able to start the movement which changes that.

https://hatredreigns.bandcamp.com/album/awaken-the-ancients-2

88

Upon Stone (USA) – Dead Mother Moon
Century Media Records
January 24′

For those expecting traditional HM or even Metal of a decidedly Power nature, I’d hate to disappoint. With that being said however, this is in no means a disappointment to those hankering for distinct melodic flavor, of the vintage European death variety. In part HM2 and in larger part veering towards a territory which At the Gates carved this has a great deal to offer. The vocals are vicious without losing understandable lyrical content, compositions are swift incorporating delightful twists and turns, smile worthy nods to those within the arena who are known for soaring rhythms and melodic interludes (early Arch Enemy come to mind). Other elements remove this from an otherwise crowded rabble, such as a lively percussion which isn’t afraid to showcase talent and a blackened nuance (that recalls early Dissection and Toxine fronted Witchery). All in all, for an album encapsulated in art that makes me ponder upon my youth and mid-eighties HM, this delivers a great deal to get excited about.

https://centurymedia.bandcamp.com/album/dead-mother-moon-24-bit-hd-audio

87

Psyanide (Greece) – Vertigo
January 24′
Wormhole Deth Records

Occasionally I receive promotional materials from an act unknown to me, in actual fact this isn’t rare, in the slightest. The rare part comes in the form of an album sinking its barbs in, deep, and quick without prior word of warning from anyone. Such is the case here. Honestly, I’m not sure what to assume based on an album bearing a ‘Groove’ genre depiction. With “Vertigo” it might allude to fact that the riffs are plentiful, that the rhythms flow like something truly wicked, vicious, yet utterly controlled in its intentions and perhaps the manner in which the album incites spastic movement. It doesn’t give any indication whatsoever that the vocals might be razor wire barbed, as heard here. But I’m pleased to mention this only heightens my enjoyment, complementing the top notch skin pounding battery and a cavalcade of varied pace and styled riffs which truly enthrall.
Naturally, Greece is more known for its Blackened contributions to the extreme audio arena, so this album came as something as a shock bearing in mind it delivers from first to last and it isn’t of the Blackened, strictly DM, or even BM variety.
This could well be one of the years sleeper records. Suffice it to mention – don’t let it pass you by unnoticed!

97

And…Plucked From Metal Past

Mors Principium Est (Finland) – Seven
Avalon
October 20′

_{Courtesy of Jess Death promotion YouTube}

Listening to this a few thoughts immediately spring to mind. This is extremely tight, formidably accessible, the production is fantastic and it bears a criminally infectious fluidity. The vocals are understandable while still bearing a certain brutality and the whole bears a definite classic nature as well a certain likeness to early Trivium and Sylosis (a personal fave era from both acts). I’ll leave this here, with a few words of advice…
You don’t want to miss this, Finnish melo-death par excellence.

95

Damad (USA) – Rise and Fall
Prank Records
March 97′

_{Courtesy of SweetBabyJaysus YouTube}

By merging Doom, Hardcore Punk and Noise Damad have created a sonic assault (“Sludge” by todays standards) which certainly isn’t for everyone. I first ran across the band on one of my favorite compilations (entitled Awakenings) admittedly, the track there is a tad more dense and moody in tone than heard here, apparently its a demo of sorts. For those pining for melody, blast beats, classical atmosphere, chuggery or compositions basted in passages of pick melting riffs this truthfully isn’t a destination whereupon one will rocking an ear to ear smile and leave sated. This is raunchy, grimy and none too pleasant much like a fight in the swamp between a pair of meth addled homeless people dressed as clowns, fighting over a single shoe for little reason other than it a shoe. In short this isn’t altogether family friendly fun. By no means the first, obviously not the last, to peddle such a style their legacy lives on, albeit with a slightly different lineup (RIP Victoria) reincarnated, as Kylesa.

Dwarrowdelf (UK) – The Fallen Leaves
Northern Silence Productions
February 24′

Wrapped in ambiance and atmosphere this isn’t most likely what most might assume based upon the displayed art (this appears a common theme, right?). “The Fallen Leaves” is an album which likely will have many arguing amongst themselves, as in times it bears a slightly melo-death edge rather than the melo-black within which category it’s been placed. Regardless, the compositions are divine, the marriage of synth, acoustics and cresting BM riffs making for epic soundscapes sublime, the rhythms utterly mesmerizing and the fact that this was completely  architecturally composed by a single soul (with guest backing vocals cited in certain tracks) simply astounding.
There aren’t many acts willing (or talented enough) to tackle the mythos of Middle Earth and J.R.R.Tolkien in such a way as heard here, there’s infinitely more ‘traditional’ DM or BM acts from which to choose. Dwarrowdelf have taken the monstrous challenge (over a course of a few albums now) and have proven that ‘their’ realization of integrating such elements is no mean feat, yet in its meticulously crafted fruition such a wonder to behold.

https://dwarrowdelfuk.bandcamp.com/album/the-fallen-leaves

89

A Recc from fiction scribbler extraordinaire FiendGottes
Lord Dying (USA) – Clandestine Transcendence
MNRK Heavy
January 24′

Looking upon the cover art it’s difficult to predict what might make its way between the ears once the play button has been caressed. In this instance it’s best to keep the mind wide open and a willingness to  expand the musical horizon. Far from what I’d expected (or rather assumed) this offers elements plucked from a handful of genres, renowned and celebrated tropes, only then to deliver them, not necessarily in a pattern one might predict, but rather a pleasing audio hodgepodge that’s defies comfortable characterization. Emotion is displayed within varied definitions, the album bursts at the seams with fury, progressive landscapes, instances that put one in mind of the late 70’s Avant Garde/Proto rock scene and a smorgasbord of stylistic passages which beg for a dissertation esque ramblings. Naturally, the audio wouldn’t be complete without Sludge elements, of which it bears plenty. The beauty however lay in the way that Lord Dying has integrated the whole in such an accessible package. Brutal in its way, ferocious undeniably, brimming over with contemplative atmospheres, tones and textures, yet mesmerizing throughout.
Quite the accomplishment and undeniably an audio affair one can learn something new with each and every spin. Of they’ll be plenty.
Stunning doesn’t quite cover this!
Huge props to my long-time, metal lovin, scribbling pal for pushing this in my direction.

https://lorddying.bandcamp.com/album/clandestine-transcendence

100

A Recc from  Lord Dying
(Via Bandcamp)
Mortals (USA) – Cursed to See the Future
Relapse Records
July 14′

I believe Lord Dying are playing to all my weaknesses. Black n white art and an all- lady outfit. I’m sold!
The audio itself is rather hard to define, it’s neither this 100% or that 100%. Ok, I get it there’s not a great deal that is these days. The audio is raunchy, homage in part to traditional HM (riffs are infectious, and filthy), though overlaid with pitch BM sensibility. The tone is delightfully thick; part EyeHateGod, part Soilent Green and definitely “sludgetastic” (I’m bookmarking that word for future use) in texture.
Sounding more dark Doom than melodic Death or Black this is perhaps more appealing to those with the above mentioned penchants, although I find as I spin it more that it sinks in and bumps up my appreciation for it. Hopefully these gals will pop up again and release another in the near future, it’s been close to ten years. One of a wait. I’m intrigued, as I’m sure are others.

https://mortals.bandcamp.com/album/cursed-to-see-the-future

82

Ihsahn (Norway) – Ihsahn
Candlelight Records
February 24′

Every one in a rare while there comes about an album which leaves you speechless, and at a loss.
Such is the case here.
Thumbing it’s nose up at genre constraints and parameters this flows with exquisite movement. A perfect marriage of orchestral elements, atmosphere, progressive tendencies and controlled fury. If I were forced to liken this to another act Opeth comes to mind, although again this showcases a heightened classical aura, monstrous cinematic presence and more an unparalleled sense of grandeur.
Admittedly this is my first experience of Ihsahn, suffice to say I’m more than impressed and likely to dive deep into a discography which on all accounts bears an exceedingly high standard of quality.
Even more mind altering is the notion is that this is composed and orchestrated from start to finish from a single mind. Is there any surprise then that the same person is also the keyboardist and vocalist of the world renowned metal entity by the name of Emperor. I thought not. I hate to admit that this surprised me. I really need to brush up on my scene knowledge. I’m ashamed, I truly am. Regardless, this is fn’ genius! Nuff said.
An easy, early, contender for an AotY spot.

https://ihsahnalbum.bandcamp.com/album/ihsahn

100

A Last Minute Addition…

Razgate (Italy) – Born to Rot in Hell
Punishment 18 Records
June 23′

Why the last minute addition?

Well, it’s obvious…because I’ve just realized that Razgate released an album (last year) which somehow flew under the radar. Their last effort was devastatingly pleasing, especially for fans of early Slayer. So what say we get stuck in?
Not quite as balls to the wall as their last, this entry is slightly more varied, including ‘gang vocals’ and a number of entries which of substantially higher quality than others. Not quite “all killer, no filler” this album still manages however to keep the attention (and still bears more than a striking resemblance to Slayer). A fantastic successor to “After the Storm…” which doesn’t quite touch the bar the previous effort hoisted into the stratosphere.

80

And what an fn’ way to round out the first leap year (in a few years, ha ha). Two perfect scores, these don’t happen but once in a leap year (me, with the puns, oh my!) and a bunch of diverse, quite brilliant, outings to wrap the audio catchers around.
As is traditional feel free to tell me your thoughts, offer up a suggestion to pounce upon, or drop a like or better yet share (to keep the love of Metal alive).
Until next my horrendous scribbles flash across your retinas,
Cult

Abrasive Audio -Bringing in 24′

Welcoming the New Year with Precision, Ferocity, and Emotion

Abrasive Audio 24 (part the first)

Here we are again, joined together under the umbrella and fascination of that which comprises the many guises of extreme audio. In this installment I’m including a few ‘better known’ acts, albums which I’m late to pounce upon, a few albums which I deem worthy of attention and a selection of audio which most certainly would have topped my unwritten ‘Best of 23’ list.
Here’s to Metal and its multitude of complexities under which it continues to enthrall.

Shores of Null (Italy) – The Loss of Beauty
March 23
As a huge fan of vintage October Tide, and Katatonia, I’ll excitedly admit that this grasped me in its warm caress from its earliest of rhythm salvo. Then it continued to lull me in a hypnotic state, gooseflesh activated, until I came to my senses only to hit play, and experience the whole, again.
As the album unfolds it prompts nostalgia, acts who peddle a similar style, yet this doesn’t quite conform to that which many might predict. It bears an air of nuance, perhaps on account of the varied vocal approach? Clean and growl are on offer, with the ‘cleans’ delivering a familiar lilt/tone, a slight 80’s Gothic touch which puts me in mind of a handful of Brit acts from around the time. Compositions are diverse, though not ferociously so, with a variety of pace on offer to keep the listener on their toes and the attention rapt.
In short, for this truly is an album I’ve found myself uncontrollably drooling over like a delirious fanboy, the audio encased within (this affair) delivers that which DeathDoom fans require, with more an emotional slant, it has the growls many demand and cleans to please those with Paradise Lost, Opeth penchants. Compositions doused in melancholy and an assortment of other textures to evoke a myriad of mood.
Honestly, I’m late to this party, but I do believe I’ve found my absolute fave release of 23.
It’s here, Doom/DeathDoom fans rejoice. This is my uncrowded king of 23!

https://shoresofnull.bandcamp.com/album/the-loss-of-beauty

100

Sea of Consciousness (The Netherlands) – s/t
January 24
Quite the breath of fresh air this. If you’re expecting an album which provides the predictable, an audio offering which fits snugly in pre-formed genre parameters, you might want to perch the ears elsewhere. As this is somewhat off the ‘beaten path’, although still wickedly accessible. Slightly theatrical in tone and boasting epic textures this delivers a variety of pace and composition complexities, bordering on the technical, to incite interest from listeners with tastes are typically positioned across a wide swath of genres. Stylistically ranging from Atmospheric BM, Melodic Death, Doom and Death Doom, Traditional HM and others to a lesser degree, this delivers memorable rhythms, hooks aplenty and compositions guaranteed to elicit muscle cramps, sparks of nostalgia and huge levels of appreciation (although likely not upon a first listen basis, as this takes a few spins to fully adore if I’m to be honest).
It took a few listens (within which my fondness for this album has only grown), but I’ve finally narrowed a list of similar acts with whom SoC share a similar style. Arch Enemy influence is undeniable as leads are frequently classical in tone, driving, clean and criminally addictive in nature. And then there’s the obvious (female) vocal approach. Did I ever mention this element as one of my personal weaknesses? Another act which comes to the fore is a lesser known, though equally important, Italian act called Opera IX. Theirs is a style dangerously close to Avant Garde, utilizing a variety of BM elements, theatrics, emotional lyrics and intricate compositions. And much like SoC a stunning vocal range which appears ‘front and center’ (seek out their track within the “Awakenings; Females in Extreme Music” compilation entitled “My Devotion”. Which I believe is on YouTube someplace, though rather difficult to locate in a physical format as it’s close to celebrating its thirty year anniversary). And this also somewhat feels similar in tone to “Cruelty and the Beast” by Cradle of Filth (one of their finest entries in my opinion), in regards to its shifting compositions, moods, and multi-faceted vocal approach.
Give it a listen, a few, allow it to settle and feel free to drop a comment.
I’m giving it another spin.

https://seaofconsciousness.bandcamp.com/album/sea-of-consciousnes

92

Cruciamentum (International) – Obsidian Refractions
November 23
Nine years on from an album widely considered a classic in the genre, there was wide surprise that thus actually came to be. But it’s finally here. Does it however fit comfortably within the excellent quality niche Cruciamentum have carved for themselves?
The answer is simply yes!
The atmosphere is here, the menace, the foreboding, and the composition caliber one has to come expect from an act who are still relevant, even with only a single full length to their credit within a ten year period (only a rare few acts can also claim this feat). Within this a cavernous tone is felt throughout, seeped within each riff, passage, and break, as well a palpable diabolical essence; an energy with an archaic calculated malicousness, no doubt left brooding since the bands last audio offering. Although slightly different this still bears the same trademarks which have forged such an unwavering fanbase within an arena literally bursting at the seams with clones.
Close to ten years is a long time to wait, I’m sure many have wavered, but Cruciamentum are back. Reinvigorated, not so much reinvented, draped in Old School values and delivering so much more than those eager for more could have hoped.
#BestofBritish

https://cruciamentum.bandcamp.com/album/obsidian-refractions

95

Hyloxalus (Canada) – Make Me the Heart of the Black Hole
January 24
Taking the albums moniker into consideration a potential listener might well ponder upon the style they’re about to experience. Admittedly, the images it conjures stray from the typical; blood thirsty demons, carnage, violence, and assorted gloriously gore soaked wot not. And the style isn’t quite what one might assume. This isn’t Evanescence, or even Enya, but rather a myriad of elements combined. A combination which brings to mind several acts, though not a single entity that is 100% spot on. The vocals are dramatic, somewhat operatic, altogether reminiscent of a choir and recall a slew of rather successful acts which border precariously on the border of several genres, including but not limited to the Power Metal arena, Therion comes to mind. And even a few which originate from Japanese shores. The percussion is another matter entirely. Compositions are often thunderous, swift, yet veer from the all out brutal approach which might lend this an even more distinct flavor. As it is the compositions are a combination of ‘shred’, the melodic phrasing found in Melodic Death, rhythms plucked from Power Metal realms and a Doomy accompaniment many will likely associate with Epic HM, the darker side of Prog, or (even) Atmospheric BM affairs. All draped in exquisitely crafted epic textures and a variety of moods which only add that much more intrigue and interest to the listening experience.
All in all, this offers quite the smorgasbord of stylistic combinations bordering on Avant Garde waters without dragging the listener into unfathomable, suffocating, deep depths.  Admittedly, some tracks work better in instances than others, but the whole is unapologetically eye opening, and of a quality which begs, demands, warrants  future exploration with that all-important open mindedness which allows for full appreciation.
Recommended for those who tend to wander from the herd, those who have zero qualms exploring that which at first appears undeniably foreign.
Give this a listen. It surprised the be-jeezuz out of me and has instantly found a spot on my “I’m not sure what mood I’m in” playlist.

https://hyloxalus.bandcamp.com/album/make-me-the-heart-of-the-black-hole

86

Cryptworm (UK/Hungary) – Oozing Radioactive Vomition
December 23
From its opening groove, putrescent drenched, salvo I had my fingers crossed that the same approach would continue. Admittedly, I’m not a huge fan of audio which sounds as if it dwells in the dankest corners of the sewer, melody, and speed typically is more ‘my bag’. But for some reason this wrapped its filthy mitts around me and constricted until I lost the fight to complain. Strangely, this process took all but a brief instant, then I was all in.
However, this isn’t all about groove (though it certainly aids in the overall enjoyment). The vocals are unhurried, phlegmy and wicked, the snare drum incites uncontrollable movement, rhythms are hypnotic, and the perfect tone (on a personal level) recalls the old school glory of yesteryear; the Grindcrusher (compilation) years, a small London  venue (that is most likely the foundation of an apartment block now) within which sixteen acts pummeled me into jelly like submission, and the growing sense that this type of audio was exactly what my soul demanded, it had been a strange few years previous within which I searched in vain across a slew of genres for a sound/style to ‘fit’.
All in all, this is likely the perfect audio for those who believe that an album showcasing a mix of goregrind, Slam, and brutal death is beyond their appreciation. This beautifully encases all (some only barely) and delivers a whole which somehow works to encase the spine in a spell that culminates in the remainder of the body following suit, a twitching, a drumming of digits, a flailing of limbs, and assorted other displays of movement that call for a room to be cleared lest prized possessions turn to worthless detritus.
In short, I like this a great deal, would place it amongst my champions of 23 without reservation, and will highly recommend it to anyone who might lend an ear.
Now if only these guys would tour with Canada’s Begrime Eximus, I would have little excuse as to why I can’t make it to another live gig.

https://cryptworm.bandcamp.com/album/oozing-radioactive-vomition

98

Master (Czechia) – Saints Dispelled
January 24
For those who aren’t aware, Master are likely one of the few bands responsible for the style which is today celebrated as Death Metal. Sure, arguments exist, (they had a record slated for 1985 which remained shelfed for years, thanks to Combat) but there’s no disagreement that theirs is a style which is unwavering, trend-free and instantly recognizable. And not just of account of Speckmann’s gravelly vocal approach, riffs are aplenty, driving, infectious and responsible for what many call the bands Thrash/Death style. Either way you slice it, Master have proved that their many years in the business isn’t slowing them down, their quality is consistent and their influence unquestionable.
This is a fantastic jumping on point for those who have yet to experience an who have a moniker which is more than fitting – Master.

https://master.bandcamp.com/album/saints-dispelled

81

Sgàile (Scotland) – Traverse the Bealach
January 24
This is another example of an album whose name I’ve seen pop up (within my social media meanderings) followed by the words “out of nowhere” and “fantastic”. Suffice it to mention that I’m rather curious.
Now I’m not sure what I was expecting. Perhaps Folk mixed with BM, atmospheric laden Blackened… something-or-other? It most certainly wasn’t this. And I’m glad. This is somewhat a breath of fresh air, it delivers epic soundscapes, sweeping vistas, Celtic textures, atmosphere and rhythms which are pleasingly diverse, downright hypnotic and evocative. And I’m only four tracks in!
Update: with the album behind me I’m able to fully report on its undeniable scope and enthralling majesty. My initial reaction was correct – this has proven to be quite the journey. Progressive and Post in theme rather than scathing, brutal, blunt and punishing this seamlessly and effortlessly manages to transport its audience through a variety of imagined tableaus; rolling plains, landscapes untainted by streetlights, Stop signs and roundabouts (gotta insert a point of reference for my British readers) and easily evokes a myriad of emotions. A single listen is all that’s required to garner interest and appreciation, with more guaranteed (in the near future) to aid in the audios many nuances to blossom.
Typically, I’m a devotee to the fast, the relentless, the bludgeoning. But in this instance and faced with such a stunning audio example such as this I’m happy to report that my tastes are able (and willing) to adapt, to veer from the path of the wicked, to that of more serene pastures. At least for tonight.
Give this a listen with an open mind and a willingness to absorb, for it’s a fantastic sojourn from the tradition extreme arena.

https://sgaile.bandcamp.com/album/traverse-the-bealach-2

95

And I’ll draw this to a close here, lest I find myself wallowing mindlessly into epic incomprehensible depths. I have hopes I’ve prompted the temptation to take the plunge into foreign listening arenas. Go on, you know you want to.
As always feel free to comment, suggest, like and share.
Yours,
Cult

Abrasive Audio – bidding farewell to 23′

Abrasive Audio – Another Tardy ‘End of Year’ Bash

Late again? But of course…

^{Exactly this}

Yet another year in the books, the onslaught of extreme audio rages on and the tide only grows stronger. I’ve missed an infinite amount of releases this year, for which I’ll continue to blame a wicked mixture of work/family and various other ingredients which combine to form the loose, ever transforming, conglomerate of adulting duties.

I have a slew of releases in mind, bookmarks that I’ve yet to seriously pay attention to, recommendations I should really have peered into much sooner and albums which I promised myself I would (eventually) experience and drop thoughts upon. Alas, life managed yet again to get in the way.
As per tradition viewpoints are my own and aren’t swayed by promises of delectable baked goods, tropical vacations or promises of shiny things which are often rather valuable.
Need I mention that this is another rather tardy entry?
What say we get started?

Praise the Sun – Sinister and Unhinged
Norway
(November 23)

Now, if the audio is even close to the dazzling neon quality of the cover (art) depicting The Swamp Thing’s zombie offspring caught in a contemplative moment, I’m sure I’ll be drooling like an absolute loon.
Unhurried and deliberately decipherable delivered vocals, groove laden rhythms and a style which is deliciously fuzz laden Stoner/Doom. This isn’t a typical genre affair. But that’s what makes it stand out. Horror themes, a dash of Gothic, a slightly experimental in its approach and art to die for (if the band is taking note, I’d like to be first in line for a tee shirt with the albums image upon it). I’m sure I’ll like this all the more as I continue to explore. With an open mind this hits the spot!

https://praisethesun.bandcamp.com/album/sinister-unhinged

79

Tweedledead – Infernotes
Italy
(November 23)

It’s likely that the bands moniker grabbed the attention. That or the slightly off kilter, Avant Garde, cover. Either way, when the audio starts there’s little doubting one is going to stick around. With obvious influence aplenty stylistically recalling the likes of Lock Up and Napalm Death, and enough hooks to give fishermen cause  for alarm, this hits hard and fast to incite movement, and a rapidly expanding wickedly maniacal smirk upon the listeners face.  The melding of Brutal Death, Grindcore, Industrial and various other DM subgenres utilized herein is intoxicating, likely causing ones memory scrambling for the names of similar artists whilst attempting in vain to keep a calm composure as the audio demands exhibition of spastic excitement.
Needless to say, I’ve returned to this often since first adding it to the playlist. Another example of brilliance within the ‘single person act’ arena.

https://lethalscissor.bandcamp.com/album/infernotes

83

Sulphur Aeon – Seven Crown and Seven Seals
Germany
(October 23)

Sulphur Aeon is an act who, let’s face it, always make an impression. An outfit who embody the undisputable charm of the Old Ones through compositions  which are many faceted; melancholic, evil, dense, atmospheric and all-encompassing. Theirs is a style which straddles a plethora of genres, without eliminating a fan of any specific arena. To keep this short, for I could seriously write a dissertation on each track within this audio masterpiece, this is an album that doesn’t disappoint, further cements the fact that Sulphur Aeon are a(n underrated) force to be reckoned and that their discography only appears to get more impressive the more it grows.
Seriously, waste not moment longer pondering upon EoYL and albums you might have missed. This should be your next stop and undoubtedly an effort battling for a top spot within an EoYL which I should really have composed and tossed out into the WWW ethos.

https://sulphuraeon-vanrecords.bandcamp.com/album/seven-crowns-and-seven-seals

98

Misery Index – Complete Control
USA
(May 22)

When it comes to Misery Index you know exactly what you’re going to get. But, if you don’t, Boy! You’re in for a treat!
Technical and Brutal yet not so much as to steer either genre fan away this album is another in a stellar discography which celebrates a collective of highly talented individuals who have their own specific sound yet always seem to be able to deliver the goods with each and every fresh offering. The drums are a highlight for me, yet I wish not to take away from the driving, adrenaline fueled, rhythms and vicious unmerciful vocal assault. The whole is spectacular and exemplifies an act who show no sign of slowing down, or softening their approach for mass market appeal.
Another to please long time fans and an album sure to alight interest in those whose experience of the band is minimal.

https://centurymedia.bandcamp.com/album/complete-control

87

Terra Builder – Solar Temple
Germany
(September 23)

Hooked from the opening riffs, for some reason I’m placed in mind of Acid Bath and my virgin experience of their audio, my smirk continued to grow as the album progressed.
There isn’t speed for the sake of speed here, the lyrics aren’t based upon drinking excursions whereupon one gets bludgeoned to death, or any manner of various other serial killer escapades which many DM acts like to cover ad nauseam. And this thankfully doesn’t belong to the ‘we like this band so much we’d like nothing more than to be their clone’ genre. This delivers unpredictable movement, nods to DM of both the Old and New School variety (chuggery galore to be blunt) and tips of the hat to others who delight in wandering from predictable genre constraints. Dissonant elements flirt with Black (Metal) sensibilities, doom death frequently makes an appearance and grind is teased infrequently, all enveloped in a Sludge blanket tone. But there’s plenty more on display and this is undoubtedly an album where one can discover an assortment of nuance with each and every visit.
An unexpected gem to be sure and it’s leaving its mark on my fleshy shell for sure.

https://terrabuilderband.bandcamp.com/album/solar-temple

87

Devangelic – Xul
Italy
(April 23)

Music is a funny, multi faceted thing (yes, this is rather vague, please don’t tune out, I’ll get to the point). Take for example the latest entry from Devangelic. “Xul” instantly attaches itself to the pleasure sensors, but there’s something all too familiar about it. And it’s a divided consensus. Although many, like myself, have fallen ass over tit for this album there are those who feel (all too) strongly that it bears too much of a resemblance to a style which Nile peddle to make it stand out, or even earn a spot upon frequent playlists. I understand this argument and honor viewpoints from both sides of the yea or nay line, although still cannot bring myself to remove it from my own often traversed audio stockpiles.
Give this a listen, form your own opinion, and feel free to comment. For now I’m praising it as for some reason on a personal level it connects more than any album from the aforementioned act I can recall, although there’s no denying the all too undeniable similarities.

https://devangelic.bandcamp.com/album/xul

83

Haunt – Golden Arm
USA
(May 23)

For those requiring a few words on the band, let me simply state that Trevor William Church (the brainchild behind Haunt) is a trooper; to state that he’s prolific is an understatement. However, unlike others exhibiting similar superhuman work ethics (Rogga and Pettersson immediately come to mind within the more extreme corner of the metal spectrum), his output is typically blanketed in stellar quality.
The Golden Arm, I’m pleased to say, is no exception. Utilizing trademark melodies and rhythms (which undeniably manage to transport one back to the golden era of Heavy Metal – the late 70s/early 80’s) accompanied by a voice which would fit comfortably within a myriad of Hard Rock genres, without thankfully wallowing in falsetto ranges, the whole is a feast for the senses, especially riveting for those who welcome the current resurgence (a movement likely commandeered by none other than WTC himself). A tad more diverse in overall tone (while still exhibiting the exciting solos and leads one have come to expect) than earlier Haunt output this utilizes a myriad of ingredients to appeal to a wider audience, elements to entice fans of ‘Glam/Hair Metal’, more Hard Rock than traditional (Heavy) Metal toward the WTC fold whilst straying from alienating the core.
This will grow on you.

https://transylvaniantapes.bandcamp.com/album/haunt-golden-arm

80

Hellripper – Warlocks Grim and Weathered Hags
Scotland
(February 23)

One of the most recent success stories in the extreme audio arena, which makes me smile from ear to ear, is the rise of the Goat. Naturally, I’m talking of the one and only James McBain and his unholy audio lovechild Hellripper. From Speed and Black Metal loving roots to a slew of releases from your-pastor-is-not-gonna-like-the-art-on-this-one Splits and your-head-is-about-to-plummet-from-its-perch albums, an undeniably exhausting and successful touring schedule, and a coveted position on the Peaceville roster, James is understandably beaming. But let’s not forget a website which offers everything from long sleeves to panties. One might think this talented Scot is about done.
Nope. James, it appears, is just getting started, the horns continue to twist and the Goat is insatiable in its urges to take over the world, albeit one step at a time. The first being emblazoned across fans chests in cotton (ok, that might be the tiniest of exaggeration. But you get the point).

So, then what of this album. As it appears I became somewhat sidetracked. Well… there’s a reason it appears dominant in a myriad of EoYL. It showcases James in prime form, the riffs are vicious (doused in the unholiest of stench), the rhythms are memorable, spastic limb twitching and varied (nostalgia and influence are unmistakable, yet exist in a perfect relationship with the Hellripper aura) and more importantly the album isn’t all Satan and flesh melting Speed. Although there’s appreciatively plenty of each to sate those whose penchants require such. Sans dragging this into diatribe-esque arenas I believe it’s enough to state that this is a must own effort. An offering which shows the Hellripper brand growing in strength and the quest for global domination that much closer.
Seriously, this is damn fine audio, an album sure to feature dominantly upon an EoYL of my very own, if I could have been bothered to compose such.
All hail the Goat!

https://hellripper.bandcamp.com/album/warlocks-grim-withered-hags

98

The Answer Lies in the Black Void – Thou Shalt
International
(October 23)

Unreservedly underrated and likely one of the few releases which slipped under the radar these past few months, this (release) showcases stunning compositions slathered in emotion, dimension and cinematic depth and the stunning ethereal, mystical and haunting vocal qualities of Martina Horváth.
A wicked mixture of early Lacuna Coil, Theatre of Tragedy, My Dying Bride, Draconian and October Tide this runs the gamut of the Doom genre to deliver epic somber landscapes, soaring melodies, dissonant instances, groove and moments of near palpable anguish (again showcasing the amazing range of Martina and the composition genius of sole instrumentalist Jason Köhnen who also appears in Celestial Season). This could well be the surprise of the year for me, a stunning audio experience, a palette cleanser (if you will), I could enjoy all day without fear of the significant other begging for release from severe audio torment.

https://theanswerliesintheblackvoid.bandcamp.com/album/thou-shalt

96

Sorcerer – Reign of the Reaper
Sweden
(October 23)

Following on from a stellar rendition of Rainbow’s “Gates of Babylon” is difficult (obviously my favorite track within the Reverence release). The bar has been set, and I don’t believe anyone has or could do the track more justice and give it a better ‘treatment’. However, I’m pleased to report this affair certainly garners the attention and immediately.
The rhythms are passionate, fluid, and epic. Combined with Anders Engberg undeniable grandiose vocal presence (which puts me immediately in mind of Dio for not so hard to fathom reasoning), brilliant compositions and soaring leads the whole is a masterwork which recalls legendary entries by such acts as Martins era Sabbath and the aforementioned (vintage era, Dio fronted) Rainbow.
Tracks are of sufficient length to enthrall and spark nostalgia without dragging the listener into arenas of insufferable boredom. Appreciatively, each bears  memorable instances and enough individuality to form an album which entertains from start to finish without once sounding repetitive. In short this is another stunning effort which only showcases an act going from impressive to downright stunning as they continue to lead the way in the Epic HM/Doom field.
Do not ignore that which this audio affair offers.

https://sorcererdoom.bandcamp.com/album/reign-of-the-reaper

95

Sylosis – A Sign of Things to Come
UK
(September 23)

Admittedly it’s been a while since I’ve placed the thrash/death majesty of Sylosis in my ears. I vividly remember falling ass over tit for the bands first few albums, liking the next few a little less (but still a great deal), then an absence of sorts…Until my experience of this, their newest entry. And what can I say, which hasn’t been discussed before in discussion forums, threads and general fan banter? Sylosis have, there’s little doubt, changed. Some might say adapted, matured or even commercialized their style somewhat. And I’ll agree with all three. There’s elements here which recall the bands early material, elements which might make some believe they are ‘pandering’ (I’m not huge on this word, for I don’t believe they are selling out) for a larger audience. A few tracks are ideal for radio play, and instances which reveal a slightly more progressive side of the bands style. However, with all that being said, I’m still a fan. Perhaps not as much as I once was, for their earliest albums were literally jaw droppingly impressive, but I’m still “in”. In short I’m excited for the bands future, unless they go full “Load”, then I’m roadrunner – “Meep Meep”.
Give this a chance before you fall prey to the naysayers. And be sure to form your own opinion.

https://sylosis.bandcamp.com/album/a-sign-of-things-to-come

77

Dying Fetus – Make Them Beg for Death
USA
(September 23)

For those pondering upon revisiting, perhaps jumping back into the DF fold, after an absence of some years (much like myself) may I suggest doing so with this as that destination. Here, with MTBfD,  DF prove that they aren’t done, and they still have what it takes to keep the attention and the scene thriving. Rather than a return to form, this is a totem to all that DF have ever showcased; the riffs are vicious, plentiful, the vocals scathing and the compositions boisterous, unmerciful and varied in their degree of both chaos and brutality. However one slices,, dices or bludgeoned it this us Tech/Brutal DM mastery. In fact this is arguably DF’s strongest effort; reinvigorated, energized, delivering compositions with an embodiment which flows like a tempestuous body of water.
To keep it short this a must listen for fans old, new and for any who worship at the altar of DM.

https://dyingfetus.bandcamp.com/album/make-them-beg-for-death

95

Persefone – Metanoia
Andorra
(February 23)

Admittedly, I’m not a fan of Prog. Call it what you will; laziness, the inability to fully fall in line with the herd, whatever you wish. I typically just don’t get it. I much prefer speed, hooks, menace and vocals of the giving Grandma-a-coronary variety. With that in mind however there have been a handful of albums which instantly grabbed me by the lapels and yelled I demand attention. And I’ve been more than happy obliged. For a myriad of reasons I’m placing ‘Metanoia’ in that same category. In this audio collective Persefone exude a seemingly superhuman composition ability; Cinematic atmospheres drag the listener gleefully into grandiose soundscapes to be pummeled by a stunning cornucopia of emotion evoked by an array of stylistic elements begging intrigue. Strangely recognizable, thought provoking and instantly acceptable these same ingredients forge rhythms and a flow which is stunning. Energetic, diverse and multi layered this is an album designed to sweep the listener away, and it does just that.
For fans of Devon Townsend, Gojira, Hippotraktor and Psychonaut.
This does not disappoint!

https://persefone.bandcamp.com/album/metanoia

96

And that’s about it for now. A belated Happy New Years, and thank you to those whose eyes have touched upon my words, be it in this piece or another of similar horrific quality, may this year bring you at least the barest glimpse of that which you desire.
As is usual, feel free to comment, share or recommend that which I might have missed or that which you deem worthy of discovery.
Yours,
Cult

Halloween Fiction – Friends, The Home Team, Booze and Fire.

It’s been a while since I’ve posted anything resembling ‘fresh fiction’. A few pieces I’ve kept on the back burner and a handful have been reconstituted from origins bearing definite raw sensibilities, In this instance a stagnant Muse apparently awakened with a vengeance and decided it high time I scribble something utterly nonsensical, yet fun, in line with the current spooky festivities. And here it is. Enjoy. feel free to comment, like or share.

Friends, The Home Team, Booze and Fire.

We don’t know how or when it appeared.
It sat silent, unmoving and most definitely not of this world.
We all noticed about the same time. Conversation came to a shuddering halt.
Jeff glanced toward me with an eyebrow raised, a bottle of beer seemingly frozen to his lips.
Sylvia looked up from her TikTok doomscrolling (likely another world record attempt) toward Frank, and Frank turned his head toward me.

Neither of us had any idea what it was, or whom, if anyone, had invited the stranger within our midst.
Jeff, placed his recently finished beer on a side table, and made a movement toward the mysterious entity. I shook my head as if to say I most definitely wouldn’t do the same.
The thing in the center of the room remained motionless, and with an air of curiosity  looked at us all all without using anything resembling eyes. In the next instant it proceeded to inform us all of our deepest darkest secrets, all without uttering a single syllable.
Sylvia shuddered.
Frank’s crotch turned dark with moisture. And I wept.
Jeff meanwhile, slid back a few paces (as if his stealthy motions toward our visitor had been suddenly rewound by an invisible hand). He began to twist, transforming in a spinning motif as if caught in an abrupt microburst. Revolving at a violent pace, at a steadily increasing inhuman speed, Jeff became understandably queasy, and within seconds, much like a blender accidently opened at a party, drenched those in attendance (his closest three friends) with the pungent colorful contents of his digestive tract.

The overriding stench caused Sylvia to do the same. The reconstituted remains of her last meal brought her world record attempt to an abrupt halt.
I looked at Frank. He was transfixed, his pant legs soaked and the puddle at his feet building to a volume whereupon professional cleaners would most definitely soon have to be summoned.

The current tableau could not be possibly be real. Four friends staring at a television screen (depicting the antics of a local college team adding to their loss record) with varying levels of interest, unceremoniously interrupted by the presence of a creature whose appearance defied description, although if I were to guess I’d wager that each of us would describe something vastly different than the next person asked.
Seriously, just what the F was happening? Why was a cosmic force interested in us, our viewing habits or Sylvia’s inability to tear herself away from the near criminal lure of social media?
The realization that I might be falling like a struggling animal into ravenous quicksand was daunting, then dissipated just as swiftly as something span from the vortex of the person formerly known as Jeff to strike my midriff at a speed likened to something seriously fucking fast, and lethal.
Losing my balance, and nearly my lunch, I stumbled back. Twisting to claim my breath and feet I spied Sylvia, currently embroiled upon another record endeavor (this however of the most vile scented and chunky variety) and Frank; who still appeared rooted to the spot.

I broke the silence (if you could call silence a soundtrack defined by strained retching accompanied by the stereo surround sound of the howls of thousands in attendance disappointed by another home game farce) yelling Frank’s name several times, but to no avail. Another sizable shape broke free from the spinning miasma and connected with my jaw. The impact took my legs out from under me (the brief thought that perhaps he had a vendetta against me flickered across my senses, no one else seemed to be pelted by detritus larger than a finger). As it bounced away I noticed it was my friends tattooed thigh (for some reason earlier in his youth Jeff had chosen to emblazoned his flesh with the name of a team who’d recently achieved legendary heights sporting the most losses in league history).
A sudden cheer (from the television) build to a crescendo and filled the room, either in recognition of the fact that I was knocked on my ass by a “leg kick” or because the home team had finally scored. Strangely, my money was on Jeff’s new found superhuman ability; The Human Tornado moniker seemed fitting. If I were able to laugh, I would’ve, but I currently had more pressing matters at hand.

Sprawled and dazed (did I mention that it was one hell of a kick?), I had somehow found my place at Frank’s feet. Trying in vain to clear the fog like veneer from my senses I peered up. And just in time to see Frank’s features; his nose, his stubble, his eyeglasses (pretty much everything resembling his face) fold over and forward from its former perch. I scrambled back. My hands and feet slipping feverishly in the itty bitty remnants of Jeff. At this point his revolutions had ceased to be. There was no longer a Jeff to speak of, but the dust had yet to truly settle. My suddenly rediscovered athletic abilities narrowly dragged me from the flight path of Frank’s lips (and all manner of other facial features) falling upon my own. Still shuffling, as fast as my grue encrusted fingers and trainers would allow, and with my vision still fixated upon the melting pot which was now Frank, I collided with one of the rooms many walls. As the person with whom I’d recently shared girlfriends with (though not to his knowledge) continued to portray a melting human rather than traditional dairy product fondue, I found purchase and brought myself to a standing position. In the interim I’d managed to nudge a vintage lamp.

One thing you should know about Jeff other than the fact that there’s little he doesn’t know about a 1967 Dodge Challenger, is his love of antiques. In this instance, and to my chagrin, I had just toppled his pride and joy from its ‘optimum’ location (Frank’s words, not mine, and we’d all laughed about it, but obviously not Jeff at the time, although he’d came round eventually). For a split second it seemed as though everything muted, the pregnant pause before the storm, and then the decorative build shattered and whoosh!

I shuddered as the floor instantly ignited (it had been an evening of much merriment, including a drinking game or three. I believe the carpet had also inadvertently joined in on the fun).
Another cheer from the crowd within the digital box clouded by a thin veil of crimson Jeff and an audible grunt.
Through the steadily ravaging unpredictable nature of an all engulfing radius of flame, I spied Sylvia. Never one to complain (at least not to us), she faced what remained of Frank, at this juncture a swaying skeleton with an undulating, steaming, goop like flesh pile foundation. My eyes were drawn to the look of sorrow upon her visage (they had once dated, we all still believed they continued to love each other though not quite to the open degree they once had) and oddly not to that which she cradled within her arms. Her phone was strangely absent, I can honestly say it’s the first time I’ve not seen it within her grasp, replaced by that which I could only describe as a shape quite unlike a baby although as gruesome as one freshly squeezed from its former abode. If there were an umbilical cord, it dangled from Sylvia’s mouth. It was then that I realized that the bloody mass wasn’t in the slightest what I had imagined it to be. Sylvia collapsed, and I, not to be one to fully enjoy another second of the erotic caress of natures most merciless fiery culling tool, turned and ran.

The creature was gone.
And I was making haste to do the very same.
As I navigated the twists and turns of my friends house I couldn’t help but ponder upon the origins of the mysterious entity. Had it ever really graced us with its presence? Was I going insane, had I somehow inadvertently killed my friends?
I wasn’t about to be the idiot to explain the evening events to those who would likely think me a deranged fool with a penchant for science fiction and a knack for the inventive and bloodthirsty.
I had to hide, mull things over for a while, perhaps ask my dealer what, if anything, he’d laced my stash with.

Cult

The Art Behind the Audio Madness (Part 4)

The Hideous, The Diabolical, The Obscene and the Serene
(A Commentary, of sorts, on Extreme Audio Art Which Enthralls)
Part the Forth

So, what gives? Well, when you attempt to lay words upon albums (on an everyday basis for there so much on offer upon which to lay comment upon) some descriptions tend to sound much the same. It’s difficult admittedly, to scribble descriptively one brutal bands style from another all the while giving them the props they deserve. There’s only so many words which work adequately, one has to be creative in all honesty, the dictionary only has so letters, and my thesaurus is falling apart at the spine.  So, I thought to myself let’s have fun in another way. What about laying words upon the accompanying art? And that’s where many might tune out. Obviously, there are those about who already specialize in such. The Heaviest of Art come to mind. They do a fantastic job and I don’t mean to tread on any toes. But seriously, who at this point hasn’t heard of Ed Repka, Dan Seagrave, or Juanjo?
I promise to approach things a little differently, be warned though as levity might feature heavily in my scribbles rather than a direct appreciation of an image so obviously deserved of such.
Not one to totally give up on something without giving it a chance to breathe, I’ve decided to try my hand at the Art centered review piece yet again.
Need I state that opinions are my own and that they might not necessarily reflect your own, or that the humor included might be light years removed from that which tickles your own particular fancy. But, hey, it’s a creative outlet, and I’m abusing the shit out of my freedom and the given opportunity to do so.
What say we get this audio shindig started…

Hooker Spit (Canada) – Krötch Splitter
July 23 – Independent

The Art
Terrifier meets Coraline meets Scooby-Doo; there’s definitely something here for the twisted (like myself), who appreciate a little naughtiness and ‘flesh’ with their gore (are there any other unapologetic B movie fans out there?) and all in a delightfully jaded, larger than life, comic book esque tone. We seriously need an animated series based on this characters zany antics. I wonder if Tim Burton might be free to direct?
The Audio
Catchy, highly infectious and pleasingly melodic (dramatically moreso than likely expected), coupled with an unrelenting twin-pronged vocal assault this puts the hooks in within no time at all. The effect is an album which pleases from first to last, sure to perk the interest of those left wanting since (Trevor) Strnard’s departure from this world.

https://hookerspitofficial.bandcamp.com/album/kr-tch-splitter

82

Utilize the Remains (New Zealand) Psychotic Abyss
August 23 – Independent

The Art
Vivid, neon and so full of grotesque, intriguing, details I’m tempted to write a fictional piece upon it, this is a virtual feat for the eyes.
A temple, a gateway, or a mode of (interdimensional) transportation of sorts championed by a mysterious entity, at his behest a guard of sorts in the form of Lovecraftian serpents spitting bile at whomever decides it prudent to approach. And there’s a few who strangely have, as witnessed by the clawing hands in the toxic sludge beneath. Another alternative (among many)is that the clawing hands are of those who’ve decided it’s their turn to take a stab at the throne. Either way this remains one if my favorite images of the year. Just delicious in its detail.
The Audio
Admittedly, I’m not normally a fan of Slam type DM/Core. The art brought me here. Predictably this is chock full of ‘drops’ and jagged rhythms. But it isn’t all that; there’s brutality aplenty and even passages of (brief) melody to keep a fan, with similar tastes to my own, amused and still ‘tuned in’. This wasn’t altogether as bad as I had originally assumed based on the genre description, it has its moments, chillingly instrumentals and a tone and texture to delight Djent fans also. Not 100% my cup of tea, but actually rather listenable.

https://utilizetheremains.bandcamp.com/album/psychotic-abyss

77

Dead Cross (USA) – II
October 22 – Ipecac Recordings

The Art

Like a Child’s toy loved too much with a myriad of maniacal upgrades or a melding of the Octopus and Human empire gone astray this fellow looks rather confused, while at the same time multi talented. But just what is he (she/they/them/it?) doing here? Hailing a cab outside of the Vatican? Or alternatively composing for the next Dead Cross album, a myriad of genres mashed together for a whole that’s incredibly satisfying and exhausting.

The Audio
There’s no arguing. This Patton fellow is either a madman (who doesn’t sleep) or a genius (who doesn’t sleep). Anyone with any knowledge of FnM is likely to know what to expect here, or assume that they might. For this too is a tad different, manic, frantic, but effn’ fun. Like a collision of genres with zero pandering to fads, this rolls out like a schizophrenic steamroller. No two tracks are alike and the whole makes one seriously want to smash the replay to try to make sense of what they’ve just experienced. At time it’s as if SOD is in cahoots with The Dead Kennedys, in others Punk in a meth daze. While a few tracks are more controlled than others this still bears an overall chaotic nature which one will either love, hate or struggle to understand. For the record I fall under two of the aforementioned categories.
Recc for fans of Wizard Rifle, Brutal Juice and vintage FnM.

https://deadcross.bandcamp.com/album/ii

82

Moonlight Sorcery (Finland) Horned Lord of the Thorned Castle
September 23 – Avantgarde Music

The Art
– Take that, council woman Karen. Feel the wrath of the carnivorous entity which defies all attempts of culling courtesy of ‘the blade that cuts all things’.
“But Sir, I’m not a representative from the local government”.
– You’re not?
“No. Im from the IRS”.
– Oh. Well wait there. I have a collection of throwing axes I’ve been dying to try out.
Could the band possibly name their album anything other than a combination of words which leaves the tongue in knots (seriously, repeat it five times fast).
The Audio
Sometimes the planets align, the moon falls under the shadow of Saturn and Jupiter brings good fortune to all with three vowels in their given name. I obviously have no clue what I’m talking about, this is utter nonsense. What isn’t however is what’s on offer here. Oftentimes when one genre collides with another from a great distance across the Metal genre spectrum it’s unfathomably messy and incoherent. In this instance the combination is sublime. Power metal rhythms (minus the often insufferable falsetto vocal accompaniment), symphonic atmosphere and melodies one can easily lose oneself within alongside swift rhythms and sensibilities most definitely not of the dragons, swords and sorcery quest variety. With all that being said, this still remains Metal of the Black variety (am I still allowed to say that?) In opposition to the (unusual for this genre to be blunt) shredding there exists the clawing at the elements vocal approach. And it all strangely works, meshes damn well in fact leaving one reminiscing upon acts of a similar vein, such as Black Guard. Although this might take part of a track to become comfortable with, once there the effect is unquestionably enthralling leaving one eager to dive in again.

https://moonlightsorcery.bandcamp.com/album/horned-lord-of-the-thorned-castle

94

Cult Burial (United Kingdom) – Reverie of the Malignant
September 23 – Independent

The Art
This somehow puts me in mind of a movie poster. Perhaps a slasher movie with an air of mystery (not all have mystery, most are merely stalk n slash affairs). Within the image there appears to be a jumble of (disembodied) body parts, a jigsaw puzzle which only the brightest minds can put together before time runs out and everyone perishes. Is this a teaser for another Saw affair. I’m not sure. But I’m left intrigued…
The Audio
For an act touted as Blackened DM these fellows know how to stretch boundary limits and tear open the envelope (whatever that constitutes). Dissonance has the top placing on the menu here, that and palpable atmosphere, also a sludgey tone blanketing an exciting variation of pace, rather than the constant, predictable, swift melodies, chuggery and what all is typically associated with the genre. With all this in mind the growls, grunts and brute throat issuances are still in attendance as well sonic soundscapes to invoke involuntary appendage twitching. In short, go in to this with an open mind. It may require a few spins to fully embrace, based on tastes, etc, but once there the waters are immensely enjoyable. These guys are choosing to veer away from the norm, the predictable, and are traversing their own chosen trail utilizing the tools already available though not necessarily in the assumed order. I’m excited as to that which comes next for Cult Burial.

https://cultburial.bandcamp.com/album/reverie-of-the-malignant

84

FaithXTractor (USA) – Contempt for a Failed Dimension
January 23 – Redefining Darkness Records

The Art
Is it just me or does this fellow appear to be having more than slight difficulty in wrangling an octopus. One of the malformed – It’s likely your parents smoked crack while conceiving you – variety, to be sure. Perhaps that’s not the case? Could it be that the ‘creature’ is merely retrieving a jacket from an animated hat stand. An instrument which has somehow sprouted appendages and which has decided it would much prefer a stroll in a Lovecraftian landscape than to remain rigid and stare at the hallway mirror for the duration of its existence? I doubt either one of these quandaries will ever be answered to my satisfaction. What say we give the audio a whirl.
The Audio
Sounding as if plucked from a Def Sampler circa 93′ the audio here is undeniably Old School. Dirge is the order of the day here, that despicable atmosphere, and unadulterated chuggery a maniacal concoction that following the albums entirety will likely leave ones head dangerously close to falling from its neck perch. I shit you not, this demands respect. I only hope that its release (so close to the beginning of the year) didn’t go unnoticed. Damn fine maniacal composition such as this warrants discovery, celebration and sharing.

https://faithxtractor.bandcamp.com/album/contempt-for-a-failed-dimension

92

Woe (USA) – Legacies of Frailty
September 23 – Vendetta Records

The Art
Damnit Fred. Did you leave the gas on again?
It could be rather easy to scribble upon this cover art. One might mention that it’s a run of the mill ancient ruins on fire image which tends to feature heavily in the genre. One could also add that it showcases the obvious church on fire synonymous with the genre stereotype. But you have to look closer, at the details rather than rely upon merely a I’ve seen it all before, quick glance. This isn’t a church or any typical run of the mill (fantastical) ruin. In fact it’s a clever composite of famous European landmarks (if they were all to feature in a single location) and brings to mind many infamous fiery instances throughout history such as The Great Fire of London and the aftermath of the eruption of Vesuvius. Onwards to the audio…
The Audio
Swift compositions, boasting melodies of an extremely high caliber and surprising transformative moods this is both atmospheric and easy listening for those who veer away from raw realms. What’s surprising is the quality of the production and the vocal approach; more melodic/ blackened death with a hint of Grindcore it brings an intriguing edge to a listen. Synth and symphonic elements are a fantastic touch which adds both grandiose textures and depth making for an album which offers a great deal for fans of both the traditional and affairs which showcase varied genre influence with amazing results.
This hits the spot!

https://woeunholy.bandcamp.com/album/legacies-of-frailty

94

Valetta (USA) – Come Alive
June 23 – Independent

The Art
For starters, one of coolest logos I’ve seen in a while. As for the image, naturally one wonders who the unlucky fellow is, and why they thought it probable that they might win a fight with a vulture, or is it an eagle (?) Perhaps the situation is stranger still, a multiverse type event whereupon two armies collided and to the victors went the spoils. Highly unlikely, moreso that this is a statement concerning liberty, the state of the union and travesties inherent in society. Fug, I’m exhausted, what say we discuss the audio?
The Audio
Admittedly, I came here because I’m starting to miss Lord Almighty (the band, not the mysterious entity who resides somewhere above the clouds, and apparently within each and every one of us) this act has the same vocalist and their last effort was bloody fantastic. I’m pleased to report that although the members here are different (each with fantastic credits), the music falls within the same loose catagory; that of Black n’ Roll. Now I’m not altogether sure what that entails, though I do know what this effort offers. It boasts melody, angst, huge riffs and enough variation in its mood and composition to please those with listening penchants across the board. Rhythms are a marriage of dissonant and traditional and there’s enough oomph to get even the laziest listener off their ass and into spastic movement. My only complaint is that this isn’t long enough, I guess I’ll have to wait for another. I’m eager!

https://vallettanc.bandcamp.com/album/come-alive-ep

83

Kuupyr (USA) – Taikuus
July 23 – Independent

The Art
The mind reels as it takes in this image. There’s so much going on and the situation seems largely unreal. A flutist is seen playing while a cat dances feet away. More interesting still is that the pair are in a forest type setting, albeit a clearing,  surrounded by roots, trees, bushes and bones. This isn’t the strange part, although taking your pet to the woods to frolic in playful audio and dance is odd enough in itself, the weirdness begins with a monstrous form, one might say a demon, a devil of sorts, in a state of relaxation witnessing the scene. Others of similar description (though not size) are seen in the background. One ponders upon their thoughts, rather than the flutists  reasoning and penchant for watching felines do the two step, are they licking their chops in anticipation of their next meal, about ready to complain, or perhaps specific requests?
The Audio
Marrying melodic BM with Folk rhythms and a touch of dramatic flair Taikuss have somehow managed to produce an album which makes an impact where others haven’t. Melodies are highly infectious, often Eastern Europe flavored baroque in texture and the production is top notch. Among the many elements which help this stand out is a stunning vocal approach; theatrical and enunciated it adds that certain penache, mystery and intrigue to make one want to smash the replay icon again and again.

https://kuupyr.bandcamp.com/album/taikuus

91

Grand Cadaver (Sweden) Deities of Deathlike Sleep
August 23 – Majestic Mountain Records

The Art
Blub bub bubbublub…blub
*Translation
Seriously lads, how long do we have to carry this wretched thing around for? It’s cold, I’m tired. I’m wet. My feet hurt. And the missus is calling; asking where I’m at, and when I’ll be home.
The Audio
There’s little argument that the HM2 arena is crowded. Ever since Carnage, Entombed and Dismember (who have stronger ties with Carnage than many might think) originally pioneered the sound it seems as though the woodwork is literally crawling with imitators. Most can be passed off as copycats with little imagination, there are however (within the amassed ranks) a few which manage to stand out. Grand Cadaver are one of these, though none could guess as to impact they might one day deliver. And with this (album) their imprint is for everyone to witness. Yes, this is HM2 but it’s pleasingly inventive, fresh and altogether bloody brilliant, whilst still adhering to that which fans expect. I’m not altogether certain how they’ve managed it, but Grand Cadaver have dropped an album which reinvigorates that which drastically required a spark, of some type. And this is an offering which I whole heartedly recommend any fan of the genre, and those even slightly curious about what it might offer, purchase.

https://grandcadaver.bandcamp.com/album/deities-of-deathlike-sleep

98

Aortha (International) – Monolit
September 23 – Independent

The Art
This image seriously looks as though it could accompany any number of R.A. Salvatore fantasy tomes. It oozes mystery, intrigue and a back story,  waiting to be repeated, spoken about, for millennia around a campfire. Within the image a Maiden, likely a goddess or a witch of sorts (for wont of a better term) is seen holding a glowing red heart. The heart is causing quite the stir, for she is surrounded on all sides by a legion of characters, individuals reeking of the past, a different time, a different place. In the foreground a pair of hands (strangely they appear more animated and healthier in tone than their counterparts) is seen tugging at her belt. Are they pulling her from the threat or do they also have manipulative intentions? Alternatively, this could well be a veiled reference to the extreme audio scene itself. Fresh blood with the Old School crowd clamoring in the dust, whilst scouts and those behind the funding are attempting to reel in future talent with promises of coin and a lucrative merch deal.
The Audio
Before I continue I feel the need to mention that this is a bonefide supergroup of sorts. Two years in the making and with a plethora of talent on display, plucked from the likes of Exhorder, Alkaloid, Scar Symmetry, Voivod (and a slew of others too numerous to list) this showcases composition talent encompassing a wide radius within the extreme audio universe.
Onwards.
To give this merely a single genre description would be a criminal injustice, as this bears elements from many a genre (as expected). Power Metal, Thrash and Progressive textures are front and foremost and play well exhibiting a bond in instances which even the tightest of twins could well be jealous of. With ample enough shredding rhythms, memorable riffs, leads stunning solos and palpable moods, the stage is set to sate even the most ravenous of appetite. A varied vocal array adds to the enjoyment and gives this a rarely heard depth and grandiose nature. Similarities to recognizable acts (for those requiring something familiar to grasp ahold of) include the likes of King Diamond, Iced Earth, Children of Bodom and Magnum. In short, this is melodic, it shreds like a beast and offers rhythms which get the ligaments a twitchin’. Admittedly a tad ‘lighter’ than what I usually consume but strangely I’m enjoying the hell outta this.
Give it a whirl for you might also.

https://aorthametal.bandcamp.com/album/monolit

87

And that’s it for this installment. Thanks for making this far down the page. As is traditional feel free to comment, suggest or recommend.

Don’t fear that which is typically foreign to the senses.

Cult

Scorching the Retinas – A Few Words on Slice

Slice
(or The unlikely problems not so often associated with delivering pizzas)

Well hello again, it’s been a while since last I ventured into movie reviewing realms. This film brought me back to the reviewing fold (as it were) tickling my fancy in offering a synopsis which includes the words Comedy, Creatures, Horror and most importantly Pizza. Because seriously…who doesn’t like pizza?

Slice (2019)
Writer/Director – Austin Vesely
Runtime – 83 minutes

With a Djent pounding soundtrack (courtesy of Meshuggah) and a throat slashing in the first three minutes, the director himself (playing a junkie delivery driver) is dispatched, and the scene is set. The credits roll and the audience is yanked into a delightfully intriguing, vivid, grisly comic book styled introduction that promises in all likelihood celluloid wickedness and a tongue in cheek tone to follow.

_{“Perfect Pizza”, but likely a pie you’ll never receive}

Slice is based in Kingfisher, a small somewhat secluded town with the illustrious claim of having a population made up of both living and dead residents. Apparently, the past nefarious shenanigans (or altogether shady goings on) of a local sanitarium spawned 40,000 spirits and they have to all reside somewhere (right?). As if that isn’t enough for the foundation of an eyebrow raising storyline, there’s more. The new mayor of said town has promised the total eradication of Werewolves, Demons and other nefarious nocturnal entities (which haven’t been seen in years), and cites his ‘beautification’ project (a process within which he demolished the old sanitarium and built upon it(s ruins) a strip mall) the main reason for such. Running for reelection he cites his recent successes, although there’s a snag and perhaps not all is going to proceed as planned. There’s been a killing in Ghost Town (not surprisingly where all the ‘ghosts’ reside). And he intends to find the culprit, if only to accumulate those all too important votes.

_{May I introduce the trailer for Slice (courtesy of A24)}

_{Damn that’s a fine “Motor Scooter”}

Rather than depend upon an interstate crammed with eye-widening, jaw-dropping stunts, retina searing explosions, copious amounts of blood and enough gore to terrify the infirm, Slice relies more on silliness, character interactions, situational comedy and one-liners. And for the most part it works. Specific quotes such as “What is it Bradley, Davis here is telling me a compelling story about his asshole”, which introduces a detective Marsh (a pillar of justice within the towns inept law enforcement) truly enlightens the audience as to what type of cinematic brilliance they’re about to experience.

The very same department is quick to point the blame on who they believe the killer is. They believe the perpetrator to be, unquestionably, to be Dax who happens to be a werewolf with the reasoning “Well. He’s a thousand years old, Steve, and probably very bored”. Detective Marsh is quick to jump on the bandwagon with quite possibly one of the films finest dialogue exchanges;

“I hate werewolves…they killed my Dad”.
“How’d they do it? With their fangs and claws?”
“No. It was with a car”.
“…My Father was a crossing guard with a taste for booze. That was his downfall.”

Slice runs at a galloping pace, aided by an inventive, B movie styled packed to the gills with ingredients storyline (part of which has obviously been utilized before; see “Poltergeist” and various Italian Cult genre entries which have enjoyed at one time or another banishment from a slew of countries). A boisterous soundtrack (which often works too well, though in all likelihood this is most probably intentional) and stellar performances aid in its overall enjoyment.

_{Again, with the “Scooter”}

Chance Bennett (also famous for his rap career) plays a well mannered, relaxed, and rather reluctant, werewolf who only really wants to enjoy life rather than do what is expected based upon his ‘affliction’. Paul Scheer (who, for some reason reminds me of David Cross) portrays a Pizza store owner trying to eek a living within a frustratingly perplexing predicament, hampered, not helped, by staff who typically have their own agendas. Other stand out roles include Sadie, an investigative journalist (who also narrates the feature), played by Rae Gray, who appears to be the only person who has an inkling as to what is going on and why it might be so. An avenging angel of sorts, who comes in the form of Astrid (Zazie Beetz), and again Detective Marsh (Tim Dekker) who somehow steals every scene he’s in, be it through his inept antics, or ‘sparkling’ dialogue.

_{OK. I’ve made a film. What to do next?}

For a film which really doesn’t take itself too seriously, using as an example a high speed chase involving a moped (or motorized scooter, I’m expecting a cavalcade of hate emails following the repeated mentions) and “ghosts” who seriously appear more like disgruntled zombies minus the typical flesh-rending urges, Slice works rather well. It delivers the laughs, and often, Slice even supplies a few instances of decent practical FX, although not nearly enough instances and the brutality required to sate those hellbent on finding another feature to recommend to like-minded friends.

The film has characters you want to root for and others you wish to see perish in the most despicable ways imaginable. The story has inventive twists and turns and also manages to spend a great deal of its running time exploring that upon which plagues society more than the threat of dispatch via any number of terrifying creatures (no spoilers folks, sorry). As well the aforementioned, Slice also touches upon issues that actually matter, with living and dead relations being high on the top of that list, a point closely followed by tackling issues raised by diversity and “not judging a book by its cover”.

_{I’m guessing it’s time for another pizza oven and employees who give a crap}

All in all, Slice is a great waste of close to ninety minutes, it isn’t the most inventive genre effort nor is it an example I will immediately mention if asked for a recommendation within the genre, it has its high points, performances which left an impression, a slew of marketing strategies which tore a myriad of ever widening fissures across my chops (“Our pizza is to die for, but we hope you won’t.”), however Slice also suffered from a few scenes which dragged and a story which could have been a little less cheesy (pun intended) and predictable. Nevertheless it remains a film about a great many things, but mostly pizza, and much like the cheese topped pie, it also doesn’t disappoint.

7

Cult

For all those film and comic book fans, an interesting addition – there also exists a comic book with the same name, which also shares a few, not many but a few, similar plot points. Released in 2016 it was written by Dave Scheidt and boasts illustrations by Aaron Pittman. Slice is rare that it also boasts a soundtrack (a comic book with a soundtrack, whatever next). Available on Bandcamp this soundtrack is composed by a long time friend of the site, Werewolves in Siberia, and appears to be altogether more accessible to locate (online) than the book itself.

Introducing 23 With a Thunderous Roar – Part 666

Class of 23′ Part 666

The year rolls on. And Metal of unfathomable variety continues to find release unabated. I’ve seriously lost count of how many albums I’ve listened to so far this year, and really have no clue as to the number of releases (be they full, EP, compilations, collections or otherwise) which have been officially unleashed. The task of keeping track takes more effort and considerably more time than a demanding full time job (there’s that three letter word again!), it’s a daunting, unthankful endeavor. Ask the main man, Messiah, of extreme audio Kman (but be sure to thank him for his unwavering dedication as you do so). Instead of keeping score, I much prefer to report upon that which I stumble across, or that which has been delivered to my (overflowing) Inbox by any number of PR collectives whom so kindly decide I’m worthy of receiving such (week after week). I must therefore take a moment to thank you all!
As is custom, I’ve included a BC link so that you might listen along as you read, and a rating based solely on my personal enjoyment, not my standing as a music industry professional (which I’m absolutely not).
Without further preamble, let’s discover a few albums which have found, or will find, release, this year (I’m composing this within the last days of September 23′).

Sadistic Force (USA) – Midnight Assassin
October 23 – Goat Throne Records

And this came out of fn’ nowhere! Sadistic Force have admittedly yet to land on my Metal radar. Consider that issue resolved.
Many are trying their hand at Blackened Speed nowadays, and there’s truly only a handful who sit comfortably above the clamoring hordes. With this offering Sadistic Force have proven they have what it takes to challenge the champions of the scene. So, what make’s this so instantly impressive? It boasts a criminally infectious nature, riffs which transport the listener back a few decades and a style which, although deliciously scathing and draped in darkness, also bears a vintage aura. It’s almost as if traditional HM (circa the early 80’s) and Speed Metal (bearing vintage and newer values) have decided upon a trial union, a merging of intellects, a meshing of sensibilities. The production only aids in the albums boisterous nature and overall enjoyment. Quite the find this, and it comes complete with exquisite cover art which brings to mind (artist extraordinaire) Repka, Exciter and Slasher celluloid affairs (the albums synth intro only cements this observation) from an era before all manner of parental oversight committees decided because they weren’t having any fun, no one else should be allowed to either.
Place this in the ‘finds of the year’ folder.

https://sadisticforce.bandcamp.com/album/midnight-assassin

92

Cannibal Corpse (USA) – Chaos Horrific
September 23 – Metal Blade Records

A staple of the American DM scene and inarguably an influence for many (if not most) acts past and present, CC have been there from (close to) the beginning. Obviously they’ve matured some since their “Eaten Back to Life” origins and after thirty years the lineup really hasn’t changed that much, barring “Corpsegrinder” replacing Barnes (although his contributions remain legendary) and a guitarist getting ousted for reasons one seriously can’t argue against. The bands style however has remained largely predictable (based on their ‘years of service’ one might think their quality diminished, but it really hasn’t), their output of a surprisingly high caliber, with a reinvigoration of sorts spawning from their last “Violence Unimagined” offering with the introduction of a household name genre guitarist, and their artwork (I can’t think of a better artist to fit their overall motif) one of the many reasons many flock to their output (and remain fans). So what then, of this album?
Well, all the tried and tested elements are in play; crushing technical prowess, delightfully grotesque lyrical content, wicked leads and solos, diabolical veins throughout and an excellent production which aids in the albums devastating tone. Fischer is on top form (again) I’m beginning to think he’s part machine, and the percussion has the not so surprising effect of being able to whip one into a frenzy (clear the immediate area of objects, pets, people which are likely to be broken within a unholy tornado of limbs. environment). Strangely, an excellent overall album quality still exhibits standout tracks (which will obviously vary dramatically from one listener to the next), new additions to add to upcoming set lists within their punishing, exhaustive, tour schedules. An element which might perk the attention other than the fact that this is another killer entry within the bands discography (spoiler alert) is the albums opening percussive salvo, a passage with an undoubtable nod to that which many mention (immediately) when discussing an act which continue to set the standard. My advice – buy this, you will not be disappointed!

https://cannibalcorpse.bandcamp.com/album/chaos-horrific

90

Coffinborn (Hungary) – Cadaveric Retribution
February 23 – Xtreem Music

Let’s face it, too damn many DM albums sound the same, there’s little movement and the compositions, although decent enough for a single spin, are entirely too fn’ boring. Coffinborn I’m pleased to announce utilize a familiar template (in this instance Old School chuggery) though somehow manage to pull off their style with sufficient chops and composition awareness to keep the attention. There’s groove and menace enough to sate (fans of a style which Swedish deathsters Grave are known to peddle) and vocals which aren’t wildly separated from the usual variety though sport sufficient cadence and variety in tone to stand apart from the usual one trick pony throat merchants.
In a nutshell, this doesn’t carve new paths within the genre, but it does shine with rhythms, atmosphere and movement which alights intrigue, interest and leaves the digits hovering impatiently for yet another spin.

https://coffinborn.bandcamp.com/album/cadaveric-retribution

89

Jord (Sweden) – Tundra
October 23 – Hammerhead Records

Every once in a while I’m faced with an album whose art perplexes me. In this instance I’m not sure what to assume based on what I’m looking upon.
Pouncing upon the audio with an open mind (which one always need to) I was a little surprised to discover melodic sensibilities, classical touches and biting vocals enshrouded in drum rhythms one can’t help but get entwined within. In moments it’s as if 80’s Gothic Rock is attempting a siege upon BM battlements, in others the listener finds themselves floating upon a sonic landscape with strangely transfixing qualities. The album also showcases passages with an ethereal nature. In fact this collection is pleasingly diverse in the mood it evokes. Menace often looms behind beauty with rhythms frequently depicting somber territories. Post elements are sublime and work weave a dense atmosphere which is easy to find oneself lost within. An exquisite myriad of solos and leads add to the listening experience and bring to mind stand out Prog acts, that even a few most people (with no knowledge of the spectrum of Metal) will recognize. Similar artists include Katatonia, My Dying Bride and Mist of Misery among a list of others whose monikers currently escape me. My only qualm is in regard to a passage containing slightly naff lyrics, otherwise this is a flawless work. In short, this is an album which has huge appeal that should be revered way past its release date.

https://hammerheart.bandcamp.com/album/tundra

97

Guts (Finland) – Decay
June 23 Vargheist Records

Most should know by now that one of Finland greatest exports is Metal. In fact there’s more shredtastic and composition geniuses per capita in this country than in anywhere else on the globe. Check Wiki, I’ll wait. But enough of the nonsense. How is it that an album with a rather uninventive image and a seriously less than Kindergarten IQ level creative moniker be this damn enticing? There, I’ve ruined it!
So, is there a secret? Ill be damned if I know, though one things unquestionably certain; there’s enough groove, and tantalizing rhythms, on offer here for a handful of lesser collectives to droll over in their uninventive stupor. A melding of dirge and wickedly transformative mid tempo chuggery such as this alone isn’t enough to excite, it’s been done before. But add OSDM vocals, compositions with unbiased genre influences and again the unadulterated – so catchy that it should be banned in 147 countries – groove and hooks to land the largest gill breathing creatures and you’ve got a winner. Unlike others, displaying much the same cover art, this strays from dank putrescent quagmires to offer rumbling riffs aplenty, actual melodies and a sense that these days want people to move. What else can I say? This is good, addict level infectious and appeared from absolutely nowhere to know me in my arse.
Do not let this pass you by unheard. It has my vote and shines with an undeniable caliber which propels it to one of the best of the year status.’

https://vargheistrecords.bandcamp.com/album/decay

98

Cruel Force (Germany) – Dawn of the Axe
August 23 – Shadow Kingdom Records

Prepare for a neck workout.
Cruel Force exhibits shades of 80’s style Heavy, Speed and Blackened Speed Metal. But it gets better. Imagine a melting pot of Exciter, “Show no Mercy” era Slayer, vintage Vendetta (eye widening fast as F rhythms) and Violent Force (German Speed with hints of Punk). This album plays as if it could literally have been plucked from the Noise label (circa late 80’s) stable and transported to today’s audience. However, it isn’t all land speed record melting digits speed, there’s atmosphere and even thematic elements. Did I mention the cover? Nope. Well it pulls you in with its hints of Aztec sacrifice overkill. Need I say more? Probably not. But I will…this has my vote as one of the finest slabs of metal so far this year.

https://cruelforceofficial.bandcamp.com/album/dawn-of-the-axe

98

Sadism (Chile) – Obscurans
November 23 – Hammerheart Records

Some reviews are easy to write, while others are more tedious, brain-racking, head-scratching affairs. Let’s face it, it’s difficult to scribble upon something when it’s pretty much the same as something else… Not so in the case of Sadism’s newest. It leaps for the jugular in the very first and doesn’t let up till the repeat icon appears. Admittedly, this is my first experience of the band and their approach and let me say I am silly, stoopid, impressed. The audio is swift, infectious, the drums incite the appendages to move of their own accord and the heart to pump faster. And the vocal style brings a huge grin to the face (isn’t this what we’re all in for, as fans?). The whole works incredibly well and even gives off a whiff of Punk and Crust with its overall feel which strangely also harkens back to the early 90’s British extreme scene. I’m not sure what else to state, apart from as an introduction an act with a sizable back catalog I don’t think you can do much better. Fkn’ Bravo!

(no BC link available at present)

95

Ecocide (The Netherlands) – Metamorphosis
October 23 – Momento Mori

If the cover art doesn’t grab the attention, then the delightfully Gothic Synth (likely yanked from a Cult Italian movie) atop audio plucked from a recent ‘man chowder gulping’ extreme fetish adult XXX affair introduction should do the trick.
I’m pleased to report the audio has much the same (desired) effect. Nostalgia is the name of the game here and this is likely to propel one back gleefully grinning to the golden era of Floridian Old School death circa the early 90’s. The rhythms on offer are appreciatively energetic with a plentiful array of spine damaging riffs on display. In fact this affairs compositions are somewhere nestled between Brutal, Progressive and Traditional; doom, melody, menace and pleasingly instances of movement, a combination sure to please a wide audience with listening penchants within each arena. The album boasts all of the above while still somehow hoisting an Old School flag proudly, quite the feat. With a ‘throat accompaniment’ reminiscent of Speckman circa vintage Master (self titled) era and Morgoth (circa Cursed) the stage is set and the appeal bar set at damn near criminal. I’m predicting this is sure to be mentioned a great deal during years end. It certainly has my limbs a twitchin’.

https://ecocide-osdm.bandcamp.com/album/metamorphosis

91

Plucked From Metal Past –
Ossuary (Columbia) – Addicted to Human Flesh
June 21 – Awakening Records

Revisiting South American Metal (see a recent addition to the ever-expanding Abrasive Audio stable) I’ve stumbled upon a recommendation. Ossuary have four lengths to their credit, with this effort being the most recent. With a title that recalls a not so distant Fleshless entry (and one of my favorites from their discography) I’m intrigued. Hitting play I’m transported back to an era when Thrash and Death were often seen frolicking together. In this instance fast excitable rhythms are blanketed in a definite ominous nature accompanied by a bestial throat and lyrics of the decidedly grotesque variety. Ossuary compose with traditionalists in mind rather than attempt to break new ground with percussion based in grimy cosmic elements or any other jumbled and/or maniacally creative assemblage of stylistic motifs in current fashion. Theirs is a style which is undeniably comparable to many in the genre though hardly copycat in tone. Brutal yet somewhat melodic without pandering to those who aren’t yet ready to fully open the portal to such realms. This offering is technical yet miles from sporting insufferable instrument wankery which only a fraction can wholly appreciate, while still displaying ‘meat and potatoes’ chuggery many demand though not to the extent many other acts undoubtedly rely in their composition process. Although the album takes a few tracks to pick up it hits its peak midway, continuing with the same quality until its final moments leaving one fully committed and primed for another listening experience.

https://ossuary7.bandcamp.com/album/addicted-to-human-flesh

87

A slew of releases here with origins scattered across the spinning globe. A number of undoubtable year end candidates and entries from artists who have somehow stood the test of time. I’m seriously not sure what else I can possibly offer. Other than perhaps a nugget of advice (which I typically close with)…don’t fear discovery of that which is typically foreign to the senses. Variety is, as they say, the spice of live.
Your slave to audio extreme,
Cult

Gangnam Zombie – Yet Another Zombie Film Reviewed

Yet Another Zombie Film Review; Gangnam Zombie – Outrun the Outbreak (2022 – Korea)

Hello again,
When the kind folks at WellgoUSA contacted me regarding reviewing a film I became intrigued. When the word “Zombie” flashed before my retinas the same intrigue discovered momentum. Another word in the films title tossed me back a few years and begged the limbs to twitch uncontrollably. I somehow resisted this urge and took a few moments to cleanse ungodly infectious rhythms and the lure of revisiting a (billion time viewed) comical viral video from my mind.
Hurdling unfathomable temptation I rummaged through the house for a suitable viewing location and a player with which to enjoy such a celluloid treat.
Obviously before caressing the play button I mused for a moment upon the features (within my grubby mitts) origins; Korea is known for many things; in the celluloid arena it’s renowned for action, mind blowing choreography, stunt laden, flying limb contact, thrillers. Not so much features focused upon the recently deceased intent on rending the warm- blooded limb from limb. Although with that in mind the region boasts a stunning array of notable horror (genre) films and a myriad of excellently creative talent to discover. To my knowledge (feel free to email me with suggestions, as I may be lacking in experience here) a stable of content hardly overflowing with undead film representation. Moving on.

_{C’mon lets go kick us some undead ass!}

Gangnam Zombie takes little time to introduce its stars. Within its opening scene the audience is subject to the features main cast (a baseball bat wielding young lady and an athletic spinning appendage martial artist) on a leisurely sprint through the sparkling bowels of an office building which should provoke mood altering jealously in those responsible for similar brick and mortar constructs stateside (I don’t know why I’m impressed,  but I am). But back to the movie, before I enroll upon a subscription to Asian Architecture Monthly.
Our hapless duo are being chased. A high speed – let’s hope one doesn’t tumble and compound fracture the ankle as it’ll be the least of their worries – affair which immediately places this within 28 Days Later and The Sadness realms. In fact the antagonists appear rather fresh, not at all as if recently arisen from worm infested subterranean depths, but rather torn from everyday life duties to be placed upon the I’ve suddenly lost my societal niceties and only wish to feast upon others without the aid of cutlery or a napkin train.
Needless to say unless our uninfected (for that’s what it appears to be at this juncture) pair are familiar with the notion of stamina, and versed in such, they could well be in need of the services of a tailor, an ER and a specifically trained therapist in the very near future.

_{So, who here knows what we are exactly}

Following a scene within which the audience is taken back a few days and educated as to how the virus, for that’s what this is, rather than a curse, a magic resurrection or sudden animation by way of otherwise mysterious means, has found its foothold within the community (a shipping container full of trinkets, a pair of thieves and a cat feature heavily) the opening credits roll. And surprise, surprise, the feature is a damn sight more topical than one might have initially assumed.  Other pre hysteria antics (for this feature wishes to jump back in time before it provides its ‘money shot’) further embellish upon the pair the audience initially saw sprinting from a collective of like minded pursuers. Theirs is an existence thwart with content creating, a boss who hasn’t paid his employees in months (what?) and a land lady who is about ready to lease out their space to tenants who might actually pay the rent.

_{Blimey- A zombie and a look of absolute disbelief}

In a quest to raise the companies viewership (and thus the revenue) the boss cottons on to the fact that something is rather amiss within the confines of the office block he currently inhabits. He utilizes the opportunity and continues to abuse his (unpaid) employees to capture the development on film. The body count rises, claret flows unabated and he soon realizes that getting up to date on unpaid rent is the very least of his concerns. A landlady, who has found herself part of their slowly diminishing collective, intent on not calling the cops as it will deter from any impending sale adds to the drama.
Rather than spoil the viewing experience, other than state that it plays out much as one would imagine donning tried and trusted motifs and troupes. The films antagonists however, tend to veer more toward mindless blood sucking creatures with fangs (usually labeled ‘vampires’), rather than more traditional (typically mindless) zombies.

_{This fella is quite unsure too, it must be an epidemic}

For the most part the film works quite well and delivers more a light hearted take on the genre, not quite dimming it down to a family level, but close. The humor is hit and miss (silly in instances), divides the film into quite distinctive parts and is directed more toward an Asian crowd and culture rather than an Americanized film-going audience. Acting performances are above average featuring the talents of Park Ji- Yeon (Death Bell 2; Bloody Camp, also a member of the band T-Ara), Cho Kyung-hoon and Ji ll-Ju (Blades of Blood). The film offers that which an audience demands in as far as a character to despise, a few that one hopes will make it and even a handful that one can probably relate to.

_{How the Stateside DVD will look}

Those of the audience dependent on a gore quotient are likely to be disappointed; there are zero decapitations, disembowelments, implements or practical effects to speak of other than blood and facial make up. Stunts are for the most part dependent on the main characters martial arts prowess (did I mention he’s touted as a national Taekwondo stand in) with a few opportunities (most frequent attendees of action films will be able to spot) which could have made the film that much better. All in all, a valiant effort sporting fantastic production values, a mood heightening soundtrack, a few instances of greatness but little which us likely to change that which has already been laid to film.

6

Directed by Lee Su-seong Gangnam Zombie is unrated, runs 82 minutes and will find nationwide release on digital, Blu-ray and DVD on September 26 (2023)

The Art Behind the Audio Madness – Part the Third

The Hideous, The Diabolical, The Obscene and the Serene
(A Commentary, of sorts, on Extreme Audio Art Which Enthralls)
PART THE THIRD
(hijacked by B)

Greetings all and welcome to yet another Metal Review installment, likely to go unnoticed in a sea of similar scribbles. But, fug it! I’ll continue to scribble until my digits separate from my mitts and my love for metal diminishes, in all likelihood moments after my soul has departed my lifeless mortal coil. With this entry I’ll endeavor to continue that which Cult has already started, A commentary on both the Art and the Audio with silliness turned up to maximum and props where they are due. Because seriously would we buy albums encased in a blank sleeve?

What say we get started?

Justified God Killing (USA) – The Overthrow

June 23 – Independent
The Art
One person dares to stand, when all others bend to that which resides over all.
Sounds like a book synopsis, right? However, in this instance it’s easy to see that the masses are oppressed (aren’t they always?) and there’s a huge fn’ structure in the background. The question remains though, is it a temple. A cathedral, a residence devoted to deviant behaviors of the bourgeoisie? Either way, the art is enthralling. The dense dark hues evoke ominous tones drenched in menace and oppression (there’s that word again!) A lone figure in the foreground is even more enigmatic. What’s his/her story? One would gather their stance and gaze towards the structure equates to rebellion, a “I’ve had enough and something has to be done” mentality. Personally I’d like the same theme continued, an ongoing narrative, perhaps showcased in future efforts by Justified God Killing (a.k.a. Johnny Kingsley – the brainchild responsible for J.G.K). Honestly one of my favorite covers of the year.
The Audio
Part Groove, part Melodic Death with a dash of Punk and a splash of aggressive Thrash this doesn’t pander to a single genre. The album takes a little while to get going, but by its midway point should have one on their feet bopping along. Influence is fleeting (A vintage Anthrax riff is showcased in “Buried Broken”) with Lamb of God and Pantera standing out amongst the myriad rabble. In short, a fantastic ‘first’, an introduction to a bright horizon, another release that proves the adage “Too many cooks spoil the broth”.

https://jgkmusicne.bandcamp.com/album/the-overthrow

79

Shepherds Reign (New Zealand) – Ala Mai

August 23 – Golden Robot Records
The Art
Now who is this fellow. What is he cooking. Has he already finished? It appears not, I’m of the mind that isn’t aren’t two chicken (or even turkey) legs wrapped in his mitts. Is he mentally preparing for a reenactment of a Matthew McConnahey (sp.) scene from Killer Joe (for those who know, know). I’m probably seriously far off base here, so I’ll quit while I’m ahead.
The Audio
Clear the mind of all assumptions. Naturally one might predict this to be a Soulfly type affair; music basted in native instruments, chants and rhythms. And sure this is resplendent in those. An introduction and Outro which appears authentic (although I’m not a scholar nor a historian) and a fair share of tracks sung in the native Polynesian tongue (again I’m not 100% positive here) against beats bearing a ritualistic slant. But the album showcases a damn sight more and a tendency to veer from formulaic genre playbooks. This offering shows an act blatantly unafraid to mix and match influence and to treat each composition as its own entity. Said mixture of styles ranges from audio akin to Five Finger Death Punch, through Staind, Mudvayne, Avenged Sevenfold, vintage Sepultura and the obvious (being) Soulfly. There’s melody aplenty, the hooks are wicked, widespread, and there’s a fair amount of brutality to appease those who wish for such. Shit, there’s even a ballet (of sorts) here to mix things up and divide opinion. In short, I’m enjoying this more than I thought I might, although I’m of the opinion that going in with an open mind and zero assumptions certainly aids in the experience (and that the ‘ballad’ seriously could have been omitted).

81

Icon of Sin (Brazil) – Legends

August 23 – Frontiers Records
The Art
If only it were the 80’s again. Naturally there is the good and the bad,, though I’d wager we’d much prefer to remember the good. Alas it isn’t. We can only reminisce. Although with album covers like this it’s as though we can close our eyes and actually feel the hard plastic of any number of Thundercats, or He-Man between our fingers, the fiddly bits the vacuum cleaner yearns to consume, the Cold War, the Reagan years. It’s all coming flooding back now. Perhaps its best after all to look to the future, that which can be, aiming for a dream, watching the kids grow and pondering upon their antics and likelihood to blow an inheritance on injectable illegal substances. Best just to live in the present. With that in mind I need some cleaning tips it appears that damnable Moss man has left his “mark” on the carpet again. Curse him!
The Audio
I’m going to get a lack of crap for this but, here goes…I prefer this to anything that Maiden has released after “Fear of the Dark”. Why would I say such a thing unprovoked? Well, it has to be understood that Raphael Mendes (the vocalist here) is a dead ringer for Bruce Dickinson. Not in looks, but in voice. And it is scary uncanny. And much like Bruce, he delivers. Equally incredible here is the musicianship on offer. This album could well be a ‘lost Maiden tape’, a release in-between (insert albums of choice here). The rhythms and melodies, solos and leads which are on offer are of a level to that of the aforementioned. The flow is incredible and the compositions fantastic. The album has the attention rapt from start to finish. It seriously does. But then there’s the naysayers; he sounds too much BD, these guys are merely copycats, blah, blah, blah. Give this a listen and take your own stance, I have and I think it’s literally flawless. Even the art tickles nostalgia. Seriously what more could you ask for?

96

Søstre (Norway) – s/t

March 23 – Loyal Blood Records
The Art –
Where do I start? A book with Pagan runes, a snake taking a bite out of the moon, a purple wolf/bear type character covered in a mound of leaves, an abundance of candles, and a single Van’s shoe? It’s hard to know what to think. Is this a memorial of sorts, a comment on today’s society or something entirely more ominous yet? Captivating, intriguing and wholly enigmatic, this image has one pondering all manner of things as to the audio within. Here’s to taking the plunge.
The Audio –
Not nearly as complex as the art would have the audience believe, the audio nevertheless is quite difficult to categorize. The vocals have a biting edge (are in Norwegian, I’m assuming) most would immediately associate with audio of the BM variety whereas the audio is most definitely not. Compositions are draped in an essence which is damnable infectious and closer in texture to boisterous Rock n’ Roll than anything else immediate, one can tell these guys are having a blast. Strange is that there’s an unnerving fluidity to the whole affair which seriously appears as if it shouldn’t be. Somehow the combination of scathing vox and the musical antics of a Brutal Juice/Freighter (both complex and inventive in their own right) type act works, and damned well. This is a keeper!
Give it a chance.

93

And that’s it. A short entry on account of family visiting shenanigan’s and all the assorted drama associated with.

Until next time.

B

Abrasive Audio “Turbo Edition” September 23′

Abrasive Audio – Turbo (September 23′)

Hi Folks, I endeavor to keep this short. A quick run down on notable releases from a single listen standpoint, with a conclusion and a score given from my own perspective as a fan (not a musician).
New headings, which are self explanatory, and considerably less inane chatter.

Here’s a quick explanation;

Artwork – does the albums image garner my attention?
Brutality – well that’s obvious!
Groove – how much does this make you wanna ‘move’, even if you’re trying hard not to.
Melody – is it consumable to those who abhor noise?
Abrasiveness – could you use this audio to keep an invading horde of door thumping Bible bashers at bay?
Progressive Nature – does it twist and turn incorporating any number of diverse elements for any prolonged periods of time?
Technicality – among the albums many elements does it proudly sport its members abilities to play stunning compositions, often at warp speed and in a manner so tight that a ducks arse would be jelly?
Ominous Nature – does this make you want to grab your comfort stuffie and head for the light switch?
Replayability – does it offer nuance enough to make one want to come back for more?
And finally a Score (customarily out of 100) and my ultimate thoughts to top things off.

Temple of Dread (Germany) – Beyond Acheron

August 2023 (Testimony Records)

Artwork – 8.5

Brutality – 6

Groove – 7

Melody – 8

Abrasiveness – 4

Aggressive Nature – 6

Technicality – 6

Ominous Nature – 7

Replayability – 10

https://testimonyrecords.bandcamp.com/album/temple-of-dread-beyond-acheron

Conclusion/Score – Less than a minute in and I’m of the mind that I’m about to slap some biatches for not telling me about these folks sooner. And I’m pleased to state the album holds the high caliber throughout. At times a likely melding of Asphyx, Morbid Angel and Unleashed (even in instances Nile and Cannibal Corpse) it provides all the requisite elements a fan of Old School DM could hope. Traditional rhythms, tons of movement, plentiful atmosphere and an aura which stand outs with a myriad of instances which alight a smirk on the ever maniacal looking chops. A Must own, and admittedly (and rather easily) one of my fave releases of 23′!

98

Ascending Olympus (Greece) – Frontlines

April 2023 (Drakkar Productions)

Artwork – 7

Brutality – 6

Groove – 7

Melody – 6

Abrasiveness – 4

Aggressive Nature – 4

Technicality – 7

Ominous Nature – 5

Replayability – 8

https://ascendingolympus.bandcamp.com/album/frontlines

Conclusion/Score – A hybrid of Thrash and DM this delivers sharp riffs, a touch of Djent, a slight Industrial tone and Old School DM textures aplenty (check “Fatal Nightmare” for insane Bolt Thrower vibes). A varied vocal attack and rhythmic approach adds that little bit extra to keep this from the same old, same old, clamoring masses.

82

Virtusira (Canada) – We Will Writhe

March 2023 (Independent)

Artwork – 8

Brutality – 7.5

Groove – 6

Melody – 6

Abrasiveness – 5,5

Aggressive Nature – 7

Technicality – 8.5

Ominous Nature – 6

Replayability – 9

https://virtusira.bandcamp.com/album/we-will-writhe

Conclusion/Score – There’s a little for everyone here. Technical prowess, Brutal Death sensibilities and frequent Progressive landscapes (although left thankfully this side of the annoyingly wizard like side of the fence). Fantastic production and top notch musicianship aid in the albums overall (wide genre radius) appeal. It’s safe to say that a single listen will lead to another as there’s a considerable amount to unpack here.

88

Gutrefaxion (Finland) – Total Rotten to the Gore Zombie Extravaganza

August 2023 (Independent)

Artwork – 8.5

Brutality – 9

Groove – 7

Melody – 5

Abrasiveness – 8

Aggressive Nature – 9

Technicality – 7

Ominous Nature – 7.5

Replayability – 8.5

https://gutrefaxion.bandcamp.com/album/total-rotten-to-the-gore-zombie-extravaganza

Conclusion/Score – Twelve tracks coming in at just under thirteen minutes? You guessed it – this is utter Grinding madness. Admittedly it plays to most all of my ‘weak spots’; Zombies, cult films, females in metal (am I allowed to still say that?) and an act with only a solitary member, soundbites and Scooby-Doo (need I mention another offering with a Bad Taste quote as a title?) Add to this ingredient list a slew of nostalgia inducing soundbites and enough groove to derail a Japanese train full of polaroid snapping tourists and you have a bonefide winning achievement. Seriously, this is surprisingly listenable and with its short running length it is sure to deliver devastating damage in record time. I don’t think anyone will have to remind me to dive deep in the discography, I think I’m in love.

92

Nordicwinter (Canada) – This Mournful Dawn

August 2023 (Naturmacht Productions)

Artwork – 8

Brutality – 3

Groove – 2

Melody – 9

Abrasiveness – 8

Aggressive Nature – 5

Technicality – 6

Ominous Nature – 9

Replayability – 9

https://nordicwinter.bandcamp.com/album/this-mournful-dawn

Conclusion/Score – Multi layered, somber, haunting and beautiful yet doused in an almost palpable ominous atmosphere this certainly sets the scene for those frigid winter nights when the elements have the upper hand and one is unable to go anywhere, the cable is out, and absinthe is as welcome as the warmth which blankets provide.

89

Outer Heaven (USA) – infinite Physic Depths

July 2023 (Relapse Records)

Artwork – 9

Brutality – 7

Groove – 8.5

Melody – 7

Abrasiveness – 6

Aggressive Nature – 6

Technicality – 8

Ominous Nature – 7.5

Replayability – 9.5

https://outerheaven.bandcamp.com/album/infinite-psychic-depths

Conclusion/Score – And Outer Heaven have somehow done it again! If you thought their stunning previous entry was a fluke, you’re very much mistaken. Taking the hint from the success of Realms of Eternal Decay the band have chosen to double down with much the same varied grimy Technical unpredictability. Featuring a slew of guest contributors (among them Dave – “Dechristianize” – Suzuki) the result is a landscape fraught with a smorgasbord of cosmic textures, bludgeoning passages, galloping rhythms, Old School dirge and all manner of that which carves a stoopid sized grin on the chops. This about has all a fan of DM could wish and in a capacity which continues to excite as the album blossoms with each and every spin

96

Recc via CupiousCheeseFellow (Twitter)

Lobstrosity (USA) – No Mercy in the Stars

August 2023 (Independent)

Artwork – 7.5

Brutality – 8

Groove – 3

Melody – 7

Abrasiveness – 7

Aggressive Nature – 7

Technicality – 8.5

Ominous Nature – 6

Replayability – 8

https://lobstrositysav.bandcamp.com/album/no-mercy-in-the-stars

Conclusion/Score – There’s quite a bit going on here. To state the obvious. Much like the tendrils in the albums art rhythms are spread far and wide, unpredictability reigns supreme as the album progresses. Black Metal sensibilities are locked in combat with jagged Tech riffs drenched in molasses, as meanwhile hints of Melodic DM and a Doors-esque progressive nature prances without warning from camouflage arenas to give an audience false hope in regards to a listening experience which is easily consumable without first sharpening the senses upon numerous other scathing and multi-textured audio offerings.

78

Recc via Void (He who requires little introduction at this juncture)

Lost Harvest (Mexico) – Deluded Seas of Diverge

February 2023 (Independent)

Artwork – 7

Brutality – 6

Groove – 6

Melody – 7.5

Abrasiveness – 5

Aggressive Nature – 6.5

Technicality – 8

Ominous Nature – 8

Replayability – 8.5

https://lostharvest1.bandcamp.com/album/deluded-seas-of-diverge

Conclusion/Score – It isn’t often one is faced with an album which runs an hour in length (let alone one closer to an hour and a quarter such as this). Naturally, there are exceptions more often than not within the Doom arena when it’s not altogether unusual for an album to have several tracks running into double digit territory. In this instance I’m pleased to report the attention is held for the duration. A wicked amalgamation of Doom/Prog and Tech Death, an exquisitely crafted inventive ‘vision’ in short, with a slightly raw production edge this delivers a landscape rife with riffs aplenty, a myriad of rhythms to get the limbs a twitchin’ and (unpredictable) movement enough to please those who yearn for ‘epicness’, more than mere chuggery and brutality for brutality’s sake.

93

Another Void Recc & Plucked From Metal Past

Venenum (Germany) – s/t EP

April/November 2011 (Sepulchral Voice Records/Independent)

Artwork – 7.5

Brutality – 6.5

Groove – 4.5

Melody – 6.5

Abrasiveness – 7

Aggressive Nature – 7.5

Technicality – 5.5

Ominous Nature – 8

Replayability – 9

https://venenum.bandcamp.com/album/venenum

Conclusion/Score – Altogether lo-fi and grimy in its approach this might leave many wondering where this resides in the extreme audio spectrum; the album certainly boasts BM elements (including an unhurried, snarling vocal assault) alongside Old School foundations. Blanketing menace and a diabolical essence will please fans of vintage Morbid Angel, while compositions with plentiful mood and movement will appeal to those who are long time fans of the scene and on the search for an offering which is slightly different than standard affairs. My opinion is that this will grown on the listener given repeated experiences.

81

Olkoth (USA) – At the Eye of Chaos

May 2023 (Everlasting Spew Records)

Artwork – 9.5

Brutality – 8

Groove – 6

Melody – 6.5

Abrasiveness – 7

Aggressive Nature – 7

Technicality – 7.5

Ominous Nature – 8

Replayability – 9

https://everlastingspewrecords.bandcamp.com/album/at-the-eye-of-chaos

Conclusion/Score – Ferocious, pummeling, often intricate yet unrelenting this is sure to please fans of acts in the Nile, Vader and Hate Eternal vein. Brutal Death with complex rhythms set against a foundation of palpable menace and diabolical atmosphere meanwhile is guaranteed to garner the interest of Morbid Angel and similar acts who also peddle arcane audio with classical medieval nuance. Lyrical content is based upon the occult, mythology and corruption throughout history (so obviously there’s plenty of material to research and work with for future efforts) for all those yearning to ‘dive deeper’. As a debut this speaks volumes, and is likely to grab the attention of a huge fan base and a myriad of year end scribes.

92

And that about brings this installment to its finale. As always feel free to comment. suggest or tell me to stop scribbling like one possessed.

Cult

“Don’t fear discovery of that which is typically foreign to the senses”.

Abrasive Audio…to Soothe the Senses – The Year according to Void

Abrasive Audio…to Soothe the Senses – Another Year End List #3

Other than compilations year end lists are the undoubtedly the best way to find new music without having to fall down the Bandcamp or the YouTube rabbit hole (seriously who Knows what you might run into?) Without further ado, or mention of the wintery landscape or how damn cold it has suddenly become, I present;

Voids 2019 Year in Review

2019 has come and gone (has it ever – Ed*), and in the best traditions of music sites everywhere, we take a good long look at the past loop around the sun and rank our favorite albums, EPs, demos, splits or whatever.  I’ve found keeping up with new releases harder than usual, and not so much due to lack of time (although perpetual adulting is unfortunately partly responsible) but rather due to my tendency to prioritize obsessively rooting through metal’s meaty underbelly to seek out old, obscure anomalies that few care about.  Consequently, my uptake of new material is lower than I’d like it to be, but I nevertheless immersed myself in a considerable amount of new releases.

While in many past years I found that I at least had a clear idea of at least what my top 3-5 releases were, I found that 2019 did not prevail upon me to form a concrete musical hierarchy.  Thus, this year, numerical rankings can suck it and you can enjoy my top ten 2019 releases in good ol’ fashioned alphabetical order.

Crypt Sermon – The Ruins of Fading Light

I’m sure this will appear on multiple year-end lists, but as one who rarely dabbles in doom, I feel its presence here carries attests to its quality more than most.  Maintaining the heavy and epic atmosphere of “Out of the Garden” while seeing improvement in the songwriting and the vocals, “The Ruins of Fading Light” simply takes Crypt Sermon to the next level.  Tracks like ‘Key of Solomon’ and ‘Christ is Dead’ will have you think you can sing along competently because they make it sound so easy, even though in reality you’re just blissfully oblivious to the fact that you’re actually completely tone-deaf.

Encoffinized – Chambers of Deprivation

Chunky death metal sounding like a mix of Baphomet and maybe something like Vomiturition, “Chambers of Deprivation” is some intense, knuckle-dragging death metal with vocals that sound like an abyss is opening up to swallow entire fucking planets.  Maggot Stomp (label?) has released some killer junk this year, and Encoffinized’s debut tops the pack.

Fetid – Steeping Corporeal Mess

On their debut outing, Fetid take us on a subterranean journey through the moist, festering tunnels of the netherworld, its walls inexplicably lined with twitching, membranous tissue.  Impossible to avoid stepping in the regurgitated rot that flows down in steady, chunky streams from dilating orifices, the horrendous squishing sound is not only heard, but felt.  That exact sensation has been vividly put to music.  Sweet.

Pa Vesh En – Pyrefication

Caustic and densely atmospheric, Pa Vesh En’s “Pyrefication” is a raw, noisy black metal affair that fills the space with oppressive, overtly claustrophobic and genuinely terrifying chaos. “Pyrefication” is an exercise in paranoia and lurking fear.

Possessed – Revelations of Oblivion

By all things logical and normal, Possessed’s third album, which landed 30 years after their sophomore and featured only a single member of the original lineup, had no business being good.  But holy shit did it deliver.  Bar the slightly too-clean production, “Revelations of Oblivion” stays perfectly in line with what we all loved about classic Possessed.  Probably one of the best comeback albums I’ve ever heard.

Profanatica – Rotting Incarnation of God

Reveling in their lack of progress and instead honing in on what they’ve always done best, Profanatica’s fifth album is a paragon of the sound they’ve developed.  “Rotting Incarnation of God” places Ledney’s drumming first and foremost to drive the album along, while a vile guitar and bass provides a relentless undercurrent.  If you didn’t like Profanatica before, this will do nothing to change your mind, but if you dig them, this is probably their best album yet.

Rotted – Dying to Rot

Rotted step up the game from their debut “Pestilent Tomb” by making this demo more disgusting in every way imaginable.  The down-tuned, lumbering guitar sounds like boiling sewage and churns along to gurgling vocals akin to soggy ground meat in releasing its air pockets in sputtering belches.  It might not sound like much at first, but this is ace-level.

Tomb Mold – Planetary Clairvoyance

I feel like this album didn’t get a fair shake from me at first.  “Primordial Malignity” and “Manor of Infinite Forms” both grabbed me instantly, whereas this one didn’t.  That’s hardly a crime, but because of it I initially hadn’t devoted the time it deserved.  That’s been rectified and this is high quality stuff, a worthy successor to the first two albums.  I’ve seen them live four times (yay local), and every time they’ve levelled the place, so don’t miss a chance to go see them.

Undeath – Sentient Autolysis

Thrusting two demos into the scene this year, this second release is vastly superior to the first.  While the first (creatively titled “Demo ‘19”) showed considerable promise, “Sentient Autolysis” delivers on that promise with four tracks of Neanderthal Demilich-inspired metal of death.  I can’t wait to see what these guys come up with for their upcoming album.

Warmoon Lord – Burning Banners of the Funereal War

An entry from a band that proudly pilfered its moniker from one of Vlad Tepes’ more nonsensical song titles, this Finnish project plopped onto the scene with little to no fanfare and delivered an outstanding album that snatched the place on this list that I thought would’ve belonged to Vargrav.  Heavily inspired by albums like Emperor’s “In the Nightside Eclipse” and Darkthrone’s “Under a Funeral Moon” (the opening to ‘Obsessing Darkness’ sounds like it could’ve been lifted right out of the latter), any fan of early 90s black metal should be all over this.

So, there we have it, 2019 comes to a close, leaving us reeling and wondering “what the fuck was that?”  We may never know, but one thing I know is that 2020 is coming.  And once it arrives, it’s here.  You’re welcome.

Thanks Void. I’ll admit there’s only a few here I’ve laid ears upon. Who would have guessed that the new Possessed was going to be such a “destroyer”. For those who need further reading, I’ve laid a few thoughts upon it and Void has a dropped significant knowledge on both the band and the album. (try typing “Possessed” in the search bar and it should pop right up). Well, there you have it another handful of releases which demand attention. I swear, there’s never enough time on hand.

Cult

Where in the World… Columbia

Extreme Audio From Around the Globe

_{This is Columbia. Actual size may differ from that shown}

Columbia

Columbia, nestled amidst the voluptuous bosom flesh of Sophia Vergara (if her breasts were known collectively as Venezuela, Panama, Peru, Brazil and Ecuador) is famous for many things. The least of which a passionate populace, a thriving narcotics trade, a booming criminal underworld, most recently beating a previously undefeated Germany squad in the Ladies Worldcup Group stages, and guava fruit (one of these however might not be entirely factual). Lesser known is the countries love for Tom Cruise movies, unabashedly selling fleshy wares in the city, and sports played with a variety of spherical objects. But did you know that Columbia, much like many other areas on the face of this greenish blue globe we also inhabit, has an impressive array of musical instruments and (get this) people who can actually wrangle them into decent sounding submission. Needless to say, among many of the musical genres on offer, extreme audio, aka Metal, is a thing. And thank the Dark Lord for that!
What say we put down the mind-numbing manual (scribbled in every language but the one that’s usually required) for the operation of odd shaped tropical fruit and dive into what’s on offer (truly a speck of dust in the humongous scale of things, as EncyclopaediaMetallum (Metal Archives) currently has 2,226 listed, and I’d bet there’s at least that many remaining still to be ‘penned in’). The following are only a few plucked from the last few years. Thankfully my old pal Void is here to give a history lesson, lend a hand, and has gladly supplied a hefty list of acts who helped build the roots and forge the scene into what it is today.

Parasite – Genocidal Suicide
(May 2022 Iron Goat Commando)

The cover, slathered with dark tones and gore, hints at Brutal Death sensibilities. The music however switches from chunky, crunchy, Thrash with definite hints of DM to a style, which Soulfly has pretty much trademarked at this point, only occasionally dipping into territories one might expect given the art. With that being said however the audio is of the utmost listenable quality neither truly this nor that but rather an album which shows the band comfortable tinkering with many a genre and executing a formula that actually works, likely due to their open minded nature and combined talents.

https://irongoatcommando.bandcamp.com/album/parasite-genocidal-suicide

82

AntiHuman – Reflections of the Black Sun
(November 2021 Independent)

Fantastic art encompasses an album which is surprisingly well produced, addictively melodic and yet bears vocals of the most scathing variety. Melodic BM bordering on Blackened Death? Call it what you will, but this is infectious audio indeed.

92

https://antihumanofficial.bandcamp.com/album/reflections-of-the-black-sun-2

Hellblood – The Angel of Destruction
(October 2022 Tribulación Productions)

Fast and maniacal, just the way I like it, with touches of NWOBHM swagger. Vocals dripping in evil, drum salvos to get one moving and rhythms to leave one sweaty and grinning. Think “Power n Pain” era Whiplash colliding with Slayers “Show no Mercy”. This is Black Speed Metal executed with passion!

89

https://tribulacionproductions.bandcamp.com/album/hellblood-the-angel-of-destruction-cd

Patricio Stiglich Project – No Reaction
(March 2018 Independent)

With the word “Project” in the title admittedly I was little leery. No need however as although this is undoubtedly lighter than what my ears typically consume it still bears undeniable appeal. Mixing acoustic, Hard Rock and Progressive elements this is a quite varied affair, even dipping into heavier territories on my favorite track (“Here Comes the Day”). I’m happy to see the band mix up the vocals too showcasing tracks in both their native tongue and English. Moody, swift and toe tapping this hits the spot for those mellower times when the usual just won’t suffice.

78

Divine Profanity – Adoratio Mortis
(2015 Iron Goat Commando)

Recently finding re-release on a digital format (via the same label) Adoratio Mortis offers its listener rapid rhythms, weighted atmosphere, classical touches and traditional for the genre, seething with evil, vocals. All par for the course really. However, Divine Profanity deliver the whole with professionalism, chops (aka ‘on point’ talent), a slighg scent of the Underground, and an infectious nature which fans of the genre will find hard to resist. A hybrid of Blackened Death and Melodic BM that’s sure to score points with the uninitiated. It’s been a while since their last effort, hopefully this re-release is the prod required to awaken the Muse sparking the bands passion to start working on another?

86

https://irongoatcommando.bandcamp.com/album/divine-profanity-adoratio-mortis

Into the Fucking Grave – Episodio Humano
(October 2021 Mutilated Records)

I must admit it was the art here, rather than the moniker, which grabbed my attention. With that out of the way…
This takes a little to get started, but once it does. Damn! Huge props to the act for not pandering to a larger audience, in other words the lyrics are in the bands native tongue (following zero research, so I could in fact be wrong. It’s happened before) which I’m sure might incite a bit of translation homework for some, though I doubt sprinkle, sparkly Unicorns and Care Bear love everyone vibes feature much (in the lyrics) given the art and vocal approach (but again, I could be very much mistaken?). The compositions here are pounding, display movement aplenty,, are groove infused, and gleefully baked in Old School values. In essence and to keep this short (and it’s already longer than originally intended) step outside the comfort zone and this a listen. I believe most will be pleasantly surprised by what’s on offer.

88

https://intothefuckinggrave.bandcamp.com/album/episodio-humano-2

AK47 – Homo Bellicus
(June 2021 Sound Blast Studio)

Not to confused with several acts, bearing the same name, peddling Rap/HipHop, this collective offers an energetic mix of DM and Thrash with gymnastic compositions bathed in movement with Progressive sensibilities. The premise sounds amazing, the audio is exciting and the rhythms are enough to get one up and moving. However, it all seems a tad disjointed. Perhaps a couple of listens are required for all the pieces to fit? Another issue I have is that the vocals are rather bland, boasting little range, especially given the music’s intensity and altogether spastic nature. Otherwise this is highly enjoyable, ambitious to be sure, well worth a peek.

72

https://ak478.bandcamp.com/album/homo-bellicus

Inquisition – Bloodshed Across the Empyrean Altar Beyond the Celestial Zenith
(August 2016 – Season of Mist)

Likely winning an award for the most annoyingly long album title of the year (I’m guessing this is where cut n paste comes in for the majority of reviewers), Inquisition have risen far above a great many of their peers by doing three things, essentially; moving out of Columbia (to The States), amassing a discography with multiple reviews in the ninety percentile and being signed by a well-respected label (although I guess this depends upon whom you ask). Although at present Agonia (Records) has all the pleasure.
This offering delivers a sure and swift uncompromising attack. Triumphant in its seething unholy nature and scathingly sharp in its delivery it oozes with deceptively lo-fi presence and harkens to the days of yore when the genre was free from fads, the invasion of elements from other genres and those who chose to borrow from it for their own nefarious devices. Wicked, menacing and uncompromising this is sure to delight fans with decidedly BM leanings.

86

Blasfemia Eterna – Total Misantropia – Black Thrashing Metal
(September 2020 – Acero Total)

As the title suggests, this is Thrash with scathing vox and a Blackened edge. And I’m pleased to report that it delivers! Primal and altogether uncomplicated, think for the most part vintage Kreator, a dash of Show no Mercy Slayer with a finale triumphant with flourishes of Baroque, epic Pagan themes and BM riffs scathingbenough to remove even the most stubborn of wallpaper. This serves to scratch the itch that others attempt to get at though often utilize altogether too much of everything and fail in the same endeavor miserably.

83

Solemne Mortis – Perpetual Nonexistence
(December 2021 The Ritual Productions)

A BM album which has Dissection and Watain elements isn’t rare, and such is the case here. However, what separates this from the pack is the drum compositions and impish rhythms. Sure, this is melodic. But it’s not overly so, it still bears that venomous bite which most of us demand and other welcome touches, such as the intricate compositions, Baroque acoustic elements, and the occasional tendency to assault the listener with hints of groove (nuance that doesn’t thankfully yank the audio away from traditional tracks). In essence, this isn’t that far from what one might expect, stylistically. It’s the attention to detail and the acts willingness to step slightly away from that which most acts confirm to which propels this to repeat playlist territory. A fantastic effort which leaves me excited for their next audio venture.

88

https://solemnemortis.bandcamp.com/album/perpetual-nonexistence

The Scum – The Hunger
(April 2022 Satanath Records/Wild Noise)

If ever there was an album one would want to make an impression, it’s the one encapsulated by the feasting wolf image seen here. And I’m happy to report this manages to do just that! Guitars lacerate mercilessly with a buzzsaw tone, the drums leave one bludgeoned and dazed, and the brute vocals execute a wicked finale; the killing blow to the audio beating being delivered. In short, and for those not paying attention, this is most definitely Old School in tone, it obliterates all that one could wish without attempting to change the parameters of an already established genre formula which works so well. Add this to any well worn playlist which likely includes Bloodbath, Dismember, LIK, Entombed, Entrails and the like.

90

https://satanath.bandcamp.com/album/sat342-the-scum-the-hunger-2022

And, re-introducing an old favorite – Recc by Void

(this is bound to be more fun than a barrel of monkeys hopped up on bathsalts)

Reencarnación – s/t aka “888 Metal”
(February 1988 Independent)

Void delivers again!
This is quite the feast for the ears. A demolition derby of Avant Garde, BM, and to a lesser degree Punk. There’s certainly a cavalcade of elements to unwrap as this spins its way through the ears. With much the same loving caress as a bulldozer with a drunk asleep at the wheel it leaves its mark. Not for the squeamish, the faint of heart or those whose listening habits include audio incorporating production values. This is lo-fi, chaotic and unashamedly unrelenting and deserves more than a solitary listen to have one form an opinion.
In closing, there’s many words to describe this; brave, boisterous, vivid, entertaining and proud are at the top of the heap. And quite honestly I’d use many of the same to describe the comment section accompanying this on Youtube. Go in with an open mind, it will certainly aid in this (as Void so eloquently puts it …”wild…”) audio journey.

https://reencarnacionofficial.bandcamp.com/album/reencarnaci-n

Parabellum – Tempus Mortis (2 EP Comp)
(2005 Blasfemia Records)

Formed in 1983 as Juana la Loca, (later) Parabellum are widely considered to be the first extreme music act in Columbia. Tempus Mortis sees the 1987 and 1988 (Sacrilegio, and Mutatión por Radiatión) EPs (respectively) released together.
Utilizing punk sensibilities and a frenzied buzz laden down tuned approach drenched in a diabolical nature isn’t uncommon, what is however is the caliber of the audio on offer here (remember this is 87’/88′ and Columbia). Atmosphere and maniacal elements abound to give the audio a chilling edge while the latter EP (the last two tracks before the collected rehearsal material) bears more a Punk/Grindcore edge (making me wonder if the final track “Mutatión por Radiatión” could be influence for (the American Grindcore pioneer act) Repulsion and “Radiation Sickness”. Of note is that pioneering Florida based Morbid Angel were honing their craft and the audio that was later to be collected as (the masterpiece) “Altars of Madness” around the same time as these two EPs were released.

Nekromantie – s/t Demo
(1987 – Independent)

This album displays the earliest of the countries Speed/Thrash output with a heavy Blackened tone. Again deliciously raw, Grassroots DIY and devoid of production values this hints at an array of influence which surprisingly includes the melodious corner of the NWOBHM scene. A sloppy yet passionate cover of “Massacre” by Hellhammer rounds out short example of what’s to follow to indicate where other branches of creativity may have stemmed. Sadly it took thirty years for the first full length (“Holocausto de Guerra”) from this “ultra metal” band to be released. And I’m left camouflaged in intrigued as to how it might sound.

Blasfemia – Guerrero Total
(1988 – Independent)

Wholly unapologetic in its raw delivery this album is certainly not for the weak, the squeamish, posers or those who seriously have not one iota of curiousity towards vintage, trend free, BM. This audio isn’t pretty. In fact it’s tediously difficult to consume, the production quality is non existant, the tone is hellish on the senses and the compositions are pounded out with little care for the audiences approval. I can easily visualize why this is impactful and influential to the rising hordes of musicians and the molding of the earliest of South Americans extreme audio scene, though honestly its rather difficult to sit through. Of note is that Ramón (Reinaldo) Restrepo is also the vocalist featured within the Parabellum (EP collection) commented upon above.

Nebiros – Guerreros de Lucifer
(1996 – Legion)

More melodic and pagan in nature, rather than (thankfully) “Raw”, this album features a smorgasbord of pace and mood (lots of galloping motifs, HM style, a little unexpected groove) and a virtual diatribe when it comes to the lyrics. Admittedly (and on a personal note) the guitar tone tends to grate on the nerves after a few tracks. Again, this, much like the Blasfemia affair, is another for the fanatics and although it has definite composition values, rhythms and cohesion, it’s most likely an album I won’t experience more than once.

Sidenote:To save on confusion, and because Void said I should include this; ‘Extreme’ thrash / death / black metal bands from Medellín, Colombia, in the 80s / early 90s referred to themselves as “ultra metal”.

And finally (because I teased it)…

Nekromantie – Holocausto de Guerra (2017)

I’m two tracks in and hooked. This has bounce, groove and appears somewhat a mix of relaxed Morbid Angel and a ‘lighter’ vintage Terrorizer Grindcore with a heavy dose of Punk. Brutal, heavily accented vocals in a native tongue (Spanish?) give the album considerable oomph, not to mention an air of archaic menace. A step up from their last (IMO) which only makes me that much more curious as to their most recent (but that’s fodder for another days scribbling).
And that brings this, the first entry of ‘Where in the World?’ to a conclusion. My aim wasn’t to scribble a hefty tome on the build of the scene, but rather showcase that which is on offer and (courtesy of Voids unfathomable catalog of knowledge) mention an array of acts which had a large part in molding it into what it has become.
Thanks for taking the time to explore Columbia with me.
Cult

Thoughts, comments or suggestions on other acts/albums to look into (from the area listed above) or, a location to explore in an upcoming piece? Feel free to use those digits for what they do best, and by that I don’t mean burrowing deep into the nasal cavity.

Introducing 23′ With a Thunderous Roar (#5)

Class of 23′ (The Fifth Deadly entry)

Amidst a torrential deluge of excuses, and the realization that I’m quite the lazy bastid, finally appears the newest entry within the Abrasive Audio stable. Another Class of 23 diatribe like dollop of grammatical nonsense featuring, you guessed it, albums (also EPs) released in the past eight months and in the weeks to follow.
Here’s to the conclusion of summer and the arrival of more agreeable weather.

Phantom Corporation (Germany) – Fallout

Bursting with everything a fan of the Death/Crust arena could ask and nothing one will complain about, this album excites from the first experience. Shelling out a heavy salvo of nods to genre standouts utilizing rhythms which are both driving and groove infused and traditional yet fresh Phantom Corporation do naught but make an impact. Add to this a vocal approach which brings to mind vintage Pro-Pain and riffs with enough movement to incite smile upon the most stoic of DM fans visages and the excitement level rips apart that which might be expected, given the acts moniker and traditional genre schenanigans. And to think that this is their first (full length outing) is quite the remarkable achievement.
A must listen!

93

Kataklysm (Canada) – Goliath

_{Official full album stream}

Kataklysm albums fall under the umbrella of ‘you know what you’re getting’. And its audio of a variety that bears great production values which is somewhere between melodic and brutal. In fact the last few albums have suffered from sounding pretty much the same, need I say… in my opinion (no hate emails please). So why then am I intrigued enough to lay pen upon this you might be wondering? Well, Invictus (featuring the main driving force behind K) was a nice surprise and a fantastic listen. So, I thought perhaps its conjuration (hey, look at me and my new word skills) might sway the mind behind K (again shortened to save on digital wear and tear). And I’m pleased to say that my assumption is correct. In part. This album bears slightly more movement and mood than albums past. Sure its unadulterated chuggery, the trademark sound and the instantly recognizable vocal cadence, but it boasts a new energy of sorts. Drum rhythms perhaps, more tempo change ups? I’m not totally sure. Truth be told, it’s not vastly different than what K are typically known for, yet has enough of a variation to grab my interest, and yet is guaranteed to keep long time fans happy. Give it a shot, this might well reignite the fire.

81

Evile (UK) – The Unknown

After hearing this I begin to wonder…does every band ‘have a moment’, within which they ponder upon changing up their style? Then, what if anything might be the determining factors which make them decide for or against. In this instance (and with this album) Evile have taken the “Metallica” leap. Gone are the tracks basted in snap the neck Thrash riffage, although there are still instances of such on offer (admittedly more so than found upon the “Black” album) the albums final track for instance us rather swift. With this offering the band have adopted huge production values, intricately crafted compositions, a slight Progressive leaning and a sound that’s concentrated more on both drums and (enunciated) vocals than faster than something that’s stoopidly fast melodies. With all that being said, this is still rather listenable, shocking yes (obviously with their stellar last offering in mind) though undoubtedly enjoyable, albeit more so for those willing and able to open the mind for such an experience. The band some might say have matured, there’s little doubt their style has transformed and their fanbase will undoubtedly shift. I’m left intrigued as to what the future holds.

https://evile.bandcamp.com/album/the-unknown

79

B’s Pick

I’m interrupting the normally scheduled proceedings to insert a few words of my own on an audio affair I deem well worthy of unadulterated praise.

Kobold (Serbia) – Chaos Head

You guessed it! The cover grabbed my attention, spun my gnarly neck violently around on its axis in fact. Seriously, how can one ignore the gargoyle from Ghostbusters 2 giving a devilish looking orc a ride. And is that a Santa’s sack of dismembered naughty children sitting behind him (her/whatever)? Perhaps a collection of Dead Flower Children (confused yet?) This’ll make more sense when you set your eyes upon the albums tracklist. But enough about the art, what about the audio? Well, if there’s any album I’d want to sound at least listenable, great, and not least of which fun. It’s this. And boy does it ever! Following a rather lackluster intro (with the album in its entirety in mind, one might think this is intentional?) the fireworks start to go off. Imagine lighting a case of Red Bull and tossing it nonchalantly into a gunpowder factory mid shift. This might be the result. Although chaotic and energetic to a dangerous level the proceedings are strangely on point. These guys can play, it’s truly as if they’ve managed to cram as much discernable influence into a tight wrapped package as possible. Speed metal collides with Blackened Thrash with Heavy Metal left (looking dejected on the sidelines) wondering aloud when it might be able to join in on the schnanigens. Have no fear, it does. And the whole is a wonder to behold, especially if like me you enjoy your audio fast, furious, unpredictable, dripping with all out ironclad throat vocals, and injected with tongue in cheek humor. In short, these maniacs have nailed it as somewhere a melding of Butcher 666, Exciter, Dragonforce, Blackguard and Raven. I’m left as a disgustingly sweaty pile of exhausted meat, eager to hit the repeat button.
Bravo!

https://koboldserbia.bandcamp.com/

90

Terminal Violence (Spain) – Warhole

To be honest I know absolutely nothing about this act, kk, perhaps a mention or two. Though nothing concerning the audio. So, imagine my surprise when a cavalcade of (mid era) Slayer meets newer Exodus, with a splash of Crossover caressed my senses when I hit play. Naturally, the first track is usually the one to grab the attention. However, I’m pleased to state that the quality here lasts throughout and the five tracks here are of a caliber to transform the dubious into instant fans. A fantastic find to delight old school Thrash fans and Melodic Metal acolytes alike.

https://terminalviolencethrash.bandcamp.com/album/warhole

91

Crypta (Brazil) – Shades of Sorrow

And there’s quite the buzz about this release, and not just because the band is comprised 100% of wholly talented ladies, and is part made up of former Nervosa members. Bangers and Mosh (on Twitter anyhow), out if the UK, voted this album of the week; color me intrigued to a whole other level. So, without further ado I hit play to discover what all the fuss might be about.
And… well. This is good. Damn impressive in fact. I seriously can’t remember their last leaving me as distracted as this. You might be asking why might this be the case? Several reasons come to mind; the compositions are varied, this is miles from mere formulaic chuggery, experimental nonsense or anything akin to genre copycat behavior. Each track bears its own identity, boasting varied rhythms, tempos and (presumed) influence, in fact the tracks breathe with an essence, a build, a narration, a blossoming of sorts which puts me in mind of The Black Dahlia Murder or early Arch Enemy. Each instrument stands out and each has several moment within which to shine (showcasing incredible musicianship), there are leads and blissful solos aplenty. t
The vocals have emotion and range and far surpass that what’s expected of a common garden meat and potatoes DM affair. In short this far surpasses that which I, and apparently countless others expected. But us ut the crowning achievement, the album upon which all others within their discography is compared? Only time will time, but for now let us bask in the shine that is Shades of Sorrow.

https://cryptabrazil.bandcamp.com/album/shades-of-sorrow

95

Owlbear (USA) – Chaos to the Realm

FalconCat, SquidDolphin, LizardRacoon… and now OwlBear. It’s seriously as if one is naming acts after kids Anime characters. But enough about that. Thankfully and rather surprisingly the audio on offer here is worthy of praise. Rhythms, melodies and hooks which could well have been plucked from the 80’s. Heavy Metal to be sure but with a touch of Doom, and a splash of Proto (whatever that might be). Compositions that rise and fall and gallop. Excitement bursting with sword and sorcery lyrical accoutrements executed in such a way as to be immediately consumed without complaint. The vocals topping the ensemble fit excellently, making for a sound close to (most recently) Trevor Church’s ‘Haunt’, mixed with elements of Iron Maiden, Clover Hoof and an even wider array of stand out HM practitioners who helped carve the scene from its beginnings into what it is today.
In short, an excellent debut which bodes well for both the bands and the resurgent genres future.

https://owlbearmetal.bandcamp.com/album/chaos-to-the-realm

83

The Zenith Passage (USA) – Datalysium

If you have yet to discover The Zenith Passage then you’re in for a dazzling, dizzying treat, especially (it must be said) if you’re a fledgling/aspiring musician who can fully appreciate the mind boggling composition complexities on offer. Others will be left literally jaw agape. There’s a great deal going on here folks and most of it defines explanation. How is one can play as well and as intricately as that which is on offer here? I have no idea. It’s wicked talent and dedication obviously.
Thankfully those behind the audio have somehow managed to keep it utterly consumable and not wildly out of reach, or understanding. Not wildly out of left field is the obvious realization that this warrants several listens to fully ‘unpack’. Cosmic atmosphere cavorts and frolics with epic soundscapes amidst tapestry like passages of technical fretboard wizardry.
But let us not forget the frenetic ‘skin bashing’, for such an on point inhuman assault demands attention also.
Surprisingly the whole encompasses a variety of elements to keep the listening experience exciting; Prog and Post make appearances and are delivered in such an exquisite way as to not disrupt the overall flow. Hard to describe, more fun to experience. I’m making the time to dive in again, its my recommendation that you do the same.

https://zenithpassage.bandcamp.com/album/datalysium

93

Nocturnal Hollow (USA) – Wretched Rituals

Proving yet again that they can deliver the Old School goods Nocturnal Hollow drop another opus upon the masses. And it takes but a few seconds for the message to hit home. These guys aren’t screwing around. Brandishing a buzzsaw tone, enough hooks to strike fear in the fleshy denizens of a nearby large body of water and melodies enough to excite even those whose interests might have only recently been perked by the realm of extreme audio. This release encompasses eight tracks to spark the senses into moshtastic frenzy. Varied in texture and emblazoned with atmosphere this strangely isn’t all that removed from the assumed (genre) template, although it somehow delivers that certain something to lift it from the  hordes of wannabes. The tempos within are varied, give nods to a slew of genre stand outs including (not surprisingly) At the Gates, Entombed, Dismember, Lik, Unleashed, Carcass, Vomitory and Jungle Rot. However, in instances other influences swirl around the familiarity senses, a few which are not quite so expected; Candlemass being an example. The album flows with a fantastic fluidity, tempo ‘flares’ alight movement and the production of the pummeling (drums) heightens the adrenaline, inciting one to bop along (and that’s the only 60’s reference you’ll find here). The album comes complete with a fitting bestial throat accompaniment with and the whole carves another high caliber notch upon the totem of the acts discography for others to gaze upon in wonder and attempt to emulate.
Seriously, these guys do not get enough credit. Jump on this stat!

https://nocturnalhollow.bandcamp.com/album/wretched-rituals

92

Bio-Cancer (Greece) – Revengeance

Bored of (supposed) Thrash acts lightening up their attack? There are a litany of examples, acts, albums I could cite here. But I believe we all could. So where’s the fun in that, I’m not running a poll anytime soon. There’s little doubt why this might be the case, a few reasons are obviously front and center. But we’re not here to write a book on why, merely to put a stopper on this review segment (which has honestly already taken far too long to scribe). Bio-Cancer I’m pleased to report have yet to pander to the almighty dollar, the allure of mass appeal, the stink of riches. This album reeks of dedication, the love of the scene, although there’s another factor which is blazingly undeniable…the burning desire to stand out and be noticed. Bio-Cancer thankfully do not play run of the mill Thrash, or even traditional Metal for that matter (where’s the fun in that?) Theirs is a style emblazoned with energy, leaving little time for a breather; the riffs are delivered by the avalanche, sharp, precise and cut to the bone with the help of excellent production values. Drum salvos leave one with spastically twitching appendages. And the vocals. Well, let’s just state that this fellow must possess a throat of iron. Lyrics are spat with vinegar and venom with scant regard for the persons health or well being. Seriously, this guy leaves nothing in the tank!
Without resorting to a track by track narrative I’ll state that the album executes a barrage of blows throughout to leave one dazed, breathless, yet oddly clamoring for more of the same (audio punishment) again. Now, if only these guys would play a billing with similarly minded Raider, that would be truly something spectacular!

https://bio-cancer.bandcamp.com/album/2023-revengeance

91

And that concludes yet another belated entry in the Class of 23′ series.
Remember to support the scene, and not fear that that which normally foreign to the senses.
Cult

The Art Behind the Madness #2

The Hideous, The Diabolical, The Obscene and the Serene

(A Commentary, of sorts, on Extreme Audio Art Which Enthralls)
(PART THE SECOND)

So, what gives? Well, when you attempt to lay words upon albums (on an everyday basis for there so much on offer upon which to lay comment upon) some descriptions tend to sound much the same. It’s difficult admittedly, to scribble descriptively one brutal bands style from another all the while giving them the props they deserve. There’s only so many words which work adequately, one has to be creative in all honesty, the dictionary only has so letters, and my thesaurus is falling apart at the spine.  So, I thought to myself let’s have fun in another way. What about laying words upon the accompanying art? And that’s where many might tune out. Obviously, there are those about who already specialize in such. The Heaviest of Art come to mind. They do a fantastic job and I don’t mean to tread on any toes. But seriously, who at this point hasn’t heard of Ed Repka, Dan Seagrave, or Juanjo?
I promise to approach things a little differently.
Not one to totally give up on something without giving it a chance to breathe I’ve decided to try my hand at the Art centered review piece yet again.
Need I state that opinions are my own and that they might not necessarily reflect your own or that the humor included might be light years removed from that which tickles your own particular fancy. But, hey, it’s a creative outlet, and I’m abusing the shit out of my freedom and the given opportunity to do so.
What say we get this audio shindig started…

Come to Grief (USA) – Killed by Life
(May 2023 Translation Loss Records)

The Art

Likely my favorite image of the last couple of lunar cycles this depicts a frantic looking gent scampering from the reaching grasp of a creature made up of (in short) the wreckage of humanity. Bones, guts, sinew, skulls and eyeballs comprise the beast and there’s a unfathomable amount of it on display. One can only wonder at the reasoning behind its appetite though one thing is undeniable; the fact that the unlucky soul being pursued is about to perish. Either from devourment or from impact resulting from a plummet from the yawning crevasse greeted by his very next step.

A Few Words on the Audio

A collection of Splits and EPs throughout the bands career this sees the collective tinkering with the maniacal, touches of Grindcore and smatterings of DM upon a plodding vocally scathing base. Fans of EyeHateGod will eat this up while others might need to be lowered slowly into what’s offered.

https://cometogrieftl.bandcamp.com/album/killed-by-life

77

Terrible Sickness (Germany) – Flesh for the Insatiable
(November 2022 Black Sunset Records)

The Art

Like a what happens after the infamous photo op at The Last Supper, this depicts (as well the usual suspecrs) two mysterious characters, both bearing knifes, and a frenzied like atmosphere within which flesh is being consumed by all at an ecstatic, alarming, rate. One of the two dons a plague mask whilst the other an overall motif as if seemingly plucked fresh from a Chaos gathering within which Nurgle acolytes (too nerdy for ya?) are frolicking without a care in the world. Any fans of Monsters Inc. could well state that he/she looks like Mike (the one eyed fellow) but I much prefer the Warhammer reference. In short a fantastic painting that seethes with both Medieval and otherworldly tones that would sit comfortably on any number of flat surfaces within numerous Vatican domiciles.

A Few Words on the Audio

It takes but a few vocal utterances for a familiar face (within the early extreme audio scene) to come to mind. And one might struggle to think of plethora of names, chief among them Comecon, Pestilence and Asphyx. The audio is blistering, brutal without question, though thankfully groove laden and pleasingly rhythmic. Largely meat and potatoes (in style) sans annoyingly (often tacky) intros and progressive wankery this gets straight to the point and hammers it home leaving one dazed grinning like a loon and eager for more. Fans of Vomitory, Jungle Rot, Fleshless. Unleashed, Asphyx and the like, need this, like air in the lungs and blood in the veins, within their playlists.
Mandatory listening!

https://terriblesicknessofficial.bandcamp.com/album/flesh-for-the-insatiable

91

Chained to the Bottom of the Ocean (USA) – Obsession Destruction
(May 2023 Redscroll Records)
The Art

First off, what an outstanding moniker! The acts name truly conjures strong emotions, claustrophobic sensations, and not least of all evokes a phobia many of might not have even pondered upon before now. Just imagine…being Chained to the… well you get it! The art, well the image certainly gets those ominous thoughts a rollin’. Vivid colors and a palpable struggle motif literally jumps from the arts surface. But there’s more; tombstones, and an inner being peering out from within the main figures translucent confines; an inner being at peace with its predicament and lot in life(?). Perhaps normalcy wrapped in an outer coating of “I need to break free from my chains” before I’m dragged into the depths of many before me.
And that was rather serious. Here’s looking at it from another angle entirely.
In an attempt to combat the approaching storm, Frank, who happened to be a giant (for the purposes of this narrative), had somehow managed to wrap himself in industrial plastic wrap. Now, this wouldn’t have been all that bad, for it wasn’t the first time Frank had found himself in this type of constricting pickle. But naturally, Frank being the klutz he is, had somehow ruptured the towns main water supply and in doing so had flooded the local cemetery which so happened to be located next to the areas local power station.
One might say he was rather unlucky, others might mention that he was a constant menace who required nothing more than the loving embrace of a rhinos jaw.

A Few Words on the Audio

Truly punishing, not in the bludgeoning quick release, frenetic violence display but rather in the slow Medieval dripping water on the skull torture way. Strangely the audio on offer here is hypnotic, heavy as something even a Herculean God would walk away from in frustration, and in no great hurry to get to the point. Imagine EyeHateGod, Acid Bath (in the vocal front especially, but don’t be expecting the golden throat of Dax, rather “New Corpse” scathing chords Sammy. “The Chalice” in particular seems as though it could well be a When the Kite String Pops bonus track) and any number of Death tainted Sludge acts (whose names I only wish I could currently recall) enjoying a collaborative shindig surrounded by wilderness, adult beverages and plentiful “materials” to invoke a collective of Muse(s?) (I can’t think what the group of such is called) into spastic creativity. I’m finding that I’m liking this against my typical listening arenas and riffs of an insanely swift motif bias. There’s plentiful stomping, Messiah Marcolin instances herein as well the occasional groove passage to find your senses lost within. All in all, I’ve found I’ve scribbled more than I’ve aught to on this, my apologies, I couldn’t for the life of me help myself.

https://chainedtothebottomoftheocean.bandcamp.com/album/obsession-destruction

90

Dreadhammer (India) – Sovereign
(June 2023 Independent)
The Art

A dystopian arena split asunder with an electric push mower in retro-so-bright-my-eyes-bleeding-colors. Or can the image possibly be more sinister still? Is this a Terminator, of sorts, send from another time and universe to eradicate electric vehicles and their blight upon mankind? Or simpler yet this could merely be an ‘axe’ (a desirably sculpted guitar) send from above (whatever that might mean) waiting for the right musical to harness its power and possibly change the landscape of infernal riffery forever. The minds spins, what say you? I’m intrigued about the audio.

A Few Words on the Audio

Admittedly I discovered that the act were from India after hearing the album. I know…I know, it shouldn’t make that much difference. It really doesn’t, though I fear I must mention that India is fast becoming the …”what, this band is from where?” destination of the metal universe. One can’t forget the latest releases from Demonstealer and Amorphia and the large impression Transcending Obscurity is leaving on the extreme audio landscape (both upon audio and merch fronts). But I digress. Fear not however, for the audio here is downright impressive and not wholly what one might expect. Loosely Thrash in foundation this offers a assortment of audio that touches upon a large radius of influence ranging from Megadeth through Progressive arenas, and Hard Rock through Groove territories (to name but a few) as it leaves a wide swath of styles in its wake. Emotion is plentiful, also melody, all the more surprising as the album touches delivers wicked speed passages and a spectrum of mood to alight a smile on most genre fans features.  In conclusion (to keep this short[ish]) this is downright quite listenable and warrants a larger audience than my reach encompasses. Do the band a favor and preach their talent, their future is bright and the landscape yearns for fresh imaginations.

https://dreadhammer.bandcamp.com/album/sovereign

86

Logical Terror (Italy) – Sides of the Unknown
(May 2023 Dark Tunes Records)
The Art

Only Heaven knows why this mannequin is being assaulted by a myriad of shadows. Is this a promotional image to promote a new Daryll Hannah film within the same franchise (which hasn’t been touched upon in close to forty years), a new Disney live action feature exploring any manner of cultural grievance which they believe needs exploring or something more sinister still? For some reason with the art in mind I’m put in mind of earlier Septic Flesh imagery (before all their output started to sound much the same), though I doubt this bears the same style. Well, there’s one way to know. Here’s to pressing PLAY and an exploration of that which screams to be discovered.

A Few Words on the Audio

So, what exactly is on offer here? A description states Industrial Metalcore. Well, it’s truly as if Dino (from Fear Factory) has ben busy in collaboration with the minds behind Linkin Park. This has Djent crunch (quite the name for a new variety of cereal aimed at metalheads, right?) “drops” by the truckload and electronic accompaniments aplenty. Also harsh vox and those of the more melodic variety (although also tainted with significant angst), stylings I often associate more with the aforementioned Park’ act. Honestly, it’s taken me a few listens to fully appreciate and the allure grows more nd more the further I delve into what’s on offer. Against my initial judgements this isn’t in the slightest shabby, or lacking in appeal (although I’m sure many traditionalists, or close minded types might disagree). Recc for fans of Fear Factory, Linkin Park, newer Bring Me the Horizon and acts of similar ilk.

https://logicalterror.bandcamp.com/album/sides-of-the-unknown

81

Augurium (Canada) – Unearthly Will
(September 2023 Independent)
The Art

Part fantasy, part supernatural the art here puts me in mind of Youth aimed fantastical media for some reason. The mind wanders as to whether the monstrous being (taking up the greatest portion of the image) is friend, foe, annoyed or merely playful.
One thing is for certain, no matter the situation… this fellow is in need of a much bigger stick.

A Few Words on the Audio

Rare is it that an act can successfully encapsulate Symphonic, Technical DM and Doom elements in a sound which doesn’t come across as completely overpowering, one-sided or which sounds like a quagmire like morass (yes, I’ve been hungrily consuming dictionaries). Yet, Augurium have somehow managed it. Theirs is a style that incorporates blast beats, on point skin bashing, grin- inducing pace changes, a grandiose atmosphere and yet strays from staggeringly bang yer head against the wall boring intro arenas. And it all works exceedingly well, thanks to thoroughly impressive production values and bordering on genius composition. Think the finer elements of any number of  top notch Brutal Tech Death standouts and add exquisite atmosphere courtesy of an archaic synth foundation and a bevy of somber yet surprisingly spry melodies. I only hope my meager attempt at a brief (ha, brief!) description gives this the attention and spotlight it so rightfully demands.

https://augurium.bandcamp.com/album/unearthly-will

92

Dyspläcer (USA) – Temple Heights
(April 2023 Independent)
The Art

Boy, am I going to have fun with this entry!
Cheese, cheese and more dripping melty dairy product. Is it me, or can anyone else lust off the names of at least three movies from which this image has been cobbled?
Beastmaster, Bloodsport and a cult Grizzly on the rampage flick released a few years prior. Though let us not forget the Eric Van Lustbader nod (for those not in the ‘know’, he’s scribbled many a martial arts themed tome and, without resorting to scouring the depths of Wikipedia, he probably still does so). So what gives? What are we the listener to expect, given such a blatant example of nostalgic image ripofferry. Fug it. I’m intrigued. I need a spotter to ensure the length of rope tied to my torso is in perfevt working order. I may need to be plucked out post haste to maintsin my sanity. Here goes nothing.

A Few Words on the Audio

Running an hour in length (yes a full sixty minutes) is more than enough to soften up even the most determined “I’m going to hate this…I just know it” listener. However (wait for it) this isn’t actually that bad. Rhythms harken back to the glory days of HM (classic Maiden obviously comes to mind) and the provided melodies are solid enough to incite movement. But (I state the following as one who avoids falsetto throat antics) the vocals are undeniably those representing the variety one would likely predict (given the genre description and cover art). Whilst slowly reaching the albums conclusion I can’t help but reflect upon the earliest of Maiden era, with Di’anno (rather than Bruce) and wonder how it might all gave turned out if they’d have adopted an Eastern theme, or more specifically Kung Fu, much like these folks have chosen to. Getting back on track however, the album isn’t surprising horrid. Yes, it’s baked in cheese (which probably isn’t wholly intentional) it could do with a little spit and polish (“wax on, wax off”) but it carries with it an odd allure and although this isn’t the (early) 80’s I can well imagine this garnering a substantial fanbase, chief among them veterans who can likely list off a plethora of lesser known NWOBMH acts, given half the chance.

https://dysplacermetal.bandcamp.com/album/temple-heights

76

The Donner Party (USA) – Cutting Class
(June 2023 Soulgrinder Records
The Art

Bold and comic book esque in style the image here jumps from the page as too does plentiful homage, and I’m sure they’ll be an orgy of comments on where the two figures in question might be plucked from.
It appears the band have a mascot of sorts, and much like Maiden’s ‘Eddy’ (he/she/they/it) has experienced a great deal to get to where they are at this instant. At one point said character is seen traipsing through swamps eradicating a mysterious menace. Later, seen holding a slice of pizza with their helmet shattered. In this image said helmet has been reduced to merely shards of glass and various other materials and, let’s call the figure, “Bob” (to cut down on confusion and digit wear and tear) is weilding a chainsaw within a classroom environment. Who knows the reasoning as to why. Perhaps a demonstration? No matter the image leaps from the page to yank at the intrigue.

A Few Words on the Audio

Well poke me viciously in the eye with something dramatically pointy. This grabs the attention.
And fast! Think “Spreading the Disease” era Anthrax, sprinkles of top tier Nuclear Assault, “Power n Pain” era Whiplash, and audio wickedly stylistic to SOD and MOD (Yes, before the emails start flooding in, I know if the obvious connections) with Milano vox, somewhat similar lyrics though drenched in humor, slightly more politically cortect tones and topical values. Thrash, Crossover, smirk inducing soundbites and Hardcore Punk elements, but better yet these guys know what they’re doing and play silly fn’ fast. So just how is it that Joel Grind (Municipal Waste) isn’t featured in the credits, and I’m only just now learning of them?
Don’t be like me! This album kicks more ass than I care to mention and it’s likely to propel old school thrash fans into rabid ecstasy (at least those who don’t take life too seriously).

https://thedonnerpartynj.bandcamp.com/album/cutting-class-2

94

Malist (Russia) – As I Become Darkness
(November 2022 Northern Silence Productions)
The Art

Draped in palpable menace this is certainly an image requiring a hefty tome explanation to do any justice. Most certainly a prompt for an epic work of fiction containing Underworld tones and Cult leanings the image here reeks of atmosphere, the arcane and practices which even weird Mildred down the street has little to zero knowledge of. Or perhaps the congregation is merely delivering a pizza, a gloriously complex pie many generations in the making?

A Few Words on the Audio

Hugely melodic, yet undeniably dark in tone and scope this is sure to delight fans of traditional second wave BM (whatever that is) while also appealing to an audience who are eager to discover a new, altogether mysterious, genre without falling face first into audio (that stereotypically is thought of when the genre is announced) that one definitely needs to develop a tolerance for. Top quality audio on offer here created by a single entity, Ovfrost, who proves you really don’t need all the drama associated with being part of a band unit in order to compose top tier tunage. Much like Malist’s earlier efforts this quenches the thirst for melodic Black with spite, atmosphere and movement.

https://malist-northernsilence.bandcamp.com/album/as-i-become-darkness

91

Shvininiai Sharvai (Lithuania) – The Great Paradise of Tomorrow
(June 2023 Independent)
The Art

Damn it Charlie! Barry has gone and tripped the alarm again. I seriously have no desire to see him dissected into bite sized chunks.
– Huh?
Fer fucks sake, would you please invent something slightly smaller to deal with the winged pest problem?
– I blame my fumbling oversized digits.
And it’s those same oversized digits I’ll be asking to grab the mop if you don’t sort this shit out.

A Few Words on the Audio

Add this to the pile of audio which has arrived from outta virtually nowhere. Fresh yet bathed in an old school blistering aura this delights with both Thrash and DM sensibilities courtesy of crushing rhythms, energy to spare and vocals which are both wickedly harsh and accented. A few surprises are tossed in for added enjoyment and it would be wholly too easy to mention this appears a merging of newer Exodus and mid era Sepultura with liberal sprinkles of Destruction-esque vocals. But it’s damn close. And did I mention this is criminally addictive? It is! I only hope the act add this offering to Bandcamp in the near future to enjoy the funds they’re rightfully deserved and added attention courtesy of an audience to whom I’m eager to preach the delights of this wicked audio offering.
But seriously, check this out, it warrants attention.

91

And this my friends is the end, thanks for making this far down the page and putting up with my general silliness, unbias opinions and grammatical tomfoolery. Until next I choose to post another themed diatribe.

B

Scorching the Retinas – Yet Another Zombie Film

Yet Another Zombie Film (Review)

Zombies, carnivorous corpses, the stumbling undead, and those which are  forbidden to lie peacefully. Call them what you will. But there’s little doubt that we are (on the celluloid front) surrounded on all sides by torsos which are rotting, reeking of that which resides in the dirt and forms which demand rest, brains or flesh depending on your favorite writing team/directors point of view.
Cinema for the last five decades has become infested with entry upon entry delivering much the same motif; boy bites girl, girl bites boy, boy bites mother and so on and so forth, and not necessarily in that order. Let it not be said that there’s little romance within the genre. Truthfully it’s usually not so much an erotic kiss with fangs on the neck (ala Count ‘what’s-his-face’ or any character concocted by Anne Rice) but rather a ripping, rending orchestration enjoyed by the whole family, the neighbors, the Postman and likely the Barista who charges way too much for the get up and go juice one purchases on the way to work most mornings.
Romance however is usually the least of which one looks for, or desires most, within a genre which enjoys affairs from every possible budget. Low to no budget entries such as Romero’s 69′ original Night of the Living Dead (arguably the one which spawned the yearning for warm flesh part of the arena) to multi million $ extravaganzas such as World War Z, later entries within the Resident Evil Franchise and more recently Zach Snyder’s Army of the Dead.

_{What’s a zombie flick without a bucket of guts?}

Special effects undoubtedly play a huge part and draw substantial appeal for such outings, although not all subscribe to the “there must be guts, brains and people being torn from asshole to sternum for this to be a fantastic watch” rhetoric. The genre also has entries which appeal to more the ‘normal’, and even Arthouse crowd. In fact, the arena about covers all tastes; from comedy through deadpan serious to the outright bizarre (I’m sure most of us can name at least two films with such tendencies, with at least one having Japanese or Korean origins). Truthfully, nothing is sacred. If you can conjure two things which are exact opposites, odds are there’s an undead film featuring both as the premise, or in the title. Much like within any crowd, there are traditionalists; those who swear Dawn of the Dead is the absolute pinnacle of the genre to those who much prefer the lighter side. A crowd which may well mention Dead (Brain) Alive, Return of the Living Dead, Shaun of the Dead or Fido among their favorites. There’s even a collective who prefer the cheesier, sleazier, low rent, side of things; entries by Bruno Matteo come to mind (although I wish they wouldn’t).

_{Zombies! Zombies! Zombies!}

And inevitably there are fans who will argue (until they are blue in the face) that 28 Days Later, among others, aren’t  “Zombie” films. And I get it. I really do. But, seriously, who cares? Would you please stop ruining my fun. The genre is to be enjoyed, not to be utilized as an excuse to ostracize life long friends.
With so much on offer why bother visually consuming more of the same? Well… because it’s fun (and frequent masturbation often gets tedious and messy). So, without further ado how’s about I introduce my thoughts on a few films (which you may or may not have already heard of?)

Zombie Island (2017)

Writer/Director – Gabriel Leung
Country of Origin – China
Runtime – 79 minutes
(Subtitles)

Yes, this is an entry from China! With censorship and state control as rampant and strict as it is, this has yet to (and might never) find a release within its own borders, which is really a pity as everyone should have the freedom to enjoy all the silliness that the genre has to offer.
Back to the matter at hand.
Predictably, as the title suggests, the events here take place on an idyllic island resort. Someone gets infected, through no fault of their in and blah, blah, blah. People find themselves prey of the insatiably hungry and shit inevitably starts to hit the proverbial fan. Within no time at all the audience gets to see a transformation, hear the island has been overrun by a “plague” (not the first time this has happened apparently) and discover that cell phones are of little to no use as all signals are down (thank God for that, the amount of films I’ve seen ruined by Cell phone usage is reaching staggering heights). The surviving collective find themselves within the confines of a hotel, and naturally given the myriad of personalities on offer, individuals begin to disagree, tempers flare, and alliances form and fall apart in alarmingly swift rotation. In effect what one has come to expect is somewhat in attendance, and although there’s little in the way of flesh rending, gut munching and FX, other than gun shots, blood and extras facial make up, there is otherwise a great deal to enjoy.

_{Not to be confused with Scooby-Doo Zombie Island}

The character portrayal is believable as well the acting which allows the viewer to form empathy and strong emotions (a factor which certainly helps aid the viewing experience). The story and writing on offer is better than most, woven with actual historic events  to help propel this far from the usual outbreak for insubstantial reason nonsense. And then  there’s plentiful emotion and character interaction, all cleverly crafted with enough noir flashbacks to keep everyone up to speed.
Whilst not a film to preach the merits of to an insatiable gorehound this certainly has a fair few strong points, a few flaws to be sure, but no more than most and remains highly watchable, at least for those not expected slap stick tomfoolery (for this isn’t a comedy) chunky bits aplenty and plot devices with sufficient cleverness or imagination to forge fresh paths within a genre which oftentimes seriously requires such.

6.5

End Times (2023)

(aka State of Desolation)
Writer/Director – Jim Towns
Country of Origin – USA
Runtime – 113 minutes

The title and runtime should give one an idea of what’s in store here. And the presumption is not far off the mark. Rather than an all out run for your life, guns, grunting and chaos, type affair this is slightly more leisurely in tone.
Horror heroine fan favorite Jamie Bernadette (I Spit on Your Grave; Deja vu) plays Claire. Claire seriously has no idea what’s going on, whereas Freddie (Craig Stark, Once Upon a Time in Hollywood fame) appears a damn sight more prepared for that which has recently transpired. A virus has recently and rapidly transformed the world into a desolate landscape (sound familiar?) The majority of its inhabitants have seemingly devolved (herein lies the argument that this really isn’t a traditional Zombie movie after all) apparently relying on the “reptilian” part of the brain to survive. In essence, niceties, manners, and civilized behaviours have disappeared consumed ravenously by the impulse to survive at all costs. Our industrious duo find themselves chased and tormented (by others also striving to survive though through more nefarious means, and those of the less organized persuasion intent on consuming their warmth) no matter the direction they take. The pair manage to build a rapport, a kinship, sharing as they do, the same goals. And the film tends to center on that aspect rather than FX handiwork typically consisting of blood, guts and carnage.

_AKA

The acting is superb, thankfully not too over the top, and this serves to bring the viewership into the couples plight. Naturally, bearing in mind the films length, things could have been chopped down a smidgen for much the same effect, leaving out perhaps some of the more doomy ‘poetic’ moments. At times ET (or SoD, depending on your preference) bears a serial feel much like (obviously) The Walking Dead, though it manages to hold the attention throughout largely on account of the emotional bond which effectively manifests due to the commendable acting on offer.
Sans spoilers (gotta hate it when reviewers give a blow by blow commentary) I will mention that the film contains sufficient plot devices to keep one entertained, though frustratingly really doesn’t expand upon, or explain fully, the ‘why’ part of the mythos. Although I can see the reasoning. Obviously in times of crisis there are only a select few who ever really know the pertinent details (to all others the information is largely up for ignorant debate and conjecture).

_{C’mon It can’t really be that bad. Can it?}

In conclusion, I was largely surprised as to this films quality as honestly I’ve never really had much luck with The Asylum labels output before now, apart from (it must be said) the Sharknado franchise. Perhaps I’m not as fanatic a B movie fan as I once believed? No matter the reason, this feature is a nice change from the typical slice n dice undead affair. It boasts enough action, effective tension and instances which many of the Grindhouse persuasion will enjoy (sufficient enough to keep it from falling into Hallmark Channel hands) and performances to keep the digit removed from the EJECT button, the LA Landscape serves as a fantastic believable backdrop, a commendable soundtrack (that strays from Rock, Pop, Rap and trend trappings) adds weight to the films overall mood. With all that being said it still sports a few flaws and seriously adds little to the genre overall by way of creativity. The good however way outweighs the bad and this remains a watch for those open minded and patient enough to step away from that which the genre typically provides.

7

For a Few Zombies More (2015)

Writers – Chuck Hartsell, Chance Shirley, Michael Shelton
Directors – Chuck Hartsell, Chance Shirley
Country of Origin – USA
Runtime – 95 minutes

Did anyone else catch the Sergio Leone/Eastwood/Spaghetti Western nod in the films title? Of course you did. And as if that isn’t enough, the films opening scene introduces its audience to a horse and Chuck, its companion/rider. Quick. Can anyone else name another film (in this genre) with a horse in it? I have one in mind, but the title escapes me.
Getting back on track. There’s plenty to like about this film. Starting with the obvious fact that it doesn’t try to be anything more than it is. Which is unapologetically a shoestring budget feature. Those looking for multimillion dollar explosions, jaw dropping stuntwork and FX of the loftiest stratospheric quality might want to depart now.

_{Don’t mind me. I’m just looking for a few quality classic films}

For a Few Zombies More scores points on account of a myriad of factors, the most enjoyable of which is the films stellar, off beat writing. Think Clerks (there’s more than a few similarities on offer) complete with Pop culture references aplenty, overflowing sarcasm, and a relaxed demeanor in a world which is obviously far removed from the same luxury. The characters on display are likeable (strangely also too the villains’), undeniably quirky for the most part, though still somewhat relatable.  Interactions throughout are hilarious, topical, thought provoking, and even shed light on the why of the whole scenario, in comparison to that which has been delivered before. FaFZM also serves to add a few more elements to the already exhausted undead mythos while supplementing the whole with an intriguing nature, medium pace and sufficient plot devices to keep the experience fresh. DJ Dan (a radio host who goes gaga for fresh tunes), a rock band hoping a double album, recorded during the apocalypse, will propel them to superstardom and numerous other tidbits work to keep the attention.

_{And may I introduce The Girl With no Name}

Standout characters include a Girl with no Name (again with the Western cinema influences) who brings definite female empowerment/Femme Fatale aspect to the viewing experience, Chuck who’s on a commendable quest to locate a laser disc player and preserve the glory of film (for the enjoyment of those following the apocalypse) through re-recording the video tapes he secures following scouring missions. Lee is a survivalist/militia type. A loner with an armory, the experience to fully utilize all of the associated advantages, and a demeanor which is difficult not to appreciate.
As with any self deserving undead celluloid affair there are those in attendance whose lack of dialogue and verbal interactions really doesn’t affect the film. In this instance the shambling cadavers are of the (original) Dawn of the Dead variety, complete with unhurried gait, their appearance undeniably that of the “turned”, their makeup thick, garish (likely applied by John Walter’s Divine) and their complexion undoubtedly that which would merit an instant clock out and go home from work conversation. There’s honestly no mistaking the two sides of the extras ‘coin’.

_{Lee has cool shades and plenty of guns he knows how to use}

The films soundtrack for the most part consists of garage/punk tunes with an underground edge. A synth accompaniment effectively reigns in the climax.
All in all this is rather silly and cannot in the slightest be taken seriously, it’s easy to tell those responsible had a blast producing this. Though far from Troma parameters it still serves to enlighten the viewership as to the quality on offer by way of Independent filmmakers with an undeniable love for the genre.
The films closing words about sum it up
“Watching movies by yourself is kinda dull. It’s better with friends”
In a nutshell if I were to describe FaFZM I’d say this is much like the earliest of film from the Peter Jackson stable (again with the Bad Taste reference *Ed), but with Kevin Smith sensibilities topped off with a liberal sprinkling of the bizarre.
Highly enjoyable throughout, recommended especially for those with a penchant for cinema of grass roots origins.

A full-length offering for your enjoyment

8.5

Cult

Introducing 23′ With a Thunderous Roar Part the Forth

Class of 23 (Going Forth into the Darkness)

And…I’m back!
It’s been a strange couple of weeks. Spring has little chance to wave goodbye as Summer rolls in with a ferocious approach; bugs, heat and nature blossoming at an alarming rate. One would swear that the grass itself is attempting to choke out mankind. Thank the Dark Lord for lawnmowers, strimmers (some prefer to call them “weed whackers”) and yoga pants (sorry, I don’t know how that managed to slip in).
Without further ado, what say we dive into the freshest trends of Brutality (and I’m tempted to use that as the newest header) some so fresh they’re still dripping with a variety of unidentifiable fluids.

Thron (Germany) – Dust

https://listenable-records.bandcamp.com/album/dust

It would easy to merely pass these guys off as merely Dissection, Sacramentum or Necrophobic esque. It’s true, there are more similarities than not. However, that would be too easy, and somewhat of a cop out. There’s little doubt that melody is plentiful here. In fact, I’d go out on a limb and state there’s rarely a note, riff and/or rhythm passage which doesn’t flow superbly. Scratch that, the entire album bears an astounding fluidity of a caliber which puts many to shame. But that’s not all, there’s also surprising emotion, this has depth, atmosphere, even passages transcending traditional Blackened Death parameters and also enough variety that each track stands alone from the next.
In short, if the aforementioned acts are among the most familiar in your playlist then you need to make room. As Thron only appear to be getting better and bolder as their discography matures.
95

Elder Devil (USA) – Everything Worth Loving

Now Grindcore is a funny thing. To those looking in it pretty much all (barring the obvious exceptions) sound the same. To those in the know however, everything does.
And there’s my attempt at a little levity. Of the many genres within the extreme audio spectrum the above mentioned is perhaps one of the most difficult to ponder upon, for there’s seriously only so many ways you can illustrate how short a tracks are, how competent the drums are, how enraged the vocalist appears, and how jagged and crushing compositions are. In relation to Everything Worth Loving, I’m glad to report that skin bashing salvos far surpass ‘competent’, rhythms are pleasingly diverse yet undoubtedly pulverising and the tracks are, well… not as short as expected. Then there’s the addition of abrasive, harsh, Noise passages that’ll send many back to the glory days of “The World is a piece of shit” (Utopia Banished) Napalm Death.
So to answer a couple of burning questions;
Is this just another ‘typical’ Grindcore album?
– Nope. The album has a great deal going for it, aspects of allure if you prefer (for those curious); actual rhythms, plentiful d-beat moshtastic nastiness, vocals you understand and actual song structures.
But will a traditionalist of the scene find this entertaining?
– I guess that all depends on how open minded the listener is. Hardly experimental and whilst rooted in the foundation of the genre this boasts tendencies which borrow elements from numerous other genres without sacrificing any of the angst which purists demand.
84

Interrupting the Current Broadcast 4 Something (Completely) Different

Tir (Australia) – Awaiting the Dawn

https://tirofficial.bandcamp.com/album/awaiting-the-dawn

Touted as Dark Folk/Medieval this album promises audio of a slightly different ‘caliber’ to that which I’m typically accustomed. And it doesn’t disappoint in that regard. Largely instrumental the album offers highly evocative tones, fantastic atmosphere and textures which vividly conjure images of untainted nature, and the air of mystery which pondering upon the power of such often brings. As well the feeling that one is emerged in a landscape rife with intriguing mystery. The album also boasts a definite somber cadence, a melancholic poetry of a type that’s strangely intoxicating.
As promised this audio collection manages to whisk the listener away, plucking them from a time diseased by the trappings and encumbrance of technology to an era where life appears (an assumption based on zero experience) much simpler, an age in which nature is honored, worshipped and revered. The album strangely soothes as it embraces the senses, enveloping the listener in an unravelling audio yarn drenched in light, darkness and all manner of shades inbetween, never once losing sight of the albums foundation; the enigmatic prowess of Mother Earth.
All the work of a single uber-talented soul, Oytun Bektaş, the album begs for multiple experiences and a surrounding whereupon one might lose oneself within its inarguable majesty and delicate meandering prose. Recommended for fans of atmospheric audio (I would say BM but this is sans scathing vocals), Wild Honey era Tiamat and instrumental affairs which stir the emotions.
91

Chthon (Greece) – Eremite

https://chthonband.bandcamp.com/album/eremite

With this (their debut) Chthon have concocted a wicked hybrid of Black and Death (Metal) accompanied by haunting and ominous textures. Plentiful instances marrying dissonance with atmosphere add to the listening experience, propelling the album above merely just so so waters, and make the album sure to delight fans of varied extreme genres from afar afield as DeathDoom and Atmospheric Black. This isn’t a typical Blackened Death affair, neither is it bogged down in chuggery, run of the mill brutality or clawing at the celestial elements tomfoolery, but rather a collection of tracks which showcases a band who aren’t afraid to step ‘outside of the box’ which many choose to remain within. Remaining intriguing throughout the album demands further attention and delivers yet again upon a second visit.
Add this to the playlist and keep an ear out for these talented fellas.
83

Mammuthus (Australia) – Imperator

https://mammuthusnz.bandcamp.com/album/imperator

I’m not normally into Fuzz-laden Doom. My opinion is that most of it sounds rather similar. It’s strange then that Mammuthus stand out. Admittedly they boast all of the same attributes; huge sloth like riffs, an easy laid back approach and rhythms doused in Groove. But somehow, someway, they have my attention. Perhaps it’s that they remind me of Kyuss and early Sword? The track list has an aura which reads half BM (Bloodworm, King of the Dead, and Formless) and half vintage Rock (Long Drive and Backdoor) so it’s difficult for anyone to know what to assume merely ‘peeking in’. Rest assured however that this is most definitely road trip material as opposed to whiplash inducing audio. Huge riffs and wholly infectious not at all like being trampled by a Mammoth as this is a rather enjoyable experience (although if truth be told I’ve yet to be trampled by a Mammoth or even an Elephant for that matter).
85

Calligram (UK) – Position | Momentum

https://calligram.bandcamp.com/album/position-momentum

I went into this album blind. And holy cheeseballs does it pack an unholy wallop!
I could quite well cut this review short in stating that the album appears a bastard horned offspring of vintage Cradle of Filth (most especially Dani’s ferocious rabid dog vocal approach) and Akercocke, in as far as this isn’t traditional Black Metal by any stretch of the imagination, though does provide the riffs, rhythms and bestial attack which the genre (standard fare especially) typically delivers. It would be altogether too easy to leave it at simply that.
Calligram somehow fuse ‘experimental’ into their style without leaving the listener wallowing in WTF (am I listening to) ville. Again much like Akercocke they’ve masterfully inserted Jazz elements, as well smoky atmospheres and definite ominous tones into a whole, a finished product which also includes vicious riffs, classical arcane textures, a shocking variety of pace, instances of spiraling lunacy melodies, as well a few surprises (and often all this within the confines of a single track). I’m in shock, I truly am… this album simply leaves me with my jaw on the floor (even during repeat experiences) and I’m seriously flabbergasted that the act have managed such a feat, wilder still is that this is the first the band have been propelled into the radius of my ‘radar’.
Suffice itbto say, and to keep this from diatribe lengths, this hands down has my vote for album of the year. It smashes all my ‘weakness boxes’ and smothers my senses in sublime nostalgia all while bringing something fresh to the forest.
Just at a loss for words.
100 (this might be the sites first, Ill have to check!)

Seven Doors (UK) – Feast of the Repulsive Dead

https://sevendoorsdm.bandcamp.com/album/feast-of-the-repulsive-dead

There’s little surprise that this audio collective offers huge homage to Cult cinematic splatter affairs, nods to Fulci, D’Amato, Bava and Raimi as well a few others. What is surprising however is that the act consists of a single soul, one ultra-talented fellow by name of Ryan Wills, originates from the land of Pirates (arghhh – mateys!), Cornwall England to be precise, and that the audio offered isn’t in the least bit shabby. In fact, this is bloody good!
Old school rhythms, groove and decipherable gruff vocals (always a plus) as well exquisite moments of nostalgia to leave any gorehound of the Golden age of ‘Thatcher Nasties’ salivating. Tracks touch upon The Evil Dead, Zombi (Flesh Eaters), and a slew of other films with so many aliases (“Also Known As”, depending upon the ‘cut’) it makes the head spin and most even include rhythms, rather than soundbites ripped from the actual features, which bring memorable soundtrack clips to mind. All in all a memorable affair and a stellar way to impart the acts first full length into a discography which I’ll be watching with the intensity similar to a dark gloved physchopath on the prowl (minus the annoying quacking “score”).
86

The Arcane Order (Denmark) – Distortions From Cosmogony

https://thearcaneorderblacklion.bandcamp.com/album/distortions-from-cosmogony

How is it possible for a musical outfit to sound like two rather different acts at the same time? It’s a strange and wonderful feat but somehow The Arcane Order have captured the brisk riffs and exuberance of Strapping Young Lad along with the grandiose tone and exquisite production values of Septic Flesh. And before you get all weird and start to make a face that’ll make milk curdle, try to swallow the fact that the whole is staggeringly impressive. The album flows over with wicked leads, melodic solos and rhythms all of which  get the smirk a poppin’ and the limbs a flailin’ (I’m thinking I should copywrite that phrase). The drum element is top notch, technical, on point, and the vocal department diverse enough to more than sate those with yearnings for such (fans of The Black Dahlia Murder, Carrion Vael and the like).
To keep this short, for one could easily wax poetic on a quality such as this for any amount of time, the whole is a stellar return to form given the fact that the band underwent quite an all department overhaul (Drums, vocals and Bass) following their previous full length (Cult of None) in 2015.
Part Death, part Blackened and a smidgen thrash this is guaranteed to make waves, shake up the whos who in the metal spectrum and alight interest from long time fans and legions of new ones too.
92
A relatively short entry this time, in all honesty things on the home front are getting ever closer to reaching turmoil (don’t  ask), and I’m not honestly sure when, if not now, I’ll be able to post again.
Fingers crossed my Metal brethren, fingers crossed.
B

The Hideous, The Diabolical, The Obscene and the Serene

The Hideous, The Diabolical, The Obscene and the Serene
(A Commentary on Extreme Audio Art Which Enthralls)

Well whadaya’ know, I’ve gone and added another side chapter to the Abrasive Audio stable. There’s a story behind this, but I’ll keep it short (so as not to bore those three people who still visit this site, and others who have stumbled here on accident).
So, what gives? Well, when you attempt to lay words upon albums (on an everyday basis for there so much on offer upon which to lay comment upon) some descriptions tend to sound much the same. It’s difficult admittedly, to scribble one brutal bands style from another all the while giving them the props they deserve. There’s only so many descriptive words which work adequately, one has to be creative in all honesty, the dictionary only has so letters, and my thesaurus is falling apart at the spine.  So, I thought to myself let’s have fun in another way. What about laying words upon the accompanying art? And that’s where many might tune out. Obviously, there are those about who already specialize in such. The Heaviest of Art come to mind. They do a fantastic job and I don’t mean to tread on toes. And who at this point hasn’t heard of Ed Repka, Dan Seagrave, or Juanjo?
I promise to approach things a little differently, while still supplying a link so you can listen as you read along.
What say we get started?

Creepshow (USA) – Creepshow I
(April 2023 – Independent)
The Art
This cover is wild, vivid and busy. The unfolding tapestry of it all makes me wonder what the band/label asked for;
“Yea, go hog wild. Look at the track titles. I want it all in there, Ghosts, Dracula, a witch, a graveyard, a mummy. Shit, toss a few Goblins in there while you’re at it. But don’t forget the bloody pentagram.”
– Ok…but no superheros.
“Yea, we wanna keep this within the realms of possibility.”
– Ok…Ill break out the crayons.
All this and not a single mention of King, Romero and an ooze like flesh eating entity which likes to catch the rays at a secluded lake full of horny teens.

A Few Words on the Audio

https://creepshow.bandcamp.com/album/creepshow-i

Let’s not beat around the bush here, the whole soundbite plucked from 50’s Gothic horror movies coupled with DM/BM has been done before, right? It has… however the addition of D-beat, Crossover and Synth elements somehow propels this into godly realms. Imagine if you will Cradle of Filth (in their prime), albeit minus the lengthy build-ups, mixed with Werewolves of Siberia (or any number of others whose quality isn’t quite as good) 80’s styled horror/Cult cinema themed Synth, toss in whiplash paced Blackened Speed, church ‘organs’ not surprisingly a dollop of schlock (or “cheese” if you prefer) and dark humor and the effect? Well, I’m left hurting and the smile on my chops is sizable enough to make those around me think I’ve committed a crime and have gotten away with it. In all honesty, this has no business being this criminally good. And I’m left in shock that I haven’t traipsed across the Creepshow moniker before now (in regards to a musical act).
Need I say jump on this pronto? Or to prepare for a workout and a devilishly exquisitely crafted time? Bring the popcorn, but bear in mind it’ll probably be scattered everywhere once this is through.
Fkn’ outstanding are a couple of words which about cover my thoughts on this!
98

Godslut (Poland) – The Procreation of God
(May 2023 – SelfmadeGod)
The Art
Before I ponder on the image, I feel I must mention the bands moniker (insert obvious childish commentary here). With that being said let’s move on. First off, this art is wicked vivid. The flames, the intensity, the ominous nature. Just damn! One wonders where the inspiration might have came from, then obvious BM controversial schnanigens of yesteryear come to mind and the wheels screech to a grinding halt. Although the structure here appears a great deal more ornate, ancient and regal than the unfortunate house of worship which was once located happily enough in Norway.
The image offers an extension of sorts above the main BBQing Christians on a skewer type action, perhaps it’s a look behind the veil of sorts upon those in charge on a grander scale? Or merely a Grandaddy cathedral calling the shots and dishing out punishment upon a lesser form who hasn’t managed to hit the yearly quota?
Or alternatively –
I guess someone forget to read the fine print
“…CAUTION. Hypocrisy is highly flammable and must be treated with extreme care.”

A Few Words on the Audio

https://selfmadegod.bandcamp.com/album/procreation-of-god

Well, I’ll be a monkeys!
The promotional material here was spot on (which is rare) in stylistically likening this to, vintage, Decapitated (whose moniker for some reason always manages to slip the memory). Driving and riff laden the audio here amazingly finds the delicate balance between Groove and Brutal. The production is crisp which aids especially in the music’s stellar delivery. And boy, does it ever make an impactful impression! Admittedly, the audio isn’t ‘all’ Decapitated, it tells of other influences (Vader, ironically another Polish outfit) to a lesser extent. But the whole works, the musicianship is superb, compositions exciting enough to keep boredom at bay and the vocals are biting, decipherable too which is always an added bonus. In fact, the album is a damn sight better than I had initially assumed and is certainly up there with the quality of the eye catching art (where might I pick up a T, guys?)
90

Withered Throne (USA) – Enantiodromia
(December 2022 – Independent)
The Art
The albums title about says it all “…the tendency of things to change into their opposites, especially as a supposed governing principle of natural cycles…”
Seriously, a pregnant tree (I only wonder if it identifies as human?). Curiouser still is that the blooms, rather than fruit or flowers, are disembodied fully developed heads. This element incites the Muse into a creative frenzy. How is this the case, where (is this the case) and why? Is there someplace an unfortunate fellow wandering around with extreme groin area (bark) burns? Or stranger yet a paternity suit pending. The mind spins as to the bizarre possibilities and ramifications of such a predicament.

A Few Words on the Audio

https://witheredthrone.bandcamp.com/album/enantiodromia

Technical in both brutality and delivery, the tracks here boast an epic nature and enough movement to keep the merely curious interested for the long haul. High points include production values, the caliber of the skin bashing battery, inventive lyrical content and the fact that the album thankfully remains this side of the ‘you’ve lost me within technical wizardry’ realms.
Recommended!
84

GrimEntity (Belarus) DSM-5; The New Chapter
(Feb 2022 – Independent)
The Art
What a pleasant bouquet!

It’s not however until closer inspection that one discovers the floral tableaus decidedly more grotesque accompaniments; hands, feet, a battered head or two. This really isn’t that which first appeared to alight upon the retinas. Might this in fact be similar to that which a crime boss might send another (rival bosses) spouse; Happy whatever Day… here’s your husband (who somehow managed to get tangled within my garden and business affairs). Oddly this is rather fitting, as it’s currently Mothers Day here Stateside.

A Few Words on the Audio

https://grimentity.bandcamp.com/album/dsm-5-the-new-chapter

Not wholly Grind, not fully DM and far enough removed from Goregrind and Slam (to receive attention from my senses) the tracks here deliver a wicked hybrid of many a genre. Rather than adopt the less is better (vintage) ND approach, GrimEntity execute their brand of brutality in slightly longer, yet still condensed bite-sized chunks. Herein the riffs are vicious, dense and bludgeoning, yet there still remains a definite melody and ‘playfulness’ throughout rather than a scathing noise assault. The vocal duties appear shared which adds a certain quality which many within the same arena are devoid. Overall, a fantastic (slight) detour from the GC norm, an audio collective that integrates Crust, Hardcore and other stylistic elements making for a refreshingly infectious listen. Recommended for fans of NoMas and acts with a similar creative attitude towards the GC and Grind arenas.
82

Burning Witches (Switzerland) – The Dark Tower
(May 2023 – Napalm Records)
The Art
A creepy castle, a moon with a skull motif, streams of crimson and wickedly erotic wraiths. Count me in! Although I’m of the belief that this has little, if anything, to do with a certain series of Stephen King books, this image successfully screams Gothic and Cult Vampire movies from yesteryear. And also likely (sight unseen) also introduces the band themselves. I’m not sure why but this puts me in mind of vintage Ozzy material as well HM covers plucked from the heyday of the scene, although saying that really gives the art (and artist) little justice as the image speaks of painstaking detail, the hours spent conjuring a visualization to full fruition and undeniable talent. Me thinks it’s a perfect pairing to any number of Hammer features showcasing the insatiable urges of a certain blood thirsty Hungarian Countess (Bathory). Though I’m sure many will point out the fact that there’s more than a single lady on display here. To which I’d answer; What… can’t she have friends, cohorts in crime, girlfriends into the same (nefarious) pastimes?

A Few Words on the Audio

https://burningwitches.bandcamp.com/album/the-dark-tower

Typically, I’m not a fan of HM. There are naturally notable exceptions. And strangely this appears to sit comfortably in that niche. Think vintage Ozzy (the flowing riffs, the speed, the melodies; naturally Randy’s Rhoades comes to mind) coupled with King Diamond (lyrical tones and vocal gymnastics), Europe (I bet you’d never thought you’d see mention of their name here, but seriously some of their material is rather listenable), Motley Crue (for there’s undeniable energy throughout this album), and Heart (for much like them this also features a powerful, evocative, vocal ‘front’ of the female persuasion) and you’ll be close to what’s on offer here. In essence, this could well be categorized as traditional HM (although it has Doom, slight Gothic, and Speed Metal tendencies) it holds a great deal of allure for those curious as to the genre itself and huge fanbase potential.
Place this in the guilty pleasure folder as I’m enjoying this a damn sight more than I think I should be, I’m certain a great many will publicly state distaste (whether it be based on normal preferences, or what they perceive their peers might think, or that the spouse also likes this), while privately spinning this whenever possible.
90
And that’s about it for the new Abrasive Audio segment. Feel free to comment, like, or suggest an act for me to pounce upon.
Until next I decide to scribble upon audio which has captured my attentions (for any number of reasons),
B

Dollar Store movie Marathon – The First of 23′

Dollar Store Movies
The First of 23′

And it appears that  I cannot help myself. The Muse, bastard that she/he is, is prodding away demanding that I impart words upon that which I consume, in this instance visually. Sure, I could write about blockbusters, that which most everyone enjoys. But why? Everyone and their grandma does that. Instead I’ve chosen to direct my attentions towards the Independent side of the celluloid arena, towards features which deserve attention and talent that demands it. Obviously a few films slip through the cracks and a few larger budget affairs make their way into my usual ‘haunting grounds’. Nevertheless, I’ll endeavor to answer the nagging question; can you pick up a decent movie for about a single dollar (inflation and all).
Onwards to my findings. And before I forget, a Happy New Years to all (editors note- this is a much belated entry), here’s hoping these upcoming 365 days provide that which you’ve worked so hard for and that those around you interact while exuding the barest minimum toxicity.
Stay strong my genre loving friends.

Universal Soldier; Day of Reckoning – 2012
(USA)
Writers – Doug Magnuson, Jon Greenhalgh, John Hyams
Director – John Hyams
Runtime 114 minutes
Before I scribble anything regarding my thoughts upon this film I should mention that this isn’t a feature designed for those with light sensitivity or for those who suffer from seizures brought on by flashing imagery.
Now with that out of the way, here are a few thoughts…
The forth in the Universal Soldier series, this film finds Scott Adkins waking from a nine month coma (which strangely leaves me wondering if he ‘spawned’ something), an extended nap resulting from a brutal beating and home invasion, an impromptu visit from a masked trio who decided it prudent that they not only beat him, but also murder his wife and daughter too. Well as you can imagine John (for that’s the characters name) is pissed though still slightly fuzzy as to his most recent past. Memories come back with a pace which would make Royal Mail jealous with the aid of a few visits from Andre – I used to be a UFC champion – Arlovski. As well as promoting recollections with his fists, Arlovski also uses his feet, an ax, a baseball bat and quite surprisingly also a Plumbers truck (though strangely he doesn’t charge by the hour for this service). Whilst getting Louisville Slugger imprinted upon a multitude of his limbs in rapid succession, John has an epiphany and an abrupt change of heart in regards to defending himself effectively and fighting back. And boy, does he ever know how to turn the tables. The movie has been brutal up until this point but has now been propelled into gas-guzzling overdrive.

Trailer courtesy of StudioCanal UK

John has suddenly found a new lease on life, but who, what and why are people trying to kill him? Yea, I’m not here to give away the plot, or even a blow-by-blow commentary (although I am tempted) suffice it to mention that this installment in the U.S. (again with the abbreviations, what gives?) franchise delivers the goods albeit with plenty of solid, easily grated, dairy product and enough grunted machismo to perk the attention of most alpha males within a two-mile radius. And if Arlovski and Adkins trading blows isn’t enough, Dolph (the hefty Russian boxer from Rocky IV and numerous action flicks) is also on hand to dish out one-liners, get the troops riled up and test Mr. Adkins combat proficiency. But let us not forget Jean Claude (Van Damme) who appears as a chalky native (am I allowed to say that?) with the ability to flip the switch on dormant incels with his use of disorienting strobe effects and his unique ability to talk to others through mirrored surfaces.
This is at times puzzling, startling mesmerizing (I found myself chewing on the couch at one point most probably due to JVD mind control expertise), and somewhat silly, but it isn’t however ground-breaking. The choreography truly saves this feature and it offers plentiful bruising action to suffice those who demand such. At best it’s an intriguing waste of close to two hours, which could he cropped to ninety with much the same effect.

7.5

Kill Order – 2017 (Canada)
Writer/Director – James Mark
Runtime – 78 minutes
David is a typical high schooler. And yet, he isn’t. Raised to believe he’s normal, he is in fact a result of human testing. Testing designed to elicit the ultimate something or other when “called upon”. When David’s school day is interrupted by those responsible he’s drawn into a manhunt. He’s a valued asset and those spending the money behind his testing require his services.
Therein lie the extent of my spoilers.
For a low budget affair this showcases eye- widening martial arts action, fantastic choreography, plentiful action, half decent acting, and even a few familiar faces. Admittedly, this type of story has been covered before. What Kill Order brings to the table however is a delivery that is competent including enough treachery, intrigue and WTF moments to keep the audiences interest throughout. Flashback sequences flecked with fiery crimson hallucinatory images are a standout as well the aforementioned flying fist and face kicking foot flurries, top it off with a slice of cheese (all brilliance needs cheese let’s be honest) and a villain that incites instant emotion and you have a film which warrants a view. And another winner from the Raven Banner stable.

Trailer courtesy of Movie Trailer Source

Funfact; David is played by Chris Mark (the director’s younger brother), this is his first starring role. The action and character storyline continues in (2019’s) Enhanced.

8.5

Nightshade – 2022 (USA)
Writer/Director – Landon Williams
Runtime – 90 minutes
Rather than piloting airship and shooting at oversized bugs Dina Meyer is instead a hypno- therapist. In this role she hopes to help Ben (Lou Ferrigno Jnr.) a sleep depraved cop, knee deep within a chilling murder spree investigation, find calm. Not all is it seems however. Ben’s dreams get stranger, he can’t account for blocks of time, and his partner begins to suspect something is seriously amiss.
And… that’s where the spoilers end.
Although easy to watch, this film unfortunately suffers from a myriad of issues. It boasts a made for TV ‘flow’, is largely predictable and bears a soundtrack which is, for the most part, annoying. The acting is laughable in areas, the flashback/dream sequences are rather disorienting and the story could honestly have been better. It’s strange then that I managed to reach the finish line (or the credits if you prefer). I had my fingers crossed this would get better and they stayed painfully tight until the credits rolled. I’m sad to state that even Dizzy Flores couldn’t save this cinematic venture, however it was a nice distraction to be transfixed by her beautiful emerald orbs, if only for a few brief seconds.

Trailer courtesy of SP Releasing

This is in no way amidst the worst the low budget arena has to offer, but then again no where near the upper echelon of output by up and coming talent either.

3.5

Arena – 2011 (USA)
Writer – Tony Giulio, Michael Hultquist, Robert Martinez
Director – Jonah Loop
Runtime – 94 minutes
Life often hands you lemons, perhaps oranges, sometimes (more often than not) a handful of steaming dung. But it rarely hands you an axe, only then to inform you that you have to kill, in order to stay alive. Such is the situation that David (Kellan Lutz, Legend of Hercules, Immortals) finds himself in, with a combatant poised above him, with a huge blade swinging downward, he needs to make his decision. And fast, lest Samuel L (Snakes on a Motherfuckin Plane) Jackson send off his recruits for a brand spanking new (dazed and confused and completely unwilling) replacement. But this isn’t life, it’s a game show of sorts. An arena in which only the strong survive. Naturally, this competitive affair is dark web material, and not so much a  Disney Channel exclusive. “Death Game” (for every sport needs a catchy moniker) is popular. Can it, however, be tamed, purchased as a franchise, used to sell burgers, lycra sportswear, catapult former combatants to places of power, or be made into a series of provocatively posed Funko Pops?

Trailer courtesy of gotohelltown4

Ummm… Probably not. But this is damn entertaining, is chock full of B movie values, offers plenty of cheese and boat loads of cringe worthy one-liners, and will likely appeal to those who prefer their action bloody, plentiful, and larger than life, as if ripped from the pages of a comic book. In fact, the premise is remarkably similar to Mortal Kombat minus the exotic locations, magical otherworldly abilities and mythical beasties ready to fight at the merest mention of kibbles.
This contains most of the B’s  (for those taking notes, these include Blood, Babes, Boobs, Beasties and Brawn) any fan could wish and delivers a stellar viewing experience, though likely remains one of Mr. Jacksons lesser known roles.
A minor personal qualm is that this could have showcased more brutality with a probable Unrated version and less annoying Frat party scenes. Otherwise, this is an R feature which accomplishes what it sets out to do, a near perfect waste, or glorious escapism if you will, of a little over ninety minutes.

8

Rise of the Footsoldier (4); The Heist (Marbella)
2019 (UK)
Writer – Wil Gilbey, Andrew Loveday
Director – Andrew Loveday
Runtime – 85 minutes
Pat is a goon, a yeti, a big bloke. And you don’t fuck with Pat. Tony and Craig (“Rolfe”) however are slackers, dipping into their own supply and down to party, rather than stay on course. When Pat (Craig Fairbrass)  decides to go after the geezer who put him in the ‘nick’ (or prison, for those who aren’t down with the ‘local lingo’), he finds hinself in Marbella (Spain) knee deep in blood, pills, pussy but most of all people he shouldn’t trust. He’s called on Tony and Craig as backup. Are they going to arrive, is he going to avenge his saboteur, will he land the next big score? Will the word ‘Cunt’ be uttered so many times that the BBFC are forced to invent a new ratings label?
The questions are as plentiful as bloodshed and colorful language as this rolls across the retinas. Many will be answered as Pat leaves a trail of bodies in his wake and his comrades a trail of broken bottles across Europe.
Drenched in dark humor, sun, nekkidness, and double crossing criminality this definitely isn’t a film for the whole family but rather to be enjoyed by those who like their celluloid grimy, easy to follow and draped in violent unabashed wrongdoing schnanigens.

Trailer courtesy of Signature Entertainment

Those familiar with Lock, Stock, and Two Smoking Barrels, Layer Cake and Snatch are sure to enjoy what’s on offer here.
A blurb on the films cover reads “… violent fun” and I whole heartedly agree. This isn’t quite that of the Guy Ritchie standard (the aforementioned films) but it is most certainly worth the (close to) ninety minute running time.

8.5

This is the forth installment of the Footsoldier (Essex mafia) series with a proposed remake of the original (entry) in the works. If the reviews on IMDB are to be trusted this is the weakest entry in the series, quite honestly this only makes me that much more intrigued to see the others, perhaps even scribble a few words to express my thoughts?

Plucked From the Depths of Tubi

Rampant  (2018)
(South Korea)
Writers -Jo-yun Hwang, Shin-yeon Won, Hwang Jo Yoon
Director – Kim Sung- hoon
Runtime – 121 minutes
Subtitles

Set in Feudal Korea (around the Qing dynasty era)  this tale tells of an overconfident War Minister, the introduction, and effects, of gunpowder, rebellion, the marauding undead, and a Prince who wants nothing more than zero responsibilities.
At long last, a feature which combines sword play, lush and lavish scenery and costumes, treason, intrigue, and legions of flesh-ripping demons in the form of pale eyed, sharp toothed, insatiable zombies. Naturally, this premise has been tackled numerous times before utilizing a myriad of budgets ranging from shoestring to sizable. The budget here is undoubtedly closer to the former and showcases the realization and fruition of attention to detail creation and production, brought about by a quality cast, excellent writing, commendable direction and a myriad of expertly chosen settings. Without a doubt the excellent soundtrack and grandiose score add to the proceedings, even when fists, kicks and swords aren’t cleaving their way through swiftly moving tides of pallid flesh. The undead aren’t of the shambling variety, these fellas have a goal and will stop at nothing to get their teeth around a warm, wriggling, snack. And there’s hordes of the bastids.
With slight variations on traditional undead mythos and dark humor as well choreography of the top notch echelon Rampant delivers.
The story is easy to follow, a bevy of main characters which elicit strong feelings have one rooting for the livelihood of the cast and the demise of one who only wishes for a loftier position amidst such turmoil.
Strong performances from the cast, including Lee Chung (the crown prince) played by Hyun Bin and the main antagonist (the corrupt minister) Jeong- Hwan Kong help drive a strong story which rarely let’s up. The film provides unpredictability, dark humor throughout to alleviate the tension, and crimson splattering swordplay schnenigans to please the most discerning of fan. The finales showdown is one for the ages and again toys somewhat with traditional undead mythos. Thankfully Rampant sticks to its premise, stays true to its historical roots, continues to display stunning vistas and clothes and strays from corny/cliché arenas whereupon most zombie affairs (regardless of the setting) typically wallow.

Trailer courtesy of Well Go USA Entertainment

In conclusion, for this seriously warrants a salivating diatribe to express my appreciation, Rampant is a stunning celluloid affair which somehow manages to effectively marry treachery, drama, action, history and emotion without submerging itself too deeply within Tsui Hark depths showcasing over-the-top attributes, Anime sensibilities or smirk-inducing outlandishness. Rampant is, in short, a film which warrants attention, exudes appeal and delivers upon all fronts. Add it to the watch list, you can thank me later.

10

Featured Review

(And obviously not a single $ movie)

Crimes of the Future (2022)
(Canada/Greece)
Writer/Director –  David Cronenberg
Runtime – 108 minutes
Quite the shocker to open this film, and I’m not merely talking about a youngsters obsession with Pica (an irresistible urge to consume that which isn’t food).
The movie continues and introduces Sol Tenser (Viggo Mortensen) and his ‘partner’. Both are performance artists who specialize in live “operations”. Art has transformed, rather than ink, paint and the like, the pair’s shows utilize technology, software and varied manipulations of the body.
Shows of this type are hardly rare, not commonplace, but more for the elite crowd, those who pine for the next big thing. Naturally, Cronenberg being Cronenberg, on screen antics are of the  eye-widening variety. Think ( the New World Order shenanigan’s of) Videodrome colliding with (the alien though strangely organic elements of) Existenz. Gloriously grisly yet hardly brutal for brutality’s sake the film offers a smorgasbord of scenes to shock, though heavily cloaked in an artistic sense/mentality (much like Buttgereit’s more celebrated outings, such as Necromantik) even those familiar with the director’s past outings.
Slathered and doused in erotic values the film depicts a society far from today’s standards. The human body has evolved; pain is a thing of the past, unidentified internal organs are growing and infections no longer pose the catastrophic nature they once did. Sex in its current form is obsolete; penetration is performed not by flesh but rather with a surgical tool, a knife (or whatever one can afford), and its caress of the human form.

This isn’t however all the film offers, much like in Existenze there’s also a rebellious element, of the more nefarious type than merely cutting up ones partner on stage, or rampant body modification.
Naturally, said element have an agenda; the embracing of evolution rather than the shunning of such. And not forgetting the mysterious aspect too. A pair of actresses, mechanics of a kind, steal most every scene in which they appear, they exude a mesmerizing playfulness, exhibit a shrouded enigmatic demeanor and arentbtoo shabby in using their tools either, one scene in particular comes to mind within which any Cult genre fan will like think upon a sleazy Abel Ferrera feature (produced years previous to Bad Lieutenant featuring Harvey Keitel).
In trying not to divulge too much, I’ll curtail my narrative in hopes that I don’t further spoil any viewing experience.
Kristen Stewart, Scott Speedman, Don McKellar and Lėa Seydoux round out the cast of a tale which might take a great deal of concentration for some to fully appreciate, others understandably might not want to bother with the struggle, while others yet might find the film slightly comical in its otherworldly surreal nature. Most I’ll imagine will be left slightly frustrated at the films climax.

Trailer courtesy of Movie Trailers Source

Personally, I enjoyed the stunning array of SFX, the marriage of flesh and machinery (one just knows that Cronenberg must have a thing for H.R. Geiger-esque tableaus), commendable acting (within a feature which must have been rather confusing to be a part of), the fact that it isn’t by any means a typical cinematic outing, the mystery which a few of the main characters bring with their role and the films fascinating approach to what could possibly be mankind’s next (evolutionary) step (if we aren’t all reduced to piles of ash first, as the result of a nuclear free for all).
Although the film has its faults and tends to stray too heavily (for my tastes) into artistic arenas, there’s little doubt that this film will divide its audience, spark controversy and evoke discussions. This is after all what Mr. Cronenberg is known for, and in that regard, this doesn’t disappoint.

7.5

Cult

Introducing 23′ With a Thunderous Roar (part three)

Class of 23 (part the third)

And…I’m back again.
The sites fearless dictator is busy, what with insane hours spent at work, the unpredictable antics of a seemingly psychotic six year old and all the other duties that being a responsible adult brings to the table. Poor bastard!
So, it appears I’m still running this shindig.
Onwards to that which captured my attention recently, need I also mention that the assortment on offer here were all released fairly recently? Well. I just did.
Without further waffling let’s breakout the headphones and get this shindig started.

Triumpher (Greece) – Storming the Walls

https://triumpher.bandcamp.com/album/storming-the-walls

Not typically a fan of “traditional” Heavy Metal (if there is still such a thing, there was in the late 80’s) you can imagine my surprise when I was transformed to malleable jelly, a true vegetative state, as this album reached its finale. So, what is it about Triumpher? What factors remove them enough from other acts in the same arena to make them so palatable to my senses?
For starters, the vocals aren’t annoyingly falsetto but rather sport a fantastic range to complement the stellar epic compositions on offer. All the elements are here, there’s nothing hugely unpredictable (bar the albums criminally infectious aura and majestic flow) yet the album doesn’t feel cliché or cheesy, as is the compartment many with a fantastical edge fall into. The rhythms herein are oddly familiar, varied, exciting, rousing, with atmospheric even evocative accompaniments , yet the whole is far from copyright infringement realms. Somehow Triumpher have fashioned an album which fits nicely within the genres parameter but yet strangely boasts an appeal, an undisputable allure to those who might not normally traipse into the same sonic arena often associated with Manowar, Rhapsody or even Iron Maiden.
Are Triumpher bringing in a new era, a resurgence of sorts? Probably not, though there’s little denying that this Greek slab of HM will stand the test of time. For it is that darn impressive! Give it a listen, you can thank me later.
96
Hyperdontia (International) – Deranged MLP

https://hyperdontiaofficial.bandcamp.com/album/deranged

What? An album from a teeth obsessed act which doesn’t boast such on the cover? Not to worry though, as that which is on offer is a fantastically claret soaked BnW rendition of what happens when you choose to meddle within demon evocation activities then decide to take a nap without reaping the full benefits of such.
But what of the music? Well, those with any knowledge of the act (I’ve only recently discovered that they also offer a veritable library of Splits to also dive into, as well a couple of full lengths) know that they don’t shy from offering top notch limb-flailing audio. I’m pleased to state that the four tracks (what, only four? I’ll be left wanting… and that’s the point!) on offer here are of the quality for which the act are already known; rumbling DM encompassing both Old School and ‘fresher’ incarnations of the genre, melodious leads and nefarious solos, bass twiddling antics and the delicate balance of mid paced and brutal, but let not forget vocals of the instantly appropriated variety. It’s all here and the band once again prove why a huge amount of attention is upon them when something new drops.
Hyperdontia do not disappoint!
90
Orthank (Russia) – s/t EP

https://orthank.bandcamp.com/album/s-t

Seriously, how can I not delve into the depths an album where within the album’s art a constricted figure is seen tightly clenching an unfortunate troll within his grasp?
I cannot. So, here we are.
The album’s opening gives off the impression that one might be in for Doom stylings, the assumption fades as blasting BM takes the baton. The style continues and I haven’t tuned out, or hit Stop, yet, largely on account of the audio not quite reaching Raw BM waters. Somewhat dissonant though still powerful, ferocious, and undeniably ominous the album continues to weave an intriguing narrative (centered around the exploits of fallen angels and Nephilim) which some might want to explore further, Orthank have graciously included lyrics for just the same purpose. Vicious yet strangely hypnotic, the album offers a delightful variation in both pace and composition (elements of Raw, Atmospheric, Pagan and even smidgens of Post are present) somehow managing to keep the attention for its four track, forty minute, entirety.
The album itself is featured as a free download (well, there’s value for money) though delivers a quality which deserves plentiful denomination of currency tossed in its direction.
In closing, it was the windswept fuzzy hair (art) which brought me here, however it was the ferocious nature, inventive lyrics, and unpredictable soundscape which locked me into a prone, enthralled, position.
84
Idolatrous (USA) – Sorrow on Midgard

Rather than tackle the Melo Death Viking arena utilizing an assumed style, or much in the same way another well known Swedish act within the same genre (cof* Amon Amarth) does it, Idolatrous have instead chosen to contemplate going about it another way. How, you might ask. Well, by including an excellently crafted symphonic foundation. And the album sports atmosphere throughout, and… (wait for it) also plenty of melody. In fact if there were ever a melding of Dethlok and Amon Amarth (with a symphonic background) this might be what it sounded like. So, to clear things up. If you want another act who aren’t too different than one you’re already used to, and fancy heavy synths in the equation. This is most probably where you should turn.
All in all, and surprisingly, this is not at all shabby. Not altogether mold-breaking, but it survives the replayability test. And offers most likely an act, for those Stateside, who are a great deal more affordable and accessible on the live setting front.
78
Spirit Possession (USA) – Of the Sign…

https://spiritpossession.bandcamp.com/album/of-the-sign

And just when one begins to think there’s little new that the BM arena can possibly offer along comes an absolute belter release such as this.
A savage mix of Bestial/War/Black this delivers a ferociousness within its chaotic whirlwind nature which is rarely matched.
The vocals are seemingly hurled from a yawning Abyss, a fantastic lo-fi touch, which fits perfectly, to please those hankering for such.
If I were a seasoned musician I’d be able to wax poetic upon the way in which the guitars are handled, the progression of chords, the stylistic anomalies and wot not. But I’m not so I’ll merely state that its wickedly deviant from the norm, however it works to an extent which raises gooseflesh. Both chilling, ominous and frenetic this appears to be the breath of fresh air (within the darkest of genres this seems a slightly humorous descriptor) many have been eager for, although to state that this doesn’t also shimmer with the haze of the vintage (arcane) ways which everyone is already somewhat familiar would be a gross undertaking.
95
Soulcarrion (Poland) s/t EP

https://godzovwarproductions.bandcamp.com/album/soulcarrion

Pressing play on this I was half expecting a Deicide type clone (Jeez -again with the artwork!) I was aghast however, in the best possible way, to discover that this EP has more in common with vintage Terrorizer
(especially in regard to the tightly stretched skin salvos). The drum compositions warrant the limbs to flailing, much like “Commando” helmed Terrorizer, and the head to bobbing (keep those dirty thoughts to yerselfs). The accompanying percussion has Old School written all over it, veering more toward DM rather than political angst-ridden Grindcore. There’s groove aplenty throughout these four tracks and the band aren’t afraid to let their assorted influence shine. This audio collection closes out with slightly more menacing style than featured in the previous three tracks. A DeathDoom style, slowed down some, boiling over with ominous tones, ala classic Orbituary. A fantastic way to close-out four tracks to please any veteran of the extreme underground DM scene.
Nothing altogether ground-breaking here, but it doesn’t matter as this obliterates all the right boxes.
Just try to sit still as this bounces betwix the ears!
89
Runemagick (Sweden) – Beyond the Cenotaph of Mankind

https://runemagick.bandcamp.com/album/beyond-the-cenotaph-of-mankind-2

A supergroup of sorts, featuring veteran players from across the Swedish Extreme Audio spectrum, Runemagick have amazingly been rather stable in regards to their lineup throughout the years (well since 2000 anyway, in 90′ and for a number of years they were known as
Desiderius). Throughout their over thirty year career they’ve matured (depending upon through whose eyes you look) dramatically, even in certain periods setting standard for other acts to reach. In this instance, within their thirteenth full-length release, the act have somehow managed to attain the stellar heights of yesteryear (rather than many others of similar veteran status who merely chug along and choose to release the same old, same old, year after year). This album flows with zero examples of instances which appear out of place. Naturally rhythms and chord progressions exist which bring to mind undoubtable masters of the genre (timeless acts such as Candlemass, My Dying Bride and Paradise Lost) but that’s perfectly ok in my audio Bible. In fact I embrace it, unless it all too obviously crosses the way too much, let’s call a lawyer, line.
There’s an ominous nature which exists here which is palpable, though that’s not all the album is about. Compositions also boast delightfull pace variety. There are most certainly passages which veer more toward Death, rather than Doom albeit of the mid- paced madness type. Dissonance mixes with sweeping rhythms, arcane textures and an unhurried vocal approach to form a marriage, of sorts, a union to put the naysayers to rest. For those who have their doubts Runemagick are back, and with the quality on offer they aren’t falling into obscurity anytime soon.
96
Old Dirty Buzzard (USA) – What a Weird Hill to Die Upon

There were two things which grabbed my attention on this promo. First and foremost is that the act is signed to the same label as the almighty Acid Bath, the second their wicked logo sporting bones, sinew and assorted bits n pieces, and lastly (crap, that’s three!) their stylistic description.
Touted as Motorhead, Blue Cheer and Black Sabbath cavorting (ok that’s my word, they used “crammed”) in a dumpster with the likes of Lynyrd Skynyrd and Howling Wolf (whomever this might be).
The description is apt; the first two tracks bear definite NWOBHM meets RockCountry, an aura doused in grit and whisky guzzling attitude. Surprisingly, the music ain’t half bad. A fact if which I’m glad cus’ quite honestly I had little idea of what to think, as the track titles lend the album a Rob Zombie-ish feel.
Further in the album falls into a strange Infectious status, if truth be told. A distinctive diesel stench laden raunchiness Rock n’ Roll texture that’s doused in Sludge with pleasing Stoner Rock undertones and a slice of humor which a whole bunch more acts could honestly incorporate. All in all, a concoction and collective (of tracks) which are delightfully removed from the same old, same old.
In certain instances the audio puts me in mind of (a side project from assorted members of GWAR entitled) X-Cops, in others the earlier works of Sword, the (short lived) 70’s act White Spirit, (the much underrated) Olde, as well, and more obviously, Motorhead and even to a lesser degree Hawkwind. There’s a lot going on here, an open mind and appreciation of vintage Rock (not classic persè) is a must, every track owns unique qualities with some being decidedly more nostalgic of certain vintage than others. Give this a moment of your time and take a well-deserved break from the blistering and brutal.
Is it strange that I hankered for a cover, I’m intrigued as to how these guys would handle The Wolf, Killed by Death, The Hammer, Limb from Limb or any number of other Lemmy helmed deep dive tracks. Perhaps in the future, eh?
87
Recc from Horror Author Fiend Gottes

Lurk (Finland) – Aegis

https://lurkdoom.bandcamp.com/album/aegis

Before I lay down my thoughts upon thus I feel I must mention a little something about the label. Transcending Obscurity are literally taking the Metal universe by storm. Not only are ‘they’ offering up a slew of amazing artists to discover (from around the world) the label also boasts a stunning array of merch (to support the artists and small businesses); jackets, tees, mugs, shorts and denim. Better yet both the music and merch are often offered up at prices that or either stoopid low (digital downloads on Bandcamp for a single dollar) or which won’t break the bank, for we all know how expensive it is to keep up with emerging talent within the scene.
But enough about all that, and my adoration for a label who cares more about merely making a buck. What about Aegis?
It might not be as one expects, given all the artwork recently associated with dissonant DM. Although saying that, it might be…in part. The music is much as the art suggests, dark earthly tones and definite menace represented through Sludge meets DM, atmosphere and an unhurried nature which undeniably heads towards one’s ultimate demise. Surprisingly varied, as apposed to predictable chuggery, the album is uncomfortably hypnotic as it drags you into its eerie malaise. Suffocating rhythms and an alien dirge landscape keep one in thrall until the finale arrives much too soon. Give this a listen with the lights out for the ultimate experience.
83
Predatory Void (Belgium) – Seven Keys to the Discomfort of Being

To state that Predatory Vibe peddle audio that’s a little different is an understatement. Much like a flickering candles flame in a room with a draft the style herein rarely remains consistent; its intensity shifts much like the aforementioned flame and remains rather unpredictable. One consistency however is that this is scathing, bruising and evocative though also strangely, in instances, eerie and somber. Ranging from ‘serene’ to ferocious (and often all within the space of a single track) the compositions depict a gamut of palpable emotions, a variety of boisterous seasons further cemented  by the shockingly impressive vocal range laid down by Lina R (also heard within the Cross Bringer BM collective).
If one were to categorize this album, odds are Sludge, Doom, Hardcore and terms including “Post” would be utilized, though it’s not as simple as all that, as this is wickedly varied, uncompromising yet darkly beautiful. Infectious and unpredictable. This is undoubtedly designed to be ‘unpacked’ (or unboxed as the cool kids say?) within several experiences and an offering meant for those whose tastes traipse far from typical genre trappings.
83

And Now, Time For Something Completely Different

Tardigrade Inferno (Australia) – Arrival of a Train EP

https://tardigradeinferno.bandcamp.com/album/arrival-of-a-train-ep

As if the cover isn’t enough, the accompanying promotional attached to this tickled my curiosity miles past dangerous levels.
And all it took was hitting Play to realize this is indeed far separated from that which I typically spent my digits energy upon.
The first track is a great introduction of what’s to follow; a smorgasbord of styles and a vocal approach which is more than a little embellished, theatrical. Imagine if you will Tim Burton’s imagination put to Metal. Delightfully wicked sensorial treats such as The Corpse Bride and his take on Alice in Wonderland, especially within the later tones of the EP (especially one of my favorites; Engine of Skin) in effect a spiraling hypnotic descent into lunacy. On the whole this offering bears definite carnivalesque qualities. I can well imagine a live show in which the act themselves are surrounded by fire breathers, body piercing fanatics, macabre painted clowns and troops of the vertically challenged hopping around in vivid costume. At first the music somewhat put me in mind of …Fabulous Bozo Clowns ala Lawnmower Deth. However, as it progressed both the amorphic vocal stylings and percussion veered from the course to encompass more a sumptuous audio feast (with shades ofvIn This Moment), a tableau comprised of jostling, bouncing, diverse stylings and a manner that puts one in mind of creative activity that’s slightly bizarre yet blazingly inventive, animated, grotesque and undeniably theatrical, (to be more specific a Danny Elfman score but with more a Rock edge?) perhaps how The Grimms Brothers audience must have felt when initially introduced to their assorted (slightly grotesque) fairy tales?
Suffice it to say this demand ears wrapped around it. Take a brief sojourn from that most often brutalizes the space within the confines of the skull.
92
Anthem (Japan) – Crimson and Jet Black

Ask anyone what comes to mind when you say Japan, and odds are they’ll produce a long list of things before they mention Rock or extreme audio of. Naturally, Loudness are one of the first acts mentioned. However, Anthem have been around for as long with much the same reverence tied to their moniker, though it appears more so in their native land. So why is it that it’s just now that the band is skimming into the dimensions of my radar?
I have no clue, but someone has been keeping a secret for too long for this is wicked shredtastic godliness. Although guitars aren’t the only elements which tugs persistently the corner of the mouth. The drum salvo is top notch, the compositions are energetic throughout; featuring razor sharp riffs, gymnastic leads and air guitar inciting solos. The rhythms on offer recall certain eras of Judas Priest as well (no shocker here) Primal Fear, Yngwein (yea, no shit. Ever tried spelling his name without looking it up?) Malmsteen, Satrianni, Rainbow, Swedens’s Sorcerer and rarer yet Iced Earth. Tied however, with the outstanding percussion are the vocals. Somewhere between Ronnie James Dio, Anders Engberg (again of Sorcerer) an assortment of Rainbow frontmen and a handful of other well known throatsters (whose names currently slip my memory) is about the stunning range whereupon Yukio Morikawa excels. Admittedly, I’m not often allured by such audio as this but when it’s of a quality such as this I can’t help but take notice, praise and caress the replay icon several times in rapid succession.
Finding a gem such as this proves that it oftentimes makes senses to remove onesself from the comfortzone in order to discover that which otherwise might have been missed.
95
Undrask (USA) – God Emperor

https://undrask.bandcamp.com/album/god-emperor

An album based on the origins of a sword, an axe, a broom, the power within?
I’m confused.
Nevertheless, I’m pleased to say that this lil slice of ‘melodeath’ has a great deal going for it. Symphonic instances and an overall melding of styles which puts me in mind of one of my favorite Canadian acts; Blackguard. Exciting rhythms, fast picking technical prowess and a vocal approach fans of Deathcore and DM realms will find easy to appreciate. But let us not forget the fantasy narrative. Sure, this has been executed well past shambling Romero levels, though more so in another arena bursting at the seams with falsetto throat  accompaniments.
All in all, this shows promise, it wanders far into lead and solo territories in instances but the good (in some instances very good. “Collectors” is one of my fave tracks here, and the album only seems toget better the closer it gets to its finale) far outweighs the not so impressive, which leaves me intrigued as to the bands future. Any fans of The Witcher, Micheal Moorpark tomes, or GoT who happen to also be into metal will get an undoubtable kick outta this.
82
Dawn of Existence (USA) – Ancient Arts

https://music.dawnofexistence.com/album/ancient-arts

If you’re anything like me before hitting play you’ll muse a while over both the art and the tracklist. In this instance I can’t help but stop a moment and ponder upon (in particular) “Satan Spacelord”. Obviously the title evokes several things; perhaps Bowie’s entrance into Blackened Metal realms (if he wasn’t currently worm fodder) or a track with a psychedelic edge? The mind spins as to the further possibilities.
Back on track however, the album as a whole offers a variety of stylistic textures, it wavers dramatically without thankfully plunging deep into experimental realms, it showcases Blackened Death with a side of DeathDoom ala vintage Paradise Lost, Blackened Death with a heavy Symphonic edge with a dash of Power Metal and Black Metal with riffs seemingly plucked from any number of Marduk and or Mayhem audio offerings. As an example “Skoda 14” is vastly different than the album’s opener, “Marble Gardens” (which sports possible tambourine accompaniments?) And significantly different from the dreamy Post Rock audioscape and melodic lead work of both “Tides” and the albums closer.
Another standout, displaying yet another facet of the bands talent, is “The Heirophant”. Oozing with atmosphere it seethes with Post elements as well, again, DeathDoom tones with a shade of the dissonant.
All in all this album has a great deal to offer any listener who is willing to explore with an open mind and zero genre prejudices.
Give the album due time to flourish, as a single spin isn’t enough to appreciate it, and it’ll lay roots.
87
And that’s about it for this entry. I seem to have gotten carried away with a few entries here, my apologies to those who much prefer shorter ponderings.
Until next time, keep the ear to the ground and the eyes toward oncoming traffic.
B

The Fantastical Fiction Corner- A Chat With the Gelatinous Cube

A Chat With the ‘Gelatinous Cube’

Foreword

_{An early edition of the zine}

A few years ago, I was lucky enough to help a friend to birth his literary love child. A magazine of sorts. Said magazine was (to my knowledge anyway) quite unlike most others, although my companion (let’s call him Paul, for that’s his name) swore that it was somewhat, loosely, based after one of his favorite publications; entitled “Thrasher” (which I always thought ironic as it wasn’t in fact anything to do with music of the same moniker typified by fast rhythms and an aggressive nature often resulting from West Coast origins whereupon those responsible grew bored of traditional Rock and wished for something “more”). Opting for more a digital, rather than a print, footprint the magazine featured a wide array of articles ranging from Music (featured across a wide spectrum of tastes) to instruments/apparatus connected to Role Playing Games (of the board variety).

Not surprisingly the magazine had a game esque title, one with quite the ‘sticking power’. Six in the Head zine in its relative infancy offered interviews, reviews, how-tos and a portal within which budding gamers could view new, and established, games and enjoy thoughts from those behind the scenes.     But could I, not really a game player or scribe (to be bluntly honest), entice the zines founder to feature a spot of fiction? To sweeten the deal, I promised to scribble upon that which I thought would fit rather nicely, something with a decidedly ‘fantastical’ edge. Paul (to my utter disbelief) said, in not so many words, ‘knock yourself out’.

What follows is that which I tolled upon and finally produced following a number of days caressing a dilapidated keyboard.

Enjoy.

Well, hi there. This is your friendly non-gamer scribe, Cult.

Odds are you don’t know who I am. That’s not important.        What is important is that I have a story to tell. My life is somewhat mundane and rather unexciting. I work. I have a family and I pay bills. Rather typical of any responsible adult really. To add spice, I write. It’s not much, but it keeps me sane. Occasionally, I find it difficult knowing what exactly to disperse my digits energy upon. Typically, my interests lay in scribbling diarrhea like diatribes upon that which I know little about. I’m not a musician although I know (pretty much) what constitutes ‘a good album’ (albeit to my untrained musical ears). And I’m not a gamer, but I have a decent understanding of…what exactly. Therein lies the rub. I know a great deal about nothing to do with anything, other than a myriad of details on a few fantastical races; a Chaos god or two and I have a strange penchant for beautifully painted miniatures (a hobby I fell into, though never kept up due to various reasons which aren’t important). It’s bizarre then, with all those details in mind that one day (many moons ago now) I found an enigmatic envelope in my mailbox. A mysterious correspondence, if truth be told, on account that It hadn’t a return address, or government issued, stamp.

The piece of mail (I hadn’t opened it yet so I was unsure as to whether it was a letter, a summons or something entirely more sinister still) was addressed to me. As in my real name, not my scribbling moniker. Obviously, somebody had done their homework. Infinitely more ominous was that they know where I lived. And this made me a little scared, I’ll admit. Nevertheless, I was excited and plucked the unassuming envelope from the depths of the mailbox with a certain amount of glee, ignoring the various demands from creditors nestling underneath.

Walking the short distance back to my house I turned the envelope over in my hands. It could well have concealed a card of some sort, as was its size and heft, but knowing its arrival was months from any celebrated occasion within the house I had my suspicions it was something altogether different. Another factor of note was that the envelope was of a fabric quality rather than traditional paper. I held it aloft hoping that the suns glare could assist as to what might be concealed within. Alas even the blinding nature of the burning star above could not penetrate that which lay hidden within. The envelope was sealed, not by spit (always my favorite part of mailing anything,) but rather held together by a thin dark circular veneer (possibly of a melted material) with an indent in its center that displayed a design of sorts. By now I was beyond the point of no return. One could even say that I was downright curious.

To make a long story short (for I can hear a raucous chorus of yawns and whispers of get on with it, for F’s sake) I opened the letter (for that was indeed was it was) to find a summons, not to court, but to a specific location for a once in a lifetime chance to exchange dialogue and enlightenment with…wait for it… a creature. A mythical being of sorts which I believed only existed in the rulebook of the most vintage and revered of all D and D games. An entity feared by those who have stumbled into its path, and laughed at all those who, much like myself, believe its existence entirely cooked up/conjured by kindergarteners looking to represent his/her favorite treat in physical form, and one admittedly less likely than a dinosaur in Loch Ness or the large footed creature currently ‘hiding out’ (with a mountain of Jerky commercials would have us believe) in the American wilderness.

_{May I introduce A Gelatinous Cube}

Seriously, the Gelatinous Cube is a joke. Right? An amorphic blob, an unclassifiable character, neither a friend nor foe but rather “something” whose motives are unclear, whose abilities appear as if transcribed by a toddler based on their favorite translucent snack residing within an alternate universe and whose origins are even more mysterious still. But this was all happening and I had mindlessly, rather stupidly in my excitable ignorance, accepted the invitation.

As luck would have it, I had a vacation ‘in the wings’ (again for clarification’s sake, I do have a job – bills don’t pay themselves) and a hankering to get away for a few days. The decision might have been different if the unusual sojourn wasn’t touted as ‘all expenses paid’. After much deliberation, I still needed to think upon it, and weeks spent acting super nice to the wife so I would be allowed to go. I took the first step upon a quest which was still, admittedly, a little (an unfathomable amount truthfully) surreal.                                                                                         

Most of the next few days exist as a blur in my memory; a myriad of security checks, airport check ins, headphones which failed to compete with roaring engines, winding roads and drivers who seemingly brandished the mysterious superpower of being able to get everyone safely to their destination whilst texting God knows what to God knows who for the entire duration of the journey. More surprising still was that I had a guide. An actual companion. True, he spoke broken (honestly more shattered than a recently dropped priceless vase upon tile) English, but he was present the entire time (even in the instance when the ill effects of consuming gas station sushi chose to rear its ugly head).

If truth be told the final leg of the ‘getting there’ journey stands out considerably more than the rest. A small village nestled at the base of a mountain blanketed in angry clouds with a myriad of villagers peeking out from between curtained windows. An exhausting trek through, up and across its rugged expanse and the concealed entrance to a cave, of sorts, which I might otherwise have missed, if not for my eagle-eyed travelling companion. The thing which stands out more than most however, rather than the situation as a whole, was the large piece of fabric I was handed as my guide bid adieu. And the instruction that I should wave it (once the interview was complete and I was leaving the cave) so that my escort could return. I’m guessing he had no desire to join me as I voiced my hastily prepared questions (I concocted them as I travelled across the Atlantic. Odds are that it was another body of water entirely, can you tell I exceeded in geography in school??) to a guest who may or may not be donning an elaborate costume which might, or might not, make me a viral internet sensation within one of the most expensive pranks ever devised.

So, there I was perched uncomfortably on a rock. I’d walked a fair distance to get to this spot. Armed with only a flashlight, a notepad and a granola bar. I was undoubtedly prime pickings for anyone in the market for scrawny English meat, for I’ve never been called anything but skinny. Apparently, there was little demand for such, and I reached the final destination with little more than apprehension and misgiving. Had I seriously just travelled thousands of miles for this? I was sweaty, my shorts were stuck to my thighs, in the embarrassing manner in which they so often do and my hands were shaking. I checked my watch for the thousandth time, tempted again to play a spot of solitaire. However, I stayed strong, I didn’t want to be distracted to the point that I missed something. Anything. At this point I just wanted this to be over as I felt like an absolute fool.  My eyes scanned my surroundings for the umpteenth time (which were slightly more luxurious than the devastation resulting from a tomb lovingly kissed by a collective of angry dynamite) for hidden cameras, red lights which might indicate I was being recorded. But no such luck. Then the temperature abruptly dropped, or seemed to, and everything turned eerily silent. I swear I heard a droplet of sweat hit the dirt at my feet. I looked up and vividly remember mouthing…nonsensical gibberish.

I was in shock. Where before there was grey (did I mention I had waited long enough for the surrounding shadows to transform from a somewhat friendly grey to an angry black. Thank God for my trusty electric lantern) under my flashlights gaze was now murk, a translucence tainted by a sickly quite undefinable hue. I froze. I had been informed upon contact that I should dim my battery powered companions glare, as to not startle. I followed the recommendation. Admittedly it took a few seconds for my body to obey my commands, but this was to be expected. For this was no “Jello Jiggler” I was facing (no elaborate realization of a yesteryear Bill Cosby commercial) but that which I had openly mocked and denied the existence of. The laundry list of questions I had hastily scribbled was forgotten as if never composed. The notebook within my pocket a dead weight with no purpose, the pen within its ring bindings an instrument I would have difficulty handling. My hands trembled, the pounding in my head signified to all in the vicinity that I terrified and the sudden smell indicated that I had indeed soiled myself. It all lasted but a few moments. Apparently bored, my companion moved on, its presence vacating the radius the flashlight afforded and I was left alone. Again. But for the wafting aroma of cowardice which caressed my senses.

The return trip home was uneventful, save for an impromptu skinny-dipping foray in a local pond renowned for its healing properties (or something as equally preposterous) and a deserving change of clothes, an absolute blur if truth be told. Places, people, waiting rooms. All my mind kept returning to was a metallic flash I believe I witnessed within the confines of the gelatinous mass that had unhurriedly slithered past my prone position, a flash of bone, and a design, a sigil of sorts upon a ring type shape. A design, that if I were to draw it, that would likely look much like the one embossed upon the enigmatic letter I’d received weeks before, in an otherwise packed mailbox.

Cult

Abrasive Audio – Class of 23 (Part the Second)

Introducing 23′ With a Thunderous Roar (part The second)
(Aka Class of 23)

Welcome back my extreme audio adoring readers (all 2 of you). In light of recent activity it appears I’ll be running the show from here on out. What say we explore a few albums (I believe offer stunning promise) to be released in the very near future, or which have been unleashed rather recently. For further enjoyment I’ve added a Recc and a few albums “Plucked Screamin’ from the Past”.

Methchrist (New Zealand) – Pestilential Warfare of the Black Flame

https://methchrist.bandcamp.com/album/pestilential-warfare-of-the-black-flame

“Methchrist”… hmmm… well, there’s already a DopeLord. The mind spins as to what comes next? BathsaltBuddha?AspirinSatan? TylenolBelzebub? Should I copyright any of these before I continue?
As is expected, given the bands moniker and the covers exquisite BnW penmanship, the audio caresses the senses with a feral ferocity likened to placing oneself within the confines of a barbwire tornado. The drums are a battery of merciless thundering devastation. And the guitars a chaotic blanket of disorientation, within which there might be moments the listener finds brief comfortability only to be yanked from this warmth to be placed again in unfamilar turmoil. The vocals are a barking command which drive the whole. An unceremonious melding of the darkest corners of the metal spectrum, Methchrist offers the listener a portal, a vision of the their impending doom and what better way than with the accompaniment, the searing of the senses by way of an orchestration of humanity’s despair, of Grindcore locked in ferocious gore-soaked combat with Black, Death and Bestial Metal?
Suffice it to say this isn’t an album for the barely initiated, or the weak limbed.
82
Street Tombs (USA) – Reclusive Decay

https://carbonizedrecords.bandcamp.com/album/reclusive-decay

How is that Thrash and Death go so well together? Obviously, this isn’t always the case. However, in this instance the combination is superb. Riffs are plentiful, infectious, there’s a fantastic variation of pace (mid pace through Blackened Speed through DeathDoom through Dirge) and enough groove to… *insert your simile of choice here.
Old school elements (found both in the rhythm and vocal departments) add more layers to enjoy from a release already bursting at the seams with undeniable appeal.
For those demanding more details, this is the bands first full length affair (six tracks is too many for an EP, right?) which follows three demos. The quality within showcases an act with a promising future, poised to offer mosh pit obliteration.
I’m intrigued, upon listening does anyone else expect the conclusion of a certain track to veer into infamous Slayer realms (Perhaps within a live setting?)
88
Thysia (Italy) – Psallo

https://thysia.bandcamp.com/album/islands-in-cosmic-darkness

Yet to find their place in the hallowed halls of EncyclopediaMettallium (sp?) it takes a spot of research to uncover the bands origins. But it’s worth it! This album offers a great deal to enjoy, in short,, a variety of BM which gives me the feels; far from Raw, and a little removed from merely melodic (BM of the most consumable kind), Thysia offers the listener a cavernous approach including varied rhythmic compositions; swift sensibilities, the ‘typical of the genre’ cresting riff foundation, somewhat familiar traits, plentiful movement and vocals bearing a haunting/clawing at the elements aura. A fantastic combination, especially for those tired of the same old, same old.
84
Riffobia (Greece) – s/t

https://riffobia1.bandcamp.com/album/riffobia-riffobia

A delightful mixture of Whiplash, Exodus, Nuclear Assault and Overkill, this (s/t) Riffobia album offers a style which is vintage yet strangely fresh; troupes of the late 80’s merging with the present with fantastic effect. The audio herein is playful, yet brisk, energetic, buoyant and aggressive enough to please those who prefer the no-nonsense approach of acts like Slayer, Sodom and Destruction over others who are known to veer wildly from their original, hugely appreciated, trajectory (Flotsam and Jetsam *cough. Although it must be stated that their vintage discography is godly). The rhythms here flow with unnatural fluidity with, to my senses anyhow, rarely a passage which appears out of sync, enough to slow a marauding moshpit. Sure, the cover might be a little questionable to some, but the music is that of a caliber to quell all concerns, a quality to have fans of the vintage era turning in shocked appreciation and others smirking in glee.
92

Atavistia (Canada) – Cosmic Warfare

https://atavistia.bandcamp.com/album/cosmic-warfare

Touted as Black Metal this album bears a great deal, stylistic wise, to unwrap. Much like the acts last (“Winters Way”) it offers a vast spectrum of audio to immerse the senses within. Majestic highs and bombastic passages coexist as well what genre purists might expect (the traditional – if there is even such nowadays within such a multi fractured genre landscape) given such a moniker to dive into. A symphonic orchestration adds a solid and evocative atmospheric base, a varied vocal range and a gamut of pace provides splendid diversity to the proceedings, although fans of the act would expect such, especially with the acts last release in mind. More so than the last however, this dips more often into consumable arenas for those whose digits rarely taste ‘murkier’ metal waters. Although rhythms are often swift, driving, often galloping, passages frequently veer into Power Metal-esque arenas without diverting the attention from the stunning compositions and musician talent on offer.
Overall this an album which demands, and warrants, several listens to totally appreciate and an open mind in order to fully enjoy.
91
Memoriam (UK) – Rise to Power

This marks the bands fifth full length (has it been that long?) and the collective continuing to venture from strength to strength.
Admittedly, it’s taken me a while to ponder upon, but I seriously consider this the finest hour of Willetts and company. Naturally, there are plentiful nods to that which has come before, stylistic tones and textures of, BT abound. However just when one might start to fall within full nostalgic realms the band adds a little, and then a little more. Be it melody, sweeping emotion or transformative rhythms.
In fact this album has a great deal to offer to those who are new to the act, the BT legacy, Karl Willetts (or any other member with a history within the countries metal scene and history), British extreme metal or those who are somewhat familiar with such.
If it’s not the staggering opener, then the bombastic brutality opening to “Total War”, if not, then the timeless “I am the Enemy” – DeathDoom with just the right amount of Crust and GC to keep all manners of urges sated. My Dying Bride meets vintage Paradise Lost colliding with vintage Anathema meets Bolt Thrower (oh, what a concert that would have been). Truly a track to climax any Memoriam collection. As the whole the album is a rarity; each offering displaying that certain something, qualities to keep one in thrall. Great from first to last, I seriously have doubts that the band can top this one.
94
NecroWeasel (Finland) – Obey, Suffer and Die

https://necroweasel.bandcamp.com/album/obey-suffer-die-2

And, what do we have here?
An excitable weasel wielding a rainbow pissing guitar aimed towards a rather familiar topless dictator (naturally this all depends on your point of view) on horseback.
One might be led to believe therefore, that the audio on offer bears a “political” slant, and they’d be correct. Track titles, such as the title track and White, Stupid, Privileged only add to the fact. But, who am I kidding, the vast majority of acts within the same arena boast similar penchants and attributes (minus a urinating guitar). Unlike others however what’s on offer here is surprisingly listenable. Infectious rhythms point towards standout Thrash act influence (such as, but in no way limited to, Slayer, Overkill and Nuclear Assault) whereas the undeniable raw element recalls Punk/Hardcore outfits of yesteryear (The Exploited, Discharge, DRI). The combination is surprisingly well executed, and outright enjoyable, especially given the bands staggering output (currently four full-lengths within three years).
Drop any assumptions based on the cover art and give this a listen, it hits the spot.
83
Raider (USA) – Trial By Chaos

https://raiderofficial.bandcamp.com/album/trial-by-chaos

How to describe an act who ply the Thrash in Melodic Death arena with such exquisite mastery? Well, since SkeletonWitch has somewhat vacated the arena, Raider has rightfully taken the standard and gave produced an album which incites the jaw to dropping and the mind to formulate the question “how can this album be this effect good?” Its not like style hasn’t been tackled before, admittedly there are plenty of acts who employ the same formulae. Though very few, rarely any, who perform it to this infuriatingly energetic standard, consistently.
Undoubtedly another EoY entry.
95

Disinter (Peru) – Guerra Eterna

https://pestrecords.bandcamp.com/album/disinter-guerra-eterna

What better way to get one in the mood for DM than feasting the eyes upon a carnage draped image heavily inspired by Frazetta and his ‘Death Dealer’ inked creation, albeit in a more recognizable ‘native’ setting
A tad removed from the majority of DM on offer the style here is for the most part mid- tempo with definite thrash elements and hefty sprinkles of Groove tossed into the mix rather than gore inspired blast beat laden technicality, or the more steadily growing in popularity structure of DeathDoom. Vocals are heavily accented (foreign in tongue, invoking a fantastic excuse to break out the lyric sheet and Google translate) and add definite menace, lending the whole an often Soulfly/later Sepultura aura. In a similar vein the lyrics are based around warfare and the travesties of greed and colonization of a bygone era. There’s undeniable South American flavor on display here as well, a sense of veteranship throughout. These guys know what they’re doing and after 30 years (with strangely only four full-lengths to show for their dedication) this offering showcases zero teasing of the bands slowing down upon the horizon. Broken into three parts the album bears variation although not nearly enough to divide the audience or the albums contents into dizzying genre description.
In short, an intriguing break from what one assume given the DM genre as a template.
79
Zeit (Germany) – Ohnmacht

https://rumsdiezeit.bandcamp.com/album/ohnmacht

I doubt very much that the first track here concerns a piece of property on the Monopoly board and that the second has anything to do with a glass receptacle of alcoholic brew. In fact, to be brutally honest I should probably take a semester in German to be able to understand the lyrics on offer here. However with that being said (fug. Is that a unicorn on the cover?), all this doesn’t deter me from enjoying the audio on display. The wicked mixture of Doom, Black, Death, Sludge and Dirge means that the album rarely strays into waters of boredom. Energetic and diverse with plentiful nods to that which has came before, loaded with a few surprises tossed in to keep one guessing. This is an album for those who enjoy wandering from genre parameters, for those whose tastes include the slightly unusual, a tad experimental, and whose collection bursts at the seams with acts who aren’t afraid to raise a middle finger to that which is expected of them.
84
Imperial Demonic (Ireland) – Beneath the Crimson Eclipse

https://imperialdemonicblacklion.bandcamp.com/album/beneath-the-crimson-eclipse

Black Metal from the Emerald Isle? I’ve heard of Thrash originating from there (Slammer), even Funeral Doom – by the quite excellent Mourning Beloved. However I’ve yet to hear of any BM from the land of leaping, gold hoarding, Leprechauns.
So how does this fare?
Well… it’s surprisingly good (for there’s seriously nothing worse than an album which blows goats accompanied by stellar artwork) especially if melodic rather than raw BM, Dissection and/or Watain, is ‘your bag’. The production is excellent, the vocals seethe with hatred for the Son, The Father and The Holy Spirit and the melodies are enough to leave me frenzied and salivating. The drum salvo offers another layer of exquisiteness to enjoy and the whole is seriously rather a pleasing shock to the system although admittedly this really adds little inventiveness to an arena already bursting at the seams with artists and a constant stream of releases.
There’s only 5 tracks on offer here, but that’s more than enough to have my ear to ground for any inkling as to what might follow. This leaves me salivating and silly happy to put it bluntly.
97

Plucked Screamin’ from Metal Past

Spiral Meth (Greece) – Blues for the Superhuman (2022)

https://spiralmeth.bandcamp.com/album/blues-for-the-superhuman

I’ll admit that it was the title of the albums first track which pulled me in. And then the audios style which kept me in thrall.
It could be said that Spiral Meth are Greece’s answer to Tool, and it wouldn’t be hard to work out just why that might be the case. The rhythms herein are energetic, frenzied yet controlled and hardly predictable. More progressive than that which my senses typically greedily consume, to be sure, though dangerously infectious, if truth be told. Considerable groove hints at a myriad of influence and gives nods to several distinct styles, chief among them alternative, Hard Rock and (it pains me to scribble it) Nu-metal. Shades of Therapy (on the darkly laced rhythm front), healthy dollops of Tool (both in the heavy bass twiddling and lyrical fronts), more intriguing yet is the vocalists similarity to (Pearl Jams) Eddie Vetter, albeit with a grittier delivery.
Within the style too are sprinkles of Mudvayne, dashes of (the insanity of) Wizard Rifle and even occasional chaotic whirlwind guitar passage to throw one entirely for a loop. But let it not be said that this album isn’t melodic (for those who demand such). It is. Amidst the shifting, ever contorting, compositions reigns a definite underlying melancholy, a seething anger and a message (though I’ve yet to fully eek out its meaning).
In short, this is undoubtedly removed from that which I usually rave about yet strangely hooked me from its opening. Different yet thoroughly entertaining, this will drag you back for another listen, and another and another. Until you’re politely told by those in the neighborhood to turn that fkn noise down.
90
Death Kommander (Scotland) – Pro Patria Mori (January 2021)

https://deathkommander.bandcamp.com/album/pro-patria-mori

Stumbling upon this offering, I was left wondering why it hadn’t been pushed in my direction sooner, especially given the smiles produced by the bands Demo. Alas, although this is completely listenenable it doesn’t quite live up to that released by the Monsters of the current WW influenced genre, 1914 come to mind and naturally Memoriam (spawned from the ashes of the act who arguably started the whole shebang).
Sure the riffs are here, the atmosphere which brings to mind long stretches of dragging one’s ass through the trenches, and the dirge infused compositions which evoke industrial killing machines rolling over piles of recently deceased. Unfortunately however it really doesn’t add much to a scene which demands such. Wholly listenable yes and recommendable but not brilliant.
78
Fugitive (USA) – Maniac (April 2022)

https://fugitivetx.bandcamp.com/album/maniac

Absolutely nothing to do with Harrison Ford, a man missing an arm or running from the authorities on trumped up charges. What’s on offer here is more in line with the forces of Hardcore and Thrash colliding at a million miles an hour, and the subsequent carnage and fallout resulting from such. Although there might be some out there wondering and arriving at assumptions based on the licking skulls on spikes artwork this is undeniably infectious groove laden audio (Crossover dusted with Crust) as opposed to Blackened Speed or Raw BM (although ironically there is a Bathory cover enclosed). Only six tracks are on offer here, but that’s more than enough to leave an audience salivating for more.

91

Recc by @Beyond_the Gore (Twitter)

Dragged into Sunlight (UK) – Widowmaker (2012)

Quite the gamble to commence an album (EP?) with a 14 minute + instrumental track. In this case however it pays off. Haunting, harrowing and strangely bearing both a Western and slightly Eastern vibe (huh-?) the track takes the listener through mysterious and rather hypnotic landscapes only to then dump them in scathing audio arenas. A hybrid of Sludge and BM, albeit more EyeHateGod in tone rather than anything Drowning in BM tones. The remaining tracks (both 10 minutes +) are drenched in soundbites (centered around the depravity of the human condition) offering an effect which is slightly Nailbomb-ish if truth be told. Other instances boast a Mastodon aura albeit considerably darker. All in all an outing which isn’t at all what one might assume given the artwork on offer.
82

And Last (but definitely not least)

Yagon (Isreal) – A Ravens Tale (EP)

https://yagon.bandcamp.com/album/a-ravens-tale-2

I can only imagine what’s its like. Trying to keep the dedication alive in a land which does everything it can to deter you from such. Huge props to the lass and lass responsible for keeping the dedication and the dream alive. With that out of the way I’m pleased to state the audio on offer is easy on the senses and rather difficult not to appreciate.
Influence is wholly predictable, including but not limited to, early Moonspell and Mist of Misery. The atmosphere here is exquisitely crafted and near palpable with definite nods to Gothic realms complete with heavy middle Eastern textures. Strangely beautiful yet still crushing, melodies bear considerable weight, enough to evoke strong emotions. As a whole this EP speaks volumes for the bands future, a future bright with darkness (if that makes any sense in the slightest!?)
85
Obviously, it’s well into April, the weather is as unpredictable as something which any sane person would never consider laying coin upon and the 23′ is in thundering down the celestial track. This is belated, as is traditional and the site remains inundated, drowning, in promos all vying for attention and promotion.
I’ll attempt to get my arse in order for the next entry, but as The Reaper is often overheard muttering “life often gets in the way”.
Until next time my extreme audio loving brethren.
B

Scorching the Retinas – Code of the Assassins

Code of the Assassins (2022) – a Review

_{A poster from a foreign source for those who demand such}

Remember the 80’s? (I knew there was reason I picked the image with a menacing claw front and center) When it seemed one couldn’t escape martial arts films with the word “Assassin” in the title? Well, it’s not the 80’s anymore and the (action) genre has grown in leaps and bounds since (one could argue that the wires are hardly visible now). Strange then that many things tend to echo the past, a certain exquisite vintage which cannot be ignored, a timelessness which stands the test of…uh…time (!?)
So what then of this? I hear, obviously read but ‘hear’ sounds rather more poetic in this instance, whispers of influence. One word in particular pops up when scouring through the films promotional accompaniments. What exactly is ‘Wuxia’, and how does one properly enunciate (is that even a word?) the term?

Wu·xia – wo͞oˈSHä
noun; a genre of Chinese fiction or cinema featuring itinerant warriors of ancient China, often depicted as capable of superhuman feats of martial arts.

*Google translate

Ok. Now that’s cleared up, how about a short synopsis to further tickle the intrigue.
…”trained by an elite organization, a young assassin receives his first mission, only to find himself tangled in a covert political intrigue that forces him to go on the run from the government and rival assassin groups alike…”
Spoilers aside, following a view, I can honestly state that the film delivers on its premise. There’s intrigue, double-dealings, subterfuge and all manner of camouflaged intent. But better yet there’s a delightful array of set pieces, costume and locations to whet any historians curiosity. More importantly still very few instances of lengthy dialogue exchange whereupon subtitles whiz across the screen at a zillion miles an hour to possibly remove one from the films otherwise highly entertaining qualities.

_{Trailer courtesy of Hi-Yah}

_{If you value your life you’ll remove these pointy things from my vision pronto!}

Code of the Assassins relies heavily on action, which brings about zero complaints from my camp, these same (plentiful) scenes are ablaze and furious in energetic, tight, choreography and a surprising drenching of claret. In fact, it’s safe to say that the fisticuffs, feet to face and assorted other combat on display showcased here hovers somewhere at the top most heights of the brutality scale (where this cinematic genre is concerned). Have I mentioned the dazzling array of weaponry utilized, I would be remiss if I didn’t. Mechanized fists clash with flying guillotines, a two handed ax is swung with gay abandon and a corset (the likes of which could never be purchased at Victoria’s Secret) which contains more intricacies than the inner workings of Inspector Gadget, deserves an Oscar nod.

_{Oh my. A beauty in the softly falling snow}

However, the fun doesn’t stop there, and why would it? Swords, flying stars and darts add to the carnage causing cast list, and I’m still nowhere near close to what’s on display.
As well obvious Wuxia (a term explained in more detail above) influence, Code of the Assassins (originally titled Qing mian Xiuluo, and aka Song of the Assassins) also displays plentiful tips of the hat to hugely popular series of yesteryear, (note I didn’t state of the children’s entertainment variety) such as Voltron and other pre-Manga heavily costumed extravaganzas. American audiences might be put in mind of Power Rangers (depending on the age). Characters are often (not always) introduced with a striking cut- away scene which vividly displays their title, appearance, a special move or two and a glance upon their specialty weapon. One could also mention specific console games in this instance also and not be too far off the mark. Visuals lean heavily on Steampunk arenas merging two genres which have always meant to consummate in my opinion.

Moving on.
A rousing epic soundtrack serves to heighten the audiences mood through and transforms often (much like the alliances of several important cast members), synth cavorts with rock and passages of traditional classical atmosphere, all liberally doused with a captivating Eastern motif which is difficult not to appreciate.
As well applause to the set creators and artists at hand, a round also needs be reserved for the effects team (of which I’m certain there are a great, great many). The stunts on offer are exquisite, the fighting is on point; dizzying in its movement and energy. The explosions and projectile coverage (think camera Matrix like wizardry) throughout are expertly crafted and add another level entirely to the films enjoyment often, again, putting one in mind of computer animated films and/or lavish RPGs.

_{A handful of the main cast all in one place and not fighting… quite the achievement I’d say}

The directing from Daniel Lee is top notch and makes for a film that flows exceeding well (action scenes captured wonderfully, as opposed to that seen through a shaking camera [POV] that has been said to evoke queasiness in an audience) and bursts at the seams with attention to detail. A slightly different approach to the genre is taken, small details and elaborations which are easily appreciated. Daniel Lee is also responsible for 2015’s Dragon Blade (which curiously stars John Cusack and Adrien Brody alongside Jackie Chan) and 1996’s Black Mask (within which Jet Li stole the spotlight).
Thankfully the story isn’t hard to follow, although there are a multitude of players at hand to keep the story moving. The story’s entirety however,, as an added bonus, is cliff noted by the main character shortly before the credits roll for those who might have struggled keeping up with both plot and subtitles (which for the record are especially easy to read).

_{The film in its entirety encapsulated in plastic ripe for purchase and ownership}

All in all, and to keep this considerably less than the excitable diatribe I originally intended, Code (Song) of the Assassins is a fantastic entry and addition to a genre which continues to amaze with stunning visuals, attention to detail and eye popping stunts. Need I mention that it deserves a view? I believe my words sum as much up but for those who skip to the last line of any review for a summarization, rent this, buy this, add it to the collection. The action is furious, the story captivating and the visuals some of the finest you’ll likely witness within the genre. In short, this does not disappoint!
9

Cult

Code of the Assassins had its initial unveiling via the Hi-Yah streaming channel on March 3rd and finds a Blu ray/DVD release on March 28th (2023) through WellGoUSA wherever quality films are sold. Further information on this and other quality (varied genre) celluloid can be found here: https://wellgousa.com/

Lost in 22′ (Part the Third)

Traipsing into Fresh Audio Waters

aka Lost in 22
(Part the Third)

Welcome back my extreme audio loving brethren. While Cult is off taking his sweet ass time exploring and dropping a myriad of ponderances upon a Top 50 List, I thought I’d take charge and wrap my malformed appendages around the reins.
There’s little arguing that 22′ was an insane year for the (extreme audio) genre, with so many releases dropped week after week that it’s, admittedly, a damn chore trying to keep abreast of it all. Unless of course you have the kind of ungodly dedication which  Kman (the new age Metal Messiah from down under) sports on a seemingly tireless day to day basis. Following a moment or two spend sifting through the years various Abrasive Audio (Extreme Audio Metal Review) entries it dawned on me that there are a great many intriguing offerings which remain largely unexplored (for there’s truly not enough minutes in the day).
So, being the generous chap that I am I thought what better time than now to obliterate this unfortunate state of affairs.
What follows is merely a smattering of albums, from the last 365 days or so,  deserved of introduction and discovery, although without a shred of a doubt there remain dozens, if not hundreds, more warranting attention. Armed with the list (before me) it’s probable that several entries will be required to contain my musings upon the sensorial shattering emissions on offer.
(Again all opinions are my own and remain unswayed by promises of maple frosted donuts, Double Decker bars, collected DvD seasons of Rick and Morty, or a gift card which entitles the bearer to a free month of training with hopes to toss axes around unsupervised).
What say we start with…

Rotten Tomb (Chile) – Visions of a Dismal Fate

https://deathdivisionrituals.bandcamp.com/album/rotten-tomb-visions-of-a-dismal-fate

Mixing Thrash, of the dark borderline variety, with DM and an Old School flair is honestly nothing new. But then add Sepultura “Troops of Doom” drum touches and a wickedly accented vocal approach and the result is an absolute winner, which is what’s on offer here!
However, this isn’t thankfully all that this album delivers.
A variety of pace adds to the intrigue, as well slower Doom passages, and although the cover may illicit South of Heaven thoughts, this is nothing even close to that which Slayer peddle. Think DeathDoom with touches of Thrash, not nearly as much as one might initially think (guilty), a dash of the maniacal as opposed to outright chuggery, or brain frying wizardry technical passages, and rhythms to have one bobbing their head while thinking of the good ole days and a South American flavor to have one pondering upon vintage Sepultura affairs.
This is quite the find and stands up to several spins.
90

Ominous Scriptures (Belarus) – Rituals of Mass Self-Ignition

https://ominousscriptures.bandcamp.com/album/rituals-of-mass-self-ignition

Typically  Brutal DM is not my ‘bag’ (…”yea, baby, yea!”) However, for some reason this captured my attention. And the writhing naked form on the ghost skull motif cover doesn’t hurt (the appeal) any. In regards to the audio, it’s as one might expect given the ‘Brutal’ moniker to ponder upon. Rhythms are stabby, bludgeoning and “slap” (as the cool kids like to say). What separates this from the scrambling pack however is the fact that it bears commendable production, wicked movement and an ocean of riffs which aren’t lost in a muddied mess which many other releases typically boast.
Stylistically, this is akin to a turbulent marriage consisting of Tomb era Cannibal Corpse and early Suffocation, with plentiful nods to a wide swath of acts, within the last fifteen years or so, whose names presently escape me. Thankfully, the acts infrequent dips into Slam territory remain just that, with the result pleasingly cemented this side of the ‘Bree-bree-bree’ barbed wire divider (because ‘fence’ doesn’t have quite the same impact in this context). In short, the quality on offer here is of the highest order and the allure surprisingly easy to fall under the spell of.
Curious about the genre?
May I suggest giving this a peek, the album makes a fantastic bridge connecting DM (with slight Tech tendencies) to that of the Brutal variety.
86

Deprived Existence (USA) – S/T

https://deprivedexistence.bandcamp.com/album/deprived-existence

I believe I’m in the minority here by stating that the album’s art reminds me of Ro-Jaws of ABC Warriors fame found within the pages of 2000AD (are there any fans here?). I’m intrigued if anyone else sees this.
In regards to the music – quite the gamble in introducing the album with an Instrumental, but the band pulls it off, only then to drench the senses in a wild concoction of Black, Grind, and Technical chaos which somehow works. Each track bears its own identity within an album which offers blast beats, energetic rhythms, frequent pace transformations, a dual vocal approach (ranging from Goregrind Slam to traditional clawing-at-the-celestial-elements BM), and passages which have the synapses firing on all cylinders. A track entitled “Errant Harlot; A Deathgrinding Love Tragedy” carves a huge smirk on the chops courtesy of title alone whilst the vertebrae continues to snap back and forth like a child’s toy careening from the ledge of a cliff.
Touted as FFO of Cattle Decapitation, Origin, Aborted, Benighted and Vital Remains (among others) and I’m leaning heavily towards total agreement.
89

Ataraxy (Spain) – The Last Mirror

https://ataraxymuerte.bandcamp.com/album/the-last-mirror

Instantly hooked, as if the stunning art isn’t enough to draw the listener in, the first track is hypnotic, atmosphere par excellence, and the album only continues to get better.
If you’re in the mood for DeathDoom with vocals akin to Asphyx and vintage Pestilence (Martin Van something or other), and a release which showcases atmospheric qualities to evoke landscapes rife with unfathomable beasts and alien terrain this should be your next destination.
While others struggle to find their niche, their style, their undoubtable, unmistakable sound, Ataraxy continue to surprise with another release worthy of high praise. Several steps ahead of the curve they plow onward, leading the way, carving a path within a genre sadly bursting at the seams with copycats and stylistic blandness.
Another stunning release within the Spanish acts discography which demands respect.
96

Ripped to Shreds (US) – 劇變 (Jubian)

https://rippedtoshredsdeathmetal.bandcamp.com/album/jubian

Less than a minute in, and the chainsaw (yes, the term has been used to the point of being painful to the ears before now) nostalgia tone and rhythms have me bouncing around like a Bath Salt addled chimpanzee at a birthday cake tasting soiree. In all seriousness, the album bears an ungodly quality about it, an aura, which evokes, incites, unconscious limb twitching. Riffs abound, the composition genius carves a grin upon the chops, the skin-bashing element forces the jaw to separate from its perch, and… well slap me silly Sally, why has it taken me so long to pounce upon this offering?
Swedish DM nostalgia elements, OSDM textures, unexpectedly emotion laden leads, groove to spare and wicked dives into both Crust and Grindcore arenas.
Precision chaos at its finest, with nitrous at the helm. Finally an album which brings together fans of both Entombed/Dismember/Terrorizer and Oxygen Destroyer.
Spend more than a tracks length here and the reason why this album features on a slew of Year End lists soon becomes glaringly obvious.
98

Selfgod (USA) – Born of Death

https://selfgod.bandcamp.com/album/born-of-death

Sometimes simplicity getting to the point is king. Such is the case here. For the most part ‘meat and potatoes’ in style, the audio on offer here should please fans of straight forward DM delivered via stabbing riffs and a great deal of chuggery. However, that isn’t all that’s on offer here, other points of interest include a production which allows all instruments to be heard in the mix, a touch of D-beat, a splash of punk, a blanket of dirge, blistering blackened speed passages, and an overall no nonsense approach thankfully devoid of both ‘too-long-for-their-own-good’ introductions and instances of progressive wankery. While this isn’t going to reinvent the wheel, the genre, it does all it sets out to do, which is obliterate the vertebrae and mess up those fantastical hairdo’s. Prepare to bang the noggin like one possessed!
91

Last Retch (Canada) Sadism and Severed Heads

https://lastretch.bandcamp.com/album/sadism-and-severed-heads

A single glance is all one needs to understand what this act is all about. If it’s not the art, it’s the track titles. Subtlety be damned!
Similarities must he made to Cannibal Corpse, Vomitory and also a dash of influence from a myriad of standout acts who like to inject a little brutality into the mix. Riffs are a varied mixture of bludgeoning and stabby with a smattering of melody to break things up. Admittedly, the act aren’t reinventing the wheel or slicing bread utilizing an eye-widening new kind of operation. However, for those requiring top- notch DM free from frills, annoyingly dragged out introductions, synth additions this will most definitely hit the spot, smother it, then to smash it into submission. The album is also spared from a multi genre assault which many have chosen to incorporate and adopt (adding to an overall style transformation). Sure, there’s a touch of slow down here and there, and minimal technical detours, but this only serves to heighten the groove and overall enjoyment of an album which resides comfortably in (what I would deem) ‘traditional’ DM parameters. Don’t ignore this hefty slab of Maple encrusted DM, and there I was about to swear it was of American origin.
Worthy of attention nevertheless.
91

And a Recc via @Drachensturn711
(via twitter)
Luna Fawn Ripley (USA) – Death of a Songbird

https://lunafawnripley.bandcamp.com/album/death-of-a-songbird

Are there any among who can’t read the word Ripley without immediately thinking of “Aliens”? (Guess it depends on the demographic). Funnily enough  this album is somewhat of a Space Oddity (can you see what I did there?)
Forget what you think you know about Tech (Prog) Death, toss aside your assumptions upon glancing upon the albums cover and prepare for a style that’s refreshingly different. Based upon a foundation of shredding melodies and passages of brutality drenched in definite beauty (which serves to separate this from typical Tech Death offerings) and a slew of evocative introductions this boasts undeniable wide appeal. But then add vocals of an angelic quality (think Amy Lee, vintage Theatre of Tragedy, and early Lacuna Coil) and the effect is startling. Sporting a collection of tracks with definite identity and a style which is both pleasing and unpredictable ranging from mellow metal (Evanesance), NWOBHM of the melodic variety, through melodic death (think Children of Bodom) through blistering Tech fretboard wizardry (think Unanimated Existence) the album has a great deal to offer those even slightly curious about the genre (though who are put off by the traditional gruff vocal approach). Ferocity minus the growling accompaniment, now isn’t that a mood?
So why is it only now that I’m hearing of the amazing talents of L.F.Ripley? She can sing, she can play guitar like nobodies business and her arrangement skills are stellar. There’s a question I can’t answer. However I’m here to see that this horrific trend is decimated. Give this a spin, two, three and tell a friend, a neighbor, a priest, your local congress person. For talent such as this demands preaching.
97

And… Death of a Songbird II

https://lunafawnripley.bandcamp.com/album/death-of-a-songbird-ii

Because I’d hate for the initial entry to be a one off eye-widening experience.
Slightly different than the first, this affair feels like a single track as it runs without pause, one track ‘slides’ into the next (although it is seperated enough for those who demand to know which track is presently playing). Unlike the first “Death of a… ” this relies more on Tech Death stylings, hyperspeed, blast beats and furious pace transformations, at times, heavy with Progressive elements to a degree which thankfully stops short of taking the listener away from the brutality which the first promised, and that this one delivers with a heavier hand. The tinkering of a piano adds to the fun, the atmosphere and the passion and again doesn’t interfere in the slightest with the albums flow.
The vocals remain seemingly plucked from an angels throat and the feel drenched in underlying melancholy, albeit with more an energetic approach to that to the album’s predecessor
In short, another winner!
Both of the Death of a… entries were released perilously close to years end. It’s my opinion that if this wasn’t the case, and obviously more were aware of these two brilliant entries based on word of mouth recommendations, these albums could undoubtedly have topped a myriad of Year End Lists.
95

And that’s it for another (relatively) short & sweet what might have been missed in 22′ entry.
Stay brutal my audio loving friends,
B

Short Fiction – An “Adult” Children’s Book

Fresh Fiction
An “Adult” Children’s Book

So, I feel as if I should confess.
My name isn’t really Cult, and odds are I live a life as mundane as yours or the next person’s; I have a job, bills, responsibilities and a family, whom I love as if my whole existence depends upon it. My daughter is six (maturing at an insanely alarming rate) and has recently started upon the path of discovering words, phrases and the wonderful universe of exploring worlds through reading, one can only hope that one day she decides to create them too.
But enough about all that. I’d like to steer this wheeled puppy back on course by reintroducing creative writing into the mix, scribbling fantastical with a twist, blunt scenarios that would benefit insanely from larger than life cartoon imagery basted in dark adult humor (that a child is still too young to pick up on) accompaniments which an early school-ager could read, though definitely should not!
May I introduce an (the first?) entry within such a segment; a piece I like to call

“An Abrupt and Wholly Unfortunate Series of Bodily Events”

Jennifer was vomiting.
Jennifer was unwillingly giving up all that she had previously eaten…
Willingly.
Jennifer was not having a good night.

It all started when she started throwing up. And much to her frustrating chagrin this remained the rather unpopular stomach churning, unpleasant odor, motif.

Jennifer was in pain.
This wasn’t the typical, ouch! I’m voiding my innards, and this hurts, as it rightly should.
This really fucking smarted!

Jennifer felt her toes curl.
But she wasn’t otherwise occupied in a state of earth-shattering exstacy.
She was hurting.
Bad.

Jennifer could feel the muscles in her ankles grow tight.
Not tight like, ouch – that’s kinda weird. But constricting, as in Fuck! There’s really something seriously wrong here, perhaps I should consult a specialist.

And there was.
And it hurt.

Excruciatingly so, in fact.

Jennifer’s mouth was being utilized as an impromptu sewer.
The full sensorial explicit overload incited by retasting last nights spaghetti changed to that of the persistant chunks of Tuesday’s Tuna.
And she remained stranded in the town of agony.
Population: 1.

Jennifer heard a snapping sound, as her spine shattered as if it were a box of biscuits hurled from a high rise.
She felt her kneecaps oddly working their way through her spleen.
And her mouth continued to strain.

Jennifer’s coccyx tickled her left ear.
And her mouth grew wider still until her lips split and her tongue slipped, severed, from her right nostril.

Jennifer sneezed (a celebrated event in and of itself given her current distracting situation) and her left eye fell out.
She farted and seconds later a shoe slipped lazily from out of her asshole (funny, as she didn’t recall such an item being in her diet).

As Jennifer’s skull collapsed slowly into itself she felt her ponytail unwind.
As her torso shrank (and the pile of liquid beside her grew) her hair spooled around her feet much like a tickertape narrating a play by play of the evenings Twilight Zone-esque goings on.

Jennifer was unceremoniously shrinking to an unrecognizable tableau of quivering flesh, and she was still not in the most convenient of situation.
By any means.

Jennifer tasted (and smelled) her end.
And her final thought was that the ordeal made her feel like she was going to be sick.

– Cult

(All the piece requires now is a few illustrations)

Abrasive Audio – Lost in 22

Traipsing into Fresh Audio Waters
(Part the Second)

_{Soak in the ecstatic glory of fresh Extreme audio}

Welcome back my extreme audio loving brethren. While Cult is off taking his sweet ass time exploring and dropping a myriad of ponderances upon a Top 50 List, I thought I’d take the reins.
It’s been an insane year for the genre, with so many releases dropped week after week that it’s, admittedly, a damn chore trying to keep abreast of it all. Unless of course you have the kind of ungodly dedication which Kman (the new age Metal Messiah from down under) sports on a seemingly tireless day to day basis. Following a moment or two spend sifting through the years various Abrasive Audio (Extreme Audio Metal Review) entries it dawned on me that there are a great many intriguing offerings which remain largely unexplored (for there’s truly not enough minutes in the day).
So, being the generous chap that I am I thought what better time than now to obliterate this unfortunate state of affairs.
What follows is merely a smattering of albums, from the last 365 days or so,  deserved of introduction and discovery, although without a shred of a doubt there remain dozens, if not hundreds, more warranting attention. Armed with the list (before me) it’s probable that several entries will be required to contain my musings upon the sensorial shattering emissions on offer.
(Again all opinions are my own and remain unswayed by promises of pickled onions, Baby Ruth bars, unopened boxes of vintage baseball cards, or a code which entitles the bearer a free month access to an OnlyFans account of choice.)
What say we start with…

Blackbraid (US) – Blackbraid I

https://blackbraid.bandcamp.com/album/blackbraid-i

And just when the genre might have started to bore ya, along comes a one man outfit emerging the middle of the wilderness with an audio offering which sparks the neurons into a veritable frenzy.
Marrying folk sensibilities, a palpable adoration of nature and various nods to that which has come before, leaving unerasable scarring (of the coolest, not traumatic, though still wholly Kvlt variety) within the BM scene Blackbraid offers a collection of tracks that are strangely easily consumable. Raw yet beautiful, vicious yet hypnotic, the tracks here evoke an array of emotions far removed from that which many would assume presented with a BM moniker and make up a soundtrack to please both the curious and long time fans for many spins to follow.
93

Exhumed (US) – To the Dead

https://exhumed.bandcamp.com/

Undoubtedly one the hardest working bands on the DM circuit, Exhumed have been peddling an evocation of Horror/Grind/DM since 91′ with a few stylistic changes to boot. “To the Dead” is their tenth full length (amidst numerous Splits, Demos, an EP, a compilation and a Live album). Displaying zero signs of slowing, this release offers a tone arguably close to that which British grindsters Carcass have more recently perfected in their discography. Also stylistically similar to the aforementioned (act), Exhumed have effectively created an audio cloak which is eerily familiar, easily appreciated, yet removed from possible legal proceedings with the aid of thrashy rhythms, wicked solos and often a brutality which recalls vintage Pungent Stench.
In short, this demands respect, more than a few spins and most probably a few hours to recover from when played at full volume.
Even thirty years in, when many have fallen to the wayside cuddling one trend or snuggling another with sickening enthusiasm Exhumed have remained true to the cause and continue to exude quality tunage. If this has yet to caress your senses, you’ve missed a blasting, gore-soaked, putrescent gem.
88

Inhuman Condition (US) – Fearsick

https://inhumancondition.bandcamp.com/album/fearsick

In the mood for Florida-based mid-tempo DM? Seriously, when isn’t a good time?
Well, I have ya covered.
The newest Inhuman Condition offers infectiousness, neck-snappin’ pace transformations and rhythms which incite spastic involuntary movement. In a similar vein to Jungle Rot, Massacre, Gruesome and mid-era Death (as well Benediction, and yes, I know they aren’t from Florida) the audio on offer here really doesn’t reinvent the wheel, nor does it show an alternate to sliced bread, but it does what it sets out to do in delivering thrashy DM with (decipherable) lyrics aimed towards those with jaded gore-splattered penchants; shit, the cover art even suggests such with the subtlety of a violently swung hammer caressing the frontal lobe.
90

Dystopia A.D. (US) – Doomsday Psalm

https://dystopiaad.bandcamp.com/album/doomsday-psalm

And boy, isn’t this a varied treat!
Undeniably DM in tone this offers a constantly transforming landscape of riffs, rhythms, textures and emotion. Surprisingly however the album remains firmly rooted outside of the wildly extravagant, outrageous and experimental. A vast array of expertly concocted auras convert and frolic alongside tightly controlled blast beats, an array of choruses, cosmic tendencies, hypnotic Doom passages and even the occasional foray into Tech realms. Though let us not forget the brilliant injection and appearance (utilization) of a few instruments not normally associated with the extreme music scene. To state that any two tracks are similar is a stunning admittance that one hasn’t once laid ears upon the entire album. Bearing in mind the quality of this and the bands last (Rise of the Merciless) I’m left literally gobsmacked as to why the bands moniker isn’t discussed more. Do yourself a solid and discover that which Dystopia AD offer as soon as you’re able.
92
(Did anyone else notice nods to Megadeth’s “Hanger18” on the “Howl of Barghest” track?)

Spectral Souls (Peru) – Towards Extinction

https://spectralsouls.bandcamp.com/album/towards-extinction

(Originally released in April of 22′ though also finding a reissue/release on CD and vinyl through Hammerheart Records in February of 23′)
Fuck me, if this doesn’t check all the boxes a fantastic OSDM record should adhere to (obviously depending on ones tastes).
While listening to this one is literally yanked down a who’s who of the extreme music scene (circa the early 90’s) rabbithole. The vocals are harsh, strained and heavily accented, rhythms are menacing, dense and transformative, the tone is spot on, and leads and solos are plentiful, tipping the hat to Slayer, Pestilence and Morgoth among others. It’s truly as if the past, in part, has been resurrected if only to be liberally doused in aggressive Thrash tendencies. And boy does this flow to leave one in a salivating, quivering in nostalgic excitement, state.
Seriously, how did I miss this and not hear others gloat about its release when it was originally ‘dropped’? Well, I’d like to help raise the awareness of this dirty lil gem, for it deserves such.
94

And that’s it for another short and sweet diving into what might have been missed in 22′ entry, as you might have noticed this was a rather American (both North and South) themed entry which wasn’t in the slightest bit intentional and for that I apologize.
Stay brutal my audio loving friends,
B

Abrasive Audio – Fresh for 23′

Introducing 23′ With a Thunderous Roar

Welcome back my extreme audio adoring readers (all 2 of you). In light of recent activity it appears I’ll be running the show from here on out. Where to start, what to do, where to turn?

What say we explore a few albums, that I believe offer stunning promise, to be released in the very near future.

Bodyfarm (The Netherlands) – Ultimate Abomination
February
Edged Circle Productions
As if the stunning Titan-esque killing machine cover isn’t enough, the bands moniker, and stunning discography, should well suggest that one is about to plunge (ears first) into a spectacular DM experience. And I’m pleased to report that this is indeed the case! Showcasing sly nods to a slew of standout acts within the arena Bodyfarm have managed to compile a collection of tracks which excite from the very first until the final riff. Select rhythms elicit memories of (in some cases life-altering) virgin genre experiences as well acts within the genre whose varied approaches melded it into what we all enjoy today. As if that’s not enough the act also manage to slip in a few surprises; for example a track (by name of The Wicked Red) draped in a Wolverine Blues aura, slathered in a drum tattoo which recalls Stone Roses.
In all honesty, there’s so much I could scribe upon this album that I fear in doing so my digits would bleed exhaustion (and there’s a band moniker I should probably Copyright!)
Perhaps then a brief oversight?
The flow within the album is stupendous, with (amazingly) each track bearing an identity of its very own. Ranging from galloping, to menacing to moshpit obliterating rhythms the album has a great deal to offer and promises to be the blame for many an ER visit. The vocals warrant mentioning, a commanding presence and accented growl where you can actually decipher the lyrics, seriously how rare is that?
Touching upon a myriad of style, from dirge to Crust to Melodic Black to DeathDoom, and most everything else in-between, Bodyfarm have exquisitely crafted an album boasting wide appeal. An audio affair with commendable production (it must be said) that stands up to the ultimate test of various spins, a release which I just can’t seem to remove from my playlist.
So, it matters not whether you’re a fan of Entombed, Grave, Hypocrisy, Benediction, Immortal, Vomitory, Bolt Thrower, Dissection or Obituary. The Ultimate Abomination sports about all a fan of Death with decidedly Thrash tendencies could wish (although the album frequently treads into other arenas also).
Chalk up another win for the band and (I’ll go out on a limb by stating) an early contender for best of 23, although obviously it’s just been pushed outta the gate.

https://edgedcircleproductions.bandcamp.com/album/ultimate-abomination

97

Yaaroth (US) (formerly Yarrow) – The Man in the Wood
March
I, Voidhanger Records
Some albums are difficult to ponder upon, assume the style of, given the supplied artwork, this is one such example.
Yaaroth are nestled comfortably in n a bygone era in suppling the listener with a style which is both Doom, of the traditional sense (rather than Death or Funeral styled), and undeniably melodic styled and yet far from that which most would deem (galloping) Heavy or Power Metal. The term Proto seems to works better and weaves with more a vintage Rock (with a definite Folk leaning) aura to provide a pleasurable listening experience for those whose interests lie on a trajectory that isn’t afraid to explore the dustier corners of the Heavy Rock universe. Unattractive to trends, adhering not to that which is trendy or fresh, Yaaroth prefer instead to deliver that which many of us have never (or rarely) experienced, an aura touched upon by many though rarely displayed as fully as offered here.
Relaxing, tranquil though also peppered with strife and menace, the album transports its audience, through lyrics largely based on poetry, and a delightful aged production, to a fantastical realm and an era currently finding a sluggish resurgence of sorts. In short, as I’m finding my digits running away from me, I’m enjoying this a damn sight more than I thought it would. A Man in the Woods serves as a fantastic pallette cleanser separating me from a stream of audio barbarity with minuscule variation. If you’re up for a spot of retro and an album ‘far removed from the usual’, give this a moment of your time.

https://i-voidhangerrecords.bandcamp.com/album/the-man-in-the-wood

85

Deviser (Greece) – Evil Summons Evil
February
Hammerheart Records
Having been around since the late 80’s Deviser strangely don’t really have a great deal of physical output to their name; a handful of full-lengths, three demos and two EPs and recently a slew of singles to support the newest outing, an album following more than a ten-year hiatus. Not surprisingly, shit happens, the creative part of the being is forced to a halt due to various obstacles cropping up in the path of life. And then, some obstacles seem to dissipate enough for the Muses pounding upon the senses to he answered with a call to action. So, what then about the newest; Evil Summons Evil? Is it a return to form, or a drastic attempt to regain the glory of the good ole days?
The album opens with traditional BM riffery (a good start to get one in the mood). But, wait for it, is soon accompanied by a quite familiar riff, and one which fans of mid era Slayer, and assorted Ed Gein antics, are sure to salivate all over. Biting vocals enter the fold and appropriate, though not in the slightest overpowering, atmosphere completes a stunning introduction for many to the new age of Deviser (for me admittedly to the band itself).
The album continues and offers the listener melodic BM riffery with a classical touch, soundbites which bring to mind Clive Barker Cenobite antics, a middle Eastern vibe and a stunning instrumental which expertly combines synth and orchestral elements in an effective grandiose manner. As a fresh inductee to Deviser’s musical approach, and bearing in mind how long they’ve been ‘at it’ (for want of a better term), I’m pleasantly surprised at the quality on offer. The album has soaring melodies, rhythms which capture the attention (and get stuck in the head after experiencing) and an array of palpable emotion, truthfully more so than I’d expect given the albums allotted genre. The production is far and above what I initially expected as to the albums overall composition and aura. This isn’t raw, it isn’t wholly atmospheric or orchestral, nor is it depressing or Folk inspired BM but rather a melodic affair sporting a few familiar themes (the Occult, Satan, et al), clean production and tracks with plentiful, often rather unpredictable, direction and movement. At times the album sports a Blackened Death feel, in instances a Septic Flesh grandiose aura, although it’s never to the point where one might point a finger and/or scribble an email in complaint.
Overall this collection of tracks is guaranteed to bring those back to the fold who might be surprised to hear that Deviser are still together, and others whose interests and curiosity brings them to melodic BM waters looking for a quality album to help spurn a deeper exploration of what the genre has to offer. This is a fantastic place to start such a journey and stands as a neon lighted statement that Deviser have indeed returned… to form.

https://deviserofficial.bandcamp.com/album/evil-summons-evil-pre-order

92
And that’s about it. Feel free to comment, drop a suggestion, or laugh at my horrific manipulations of the English language.
Until next I drop thoughts upon all manner of Audio Extreme.
B

Abrasive Audio – Lost In 22

_{Extreme Audio waters never fail to excite the senses}

Traipsing into Fresh Audio Waters
(Part the First)

Welcome back my extreme audio loving brethren. While Cult is off taking his sweet ass time exploring and dropping a myriad of ponderances upon a Top 50 List, I thought I’d take the reins.
It’s been an insane year for the genre, with so many releases dropped week after week that it’s, admittedly, a damn chore trying to keep abreast of it all. Following a moment or two spend sifting through the years various Abrasive Audio entries I realized there were a great many intriguing offerings that remain somehow unmentioned (there’s truly not enough minutes in the day).
So, being the generous chap that I am I thought what better time than now to obliterate this unfortunate state of affairs.
What follows is merely a smattering of albums, from the last 365 days or so, deserved of introduction and exploration, although without a shred of a doubt there remain dozens, if not hundreds, more warranting attention. Armed with the list (before me) it’s probable that several entries will be required to contain my musings upon the sensorial shattering emissions on offer.
(Again all opinions are my own and remain unswayed by promises of cheese, baked goods, delightfully large wads of cash, or suspiciously hefty packages of craft beer.)
What say we start with…

Freedom of Fear (Australia) – Carpathia
After seeing Hannes Grossman, skin-basher extraordinaire, mentioned in the bands line up I became especially excited to shove this in the earholes. And the art certainly doesn’t hurt the curiosity any either.
Another element within the lineup would have Cult falling ass over tit, as I know it features high on his list of weaknesses when it comes to his preferred audio habits, though I’ll leave my scribbling upon it short and somewhat mysterious lest it become a point of contention and bias.
Now, what to say about this offering.
Well… it’s surprisingly listenable! It blends Tech Death elements with Blackened tendencies without thankfully drowning the whole in an aura which is difficult to comprehend and consume. It bears a flow which incites enlightenment and hope for a genre which many believe is fast becoming over crowded and stale. Better yet, did I mention that this is just so criminally and utterly enjoyable? Compositions are just one of the many standout factors showcased here and exist somewhere between Black, Death and downright impressive fretboard manipulation Tech mastery with classical touches tossed in for that certain timeless glaze. The drums courtesy of Hannes are undoubtedly superb adding another layer to an already startlingly impressive audio array, however it’s the larynx of Jade which ups the ante considerably when it comes to the albums appeal. There’s a definite ferocity and vicious approach on offer which catapults this from “damn, this is good” to “Hey Son, mind picking my jaw from the floor please?”
Quite the album indeed to commence a new Abrasive Audio segment, quality like this makes me ponder upon whether Koalas and Kangaroos don battlevests. Silly me, of course they don’t  they’re too busy plotting world domination through undeniable cuddliness.
98

https://freedomoffear.bandcamp.com/album/carpathia-2

Grenadier (Canada) – Trumpets Blare in Blazing Glory
Expecting yet another BT knockoff you can well imagine my surprise when something different caressed my audio-catching flesh flaps. Touted as “melodic death” this shows all the trappings of a collection ensemble willing to change the status-quo of the genre, albeit with a precision tool rather than utilizing rampaging track-driven industrial machinery. Displaying more than the expected inclusion of other genre troupes Grenadier have constructed a collection of tracks with a distinct ‘brutalness’ significantly more accessible than a similarly monikered genre.
In short, I enjoyed this, it had plentiful take notice moments, though not nearly enough to say fuck me these chaps steadfast belong in my daily audio regiment.
82

https://vikingdigital.bandcamp.com/album/trumpets-blare-in-blazing-glory

Misþyrming (Iceland) – Með hamri
Black Metal admittedly is a term which makes many run to the hills. And like many other larger genres it too has stylistic variations which often defy logic. Fret not however my Metal loving comrades for although this isn’t wholly straight-forward and unwavering traditional BM it obliterates all of the boxes requiring a checkmark to garner the attention. It boasts raw qualities, presence, atmosphere, vicious vocals (in a language which only makes the music sound that much more archaic, mysterious and feral), rhythms to rip the head from the shoulders in appreciation and compositions which scream the genre still has a great deal to offer those who may have doubts.
Now if only I could find the space on the keyboard to correspond with the strange looking “p” in the bands moniker. I would hate to offend them though still fear not scribbling my appreciation would be a major disservice to the outstanding audio on offer.
93

https://misthyrming.bandcamp.com/album/me-hamri

An Abstract Illusion (Sweden) – Woe
Much removed from the multitude of brutal DM albums the art here really gives little to work on regarding early assumptions. And… that’s a good thing, as the album really needs an open mind to be able to process what it offers. Now, its not that this is wizardry, cosmic, tech Prog, or anything similar in theme. But it is an utterly immersive experience one requires a clear mind, and zero bias admittedly, to be able to fully appreciate. Chock full of winding, twisting and transformative rhythms and exciting pace variations this is sure to keep many listeners on their toes, and for great reason. But these reasons aren’t the only reasons why one should get excited. The album flows much like a celebrated body of water with a multitude of moods to match, and oh so exquisitely balanced from start to finish. There’s a warranted reason why Kman (on Twitter) lauded this with the album of the year title, it is exhilarating, yet soothing and wholly intoxicating. Add to this that every listen brings something new to the already blinding audio palette on offer and the spell is complete.
Add this to the playlist containing best if the year playlists pronto, for it really is that impressive.
98

https://anabstractillusion.bandcamp.com/album/woe

Sol Ether (US) – I: Golden Head
Ravens, a decapitated head, skeletons in disarray and a figure so blinding in his brilliance that one requires a damn sight more than merely a shield to hide from his phosphorous glare.
Ok. Badass cover art – Check!
In regards to the music, well it hardly truly conforms to any rigid genre parameters. And in this instance that’s a good thing, DeathDoom doesn’t adequately fit as this boasts significant groove, movement and a style which often hints at flying headfirst into BM arenas at any given instant.
And melodic DM doesn’t encompass what’s on offer here either, although this dons a blanket of melody exceedingly well, albeit more a mid-tempo thrasher vibe with a touch of dirge, rather than a more traditional vintage NWOBHM motif. In instances the album infrequently exudes a groove-laden Satyricon vibe (stay with me kids) though manages to remain exciting in displaying energetic rhythms, plentiful movement and surprising variations of mood. With plentiful elements in its favor, including lyrical themes of a Celtic slant (let’s dive into Wikipedia together folks), a non- conformatory composition approach, a diverse utilized instrument array, and snarling, unhurried vocals which fit the style perfectly, the album has a great deal to offer, even more so bearing in mind this is the bands first.  The future is bright indeed. Now where’s the merch table?
88

https://solether.bandcamp.com/album/i-golden-head

Thanks for sticking with me folks, I’ve tried my damndest to keep this short, sweet and relatively bite-sized. Here’s to diving into the intriguing nature surrounding the remainder of the albums up for deliberation within following entries.

Your Host for the festivities,

B

The Final Dollar Store Movie Marathon piece of 22

DSMM – Squeezing in the Final Entry of 22

The end of the year draws near, festive lights are everywhere, people are racing around like forms possessed, intent on gathering goodies for family gathering and here I am scribbling like a loon in hopes that someone might read this and smirk.

Onwards to pondering upon a pair of films I found nestled in the shadowy depths of a local Dollar Store.

Fabricated City (2017)

South Korea

Writer (comic) – Meong-chan Pak

Director – Kwang-Hyun Park

Runtime – 128 minutes

Wrongfully convicted of the rape and murder of a minor Kwon Yu is set to spend a lifetime in a maximum-security prison. His only crime however is being a slacker with an addiction to video games. Kwon finds life in prison difficult, on account of the constant beatings a crime boss and his cohorts deliver. A riot and assistance from an expected source bring an opportunity for Kwon to escape where he soon discovers (thanks to a close collective circle of his gaming friends) that his is not the only case where details are omitted and a patsy is randomly selected for the crime.

A web unfolds and a larger picture develops.

And that’s about it for the spoilers.

Fabricated City is a rare find. A film which has obviously slipped through a great many cracks. The beauty behind the film is that it offers a unique story incorporating a myriad of elements which aren’t in the slightest expected. The film is stylish, hi tech and chock full of eye-widening action; explosions, car chases, fights and computer hijinks as well red herrings and dark humor galore.

_{Trailer courtesy of Rotten Tomatoes Indie}

Stylistically Fabricated City covers a great many genres including but not limited to buddy comedy, thriller, action and live action manga. The performances within are top- notch and interactions both humorous and heart-warming. Character portrayals illicit strong emotions to heighten the films enjoyment but it’s the non-stop action which truly brings home the bacon.

I honestly cannot say enough great things about this gem. If you enjoy Takashi Miike type storylines with plentiful action, this is a place you’ll want to park the peepers.

What a find!

10

Time 4 a Festive Entry

Slay Belles (2018)

USA

Writers – Jessica Luhrssen, Spooky Dan Walker

Director – Spooky Dan Walker

Runtime – 78 minutes

(*please note that this review was scribbled in hyperspeed whilst dealing with an attention seeking offspring.)

List the most important elements of a B- movie and you’ll likely find the most important features are the four B’s;

Blood, Brawn, Beasts and Boobs. Naturally, a jaded, pitch blanket of dark humor is always appreciated as too a slant on a quite familiar theme.

Well, I’m glad to state that Slay Belles features all of the above-listed factors.

Without providing (m)any spoilers the story revolves around a trio of cos-playing vloggers.

_{Trailer (again) courtesy of Rotten Tomatoes Indie}

Their ‘angle’ comes from exploring abandoned buildings, theme parks and such all whilst displaying that which the good lord gave them in abundance. In most instances this arrives in the form of prettily packaged flesh, though also includes a personality to brighten even the dullest of surroundings. Collectively known as The Adventure Girls, our trio have happened upon Santa Land and a small township plagued by mysterious disappearances and grisly murders. One thing leads to another, the girls van gets towed, local law enforcement gets involved, a bearded fellow steps into the picture, as well a hairy horned form often referred to as “Krampus”. Without dropping additional spoilers, like a clumsy elf colliding with a traditional tableau of milk and cookies by the festive fir, I’ll gladly comment that the film moves at a wicked pace. The acting is delightfully over the top, leaning heavily on (light) exploitation, burlesque antics and comedy, not surprisingly the film takes time out to laugh at itself.

_{Cor! That’s quite the cast you have there!}

A bevy of standout performances make the viewing experience; a retired Santa in biker leathers, a surly bartender, an emergency operator whose absence leaves local law enforcement scrambling for switchboard instructions, and obviously the films three heroines whose presence brightens the screen and is likely to send horny teens into frenzied states of excitable seizure.

But Slay Belles isn’t all about tight corsets, jiggling sweater puppies, pink hair, screaming damsels, and gussets (whatever they might be). The film actually boasts a story, and the parts of it which haven’t been handled many times before actually add weight to traditional Holiday lore. With a exemplary handled portrayal of Santa, Barry Bostwick (Rocky Horror Picture Show, series galore, as well numerous Broadway spots) commands the screen with both his presence, patient antics and schooling. He teaches that which many of us have only heard the minutest rumors of, details of the past which our grandparents have gladly kept under wraps lest the Festive season forever don a cloak with two quite distinct sides. In short, the season isn’t as bright and carefree as we all know it, and this film serves to showcase what might happen if a vengeful ex decides to open Pandora’s box (in this instance not so much a box, so much as pry open restraints).

_{What-! Christmas is real?}

Seriously, what could possibly happen?

Slay Belles has all the usual suspects (a desolate landscape, an inadequate show of law enforcement and a status quo about to be shattered), a smorgasbord of lovable, larger than life characters, a few cameos (to send nostalgic sensors reeling), T and A shenanigans to heighten boyhood (although I’m sure this approach works for some ladies too) excitement, slasher themes, and cat and mouse scream queen scenarios.

Thankfully, the film doesn’t scrimp on action or crimson, there’s plentiful blood (without dragging the feature into extreme realms) as well FX to keep the attention rapt. Scenes which bring to mind Attack on the Block are a fantastic addition, adding another layer to a film which is already downright enjoyable. Whereas light effects and the traditionally festive floating sleigh are included, I’m sure, to please Holiday celluloid purists.

_{Go on, take a bite!}

As far as low budget affairs go, I’ll gladly state you can do much (much) worse than Slay Belles, it boasts undeniable appeal based on numerous excellently-crafted elements and an array of acting talent which perfectly fits the films mood. For the most part light-hearted the film is one which is easily accessible for both hardened fans of the genre and the curious alike, although some might take offense at the oft-utilized colorful dialogue (I’m a bad parent as I watched this with my youngest offspring – ah, put me on the naughty list).

Add this to the celluloid playlist for the Holiday Season (alongside in my case Gremlins, Home Alone, Krampus, and A Christmas Horror Story), though be sure to add it to the latter part of the evening when the young uns’ attention is waning and their eyes are likely beginning to close for the night.

Now for me to find a way to close this review piece out all while wishing all (six) of my readers a Happy Holidays and a fantastic New Year. There, I think I did it!

10

Cult

Dollar Store Movie Marathon -Year End 22

DSMM – Year End 22′

 So, I’ve abbreviated the title as well as shortening the quantity of included reviews. Am I getting lazy, probably. Is the Holiday season restricting my free time, absolutely! Without further ado here are a few thoughts on a pair of films I’ve witnessed recently which I deem worthy of more attention. Here’s to trying to accomplish just that.

Code 8 (2019)

Canada

Writers – Chris Pare, Jeff Chan

Director – Jeff Chan

Runtime – 99 minutes

With plenty of Superhero ability movies out there, surrounding our every waking moment and movement, it’s hard to know where to turn. Most boast huge budgets and likely where the attention turns first, whereas others (with a drastically lesser budget) usually live an uncomfortably short shelf life. Code 8 is one of the latter, a smaller budget affair, and a movie which has benefited hugely from a grass roots Crowd Funding campaign. Those responsible managed to raise over 800% of the initial goal, a factor based largely on the success and enjoyment of its preceding (2018) short. Naturally, it didn’t hurt that several relatively well-known actors were associated with the project, and whom also star in the full-length feature. Sung Kang (The Fast and the Furious franchise) plays a detective while cousins Stephen Amell (Arrow series) and Robbie Amell (Upload series) portray two of the misunderstood and shunned ‘power able’ community. Having not seen the short I can’t comment on it. Though I can, and will, scribble my thoughts upon the film.

Trailer courtesy of Vertical Entertainment

Based in Lincoln City, not Nebraska but rather a fictional constructed City in Toronto, the film centers on the struggles of Connor Reed. Unable to get a job and living with an ailing mother his choices are limited, even more so because of the communities crack down, and subsequent ‘squashing’, upon those with abilities. Not surprisingly he turns to crime and the cast list grows to include familiar faces, including but limited to Greg Bryk (Immortals, Shoot em’ Up, Saw V, among numerous others), and predictably a bevy of heavies all graced with certain unnatural abilities. Connor has his misgivings though follows through with plans to hopefully net his employer a way out from under the thumbs of his boss, and what might possibly be the funds needed to find a cure for his mother.

_{Guess we don’t need the Power company anymore?}

That about drops all the spoilers I wish to divulge with laying the groundwork for this review. What about the feature itself?

Well, it’s not the typical dollar store affair, by any stretch of the imagination. Code 8 boasts commendable acting, actual sets and a slew of practical FX which are beyond impressive (with the budget again in mind). More importantly the film has an actual story. Though largely predictable it still manages to hold the attention to the films finale relying largely on character interactions, the relationship between Connor and his mother (played by Kari Matchett) and that which people are forced into when oppression, and the duties associated with being a responsible adult, forces their hand.

For the most part Code 8 is relateable although I can’t honestly say that I’ve ever robbed a bank, gotten involved with the mob, or had to suppress any kind of ‘power’ due to emotion (for legal reasons?)

_{Yes, these androids kick ass!}

Standout performances come by way of Robbie Amell (Connor) who’s thrust into a predicament he can’t control, and Sung Kang, Detective Park, a public servant who is torn between doing that which his partner wants, what the community demands with pitchforks raised high, and that which serves the livelihood of his family.

Other elements which make this a rather watchable film includes the films use of drones and AI officers (all without the utilization of sub-par CGI), an easy-to-follow story and fantastic direction. Action scenes are plentiful though thankfully not dizzying in their delivery and not overpowering in their depiction of savagery or bloodshed. The soundtrack offers just enough to heighten the tension without taking center stage. And appreciatively, the Police procedural aspect is well-balanced so as not to tip the scales of bias.

Overall, Code 8 executes that which it set out to do, launching an obvious set of morals to be absorbed by those who allow such. However, it’s the entertainment value this film provides which bear preaching, everyone involved has performed a fantastic job to make this as realistic a portrayal of the future as is likely to be witnessed, obviously replace the having powers element with another (insert your preference of choice here) and it’s spot on.

Naturally, there will be those who will scan for a Marvel or DC logo and in not locating such will pass, but for all others who can see past such this is a great place to park the peepers for a spell.

_{The original Code 8 short film courtesy of Code 8 Movie}

A sequel to Code 8 is in post-production, as I type this, and has been purchased by Netflix, the rights to a possible series are being discussed. I’m excited as to where the possibilities might lead.

8.5

Featured Review

The Sadness (2021)

Taiwan

Writer/Director – Rob Jabbaz

Runtime – 100 minutes

Apologies. Before I begin, I feel I must state the obvious. That being that I’m likely the last person to give this a view.

Well, I’ve found the time and a quiet spot. Here are my thoughts.

It takes but an instant to realize that the film is going to be topical, what with the credits embossed upon petri dish images showcasing viruses and pathogens (if they’re the same thing I’m going to look silly) dancing in intricate transformation limbos.

Cut to the introduction of the main characters, a young couple sharing a high-rise apartment. But something doesn’t seem quite right. A lone figure donned in bloody garb without a seeming care in the world on a nearby roof is troublesome, doctors pleading that the public take notice of Alvin (a new virus with truly athletic qualities) only adds to the stakes.

_{Might we entice you to play?}

So, what gives?

The films creators have decided to cut down on the mystery, save us all the bother of wracking our brains for possible links, by having the film go from 0- 60 in about the time it takes to dump the contents of a fat fryer over an unfortunate’s head.

Bam! (Cue the retro Batman cards)

And this is off and so are the antagonists. Imagine a landscape rife with maniacs, people who have suddenly stepped through the ever-shifting thin veneer of that which keeps us civil, a steadily growing collective intent on acting out their wildest fantasies with zero worry as to the ramifications. In short, a menace akin to that of (Romero’s) The Crazies mixed with the dread-inducing stamina and all-consuming drive seen within (Boyle’s) 28 Days Later.

_{Crimson fountain in a subway car}

However, what make this film a truly terrifying watch is the sinister nature in which the (let’s call them) ‘predators’ hunt. Exhibiting zero emotion, palpable excitement and a ferocious frenzied lust the collective taunt, cajole and vividly describe that which they hope to perform with all of their faculties intact. These aren’t mindless savants out to get Barbara, or decaying shells (intent on mastication of the warm) but rather humanity stripped of a nature imposed upon them from centuries of ‘let’s all get along for the greater good of the planet’ structure. To be specific and slightly technical the virus affects the part of the brain which governs aggressive nature and sexual drive, stripping it of its inhibitions.

This isn’t a zombie movie, let’s make that 100% clear, the antagonists here haven’t risen from the grave dripping in sod and manicured ‘lawnscape’, this is rather a visual realization of a pandemic/contagion that makes the recent global outbreak appear grotesquely pale in comparison; Covid but drowning in an ocean of bath salts. To bring it back on the genre level; Train of Busan level insanity bursting with maniacal predetermined vicious intent. “I’m not going to stop until I’ve fucked you to death” is only one of a litany of quotes that give somewhat an idea of what this film actually offers, and delivers.

Standout performances are plentiful, what with blank stares and bodies being torn asunder with reckless abandon, though one stands out in particular. Tzu-Chiang Wang plays a businessman whom Kat (Regina Lei) first encounters on a train. As a result of an outbreak (minimal spoilers here folks) he spends the remainder of his part of the film intent on enacting the hell fire fury of a grudge spawned through rejection brought about by brutal honesty. His is a role seething with a sinister nature not endured since the singing pastor in Poltergeist 2, though multiplied to the Nth degree.

Throughout a view The Sadness offers an aura of bestial unhinged frenzy, backed up by scenes drenched in crimson carnage (one in particular makes a quite specific scene in Hostel 2 seem childishly tame in comparison), an atmosphere which persists aided by an excellent synth soundtrack that adds significant mood and tension. The FX work throughout is stellar and certainly don’t scrimp on unflinching detail. Among the smorgasbord of genre fan salivating scenes on offer one in particular stands out (for me especially on account of my love for brutal martial arts cinema), in which a geyser of the sticky red stuff issues from a throat wound with such force to elicit a virtual, and immediate, elimination of ED among any Firemen in attendance. Truly stunning! Other scenes depict depravity to varying degrees with undeniable nods to genre cult affairs such as Irreversible, The Crazies, Dead Alive (Brain Dead), Society, Wolf Creek, and a slew of cannibalistic offerings too numerous to mention, lest my digits begin to ache in complaint.

_{Red Band Trailer courtesy of Garden of Gore}

Rob Jabbaz (director) on clean up duty

In short, without dragging you (the reader) into waffling, ponderous, grammatically horrendous depths I’ll gladly state that the hype is justified. This is a splatter fans wet dream of a film yet without all the trappings that typically come with such. The Sadness boasts production values, a highly commendable score, actual acting and exquisitely crafted tension. A brutal slab of celluloid that showcasing experience and meticulous care behind the camera, within the production and creative departments from its earliest stages to completion.

Watching this alone in the dark is a terrifying and exhilarating experience you’ll likely want to repeat time and time again. I truly cannot express enough how much this film impressed me, and to believe it is yet another example of successful crowdfunding (and in this instance other funds derived from on Cam activities) is quite spectacular. Suffice it to mention although this is incredibly similar to 28 Days Later it will exist on in cult status for many years to come.

10

As a side note the idea behind The Sadness is rumored (“rumored” aka allegedly, as I don’t wish to be sued, or quoted and told I’m ‘Wildly of the beat and track’) to originate from a collection of comics called Crossed, which were originally written by comic favorite Garth Ennis (of 200AD fame although his resume sports titles which are regarded as both classics and groundbreaking across this green planet on which we all reside) and drawn by Jacen Burrows. At a final count the issues ceased at 100 with varying storylines based throughout the globe centered around roughly the same contagion and bestial behavioral themes with a definite adult not for children appeal.‘

Cult

Scorching the Retinas – A Few Thoughts on Blasted

Scorching the Retinas – A Bachelor Party, an Alien Invasion and Scoring a Business Deal.

Aka – A Few Thoughts on Blasted

Blasted (aka Blasted – Gutta vs. Aliens)

Norway

2022

Writer – Emanuel Nordrum

Director – Martin Sofiedal

Runtime – 116 minutes

 In the Hessdalen valley things are going missing. Not small, insignificant items, such as hairbrushes, lighters or single socks. But larger, more important, objects such as coffee makers, toasters and even in one instance, a VW transporters engine. This wouldn’t seem all that weird (after all who hasn’t mislaid the engine of a 1980’s camper van on occasion?) if it not for the glowing lights associated with the area and the sudden appearance of a Social Media celebrity hoping to cash in on an on-location interview (with an expert on the subject). But it appears that the number of occurrences is growing, the vlogging millennial has disappeared and strangely the sightings of odd lights have been replaced with brief encounters with small gatherings of seemingly socially awkward gibberish speaking individuals whose eyes seem to glow with a definite phosphorus nature (without a Dave Matthew’s Band concert being anywhere in the vicinity. Weird).

So, what better way than to up the ante and excitement of a bachelor party than by visiting the same location of said incidences?

It certainly beats frequenting a local strip club on cheap beer night. Right-?

_{Well…this beats staring at titties}

Audun (one of Sebastien’s closest friends) thinks so. And he’s going all-out to give his hard working companion a weekend he won’t soon forget, his final weekend as a single person. But it gets better. Along for the excursion comes one of Sebastien’s old buddies, literally a blast from the past, and Casper. While Mikkel (an old friend with stories to share) is out to embarrass and take control of the activities, and the weekend, Casper is on hand for the experience, the enjoyment, a spot of “ball tickling”, and “hot sex” (his words, not mine). Sebastien is torn. While trying to placate an old friend, he’s also trying to impress, for Casper is a businessman (of the arrogant, obnoxious variety) and Sebastien is trying to cement a deal which will either make or break his future.

Enough of the spoilers already.

Blasted has a great deal going for it. What makes this feature stand out from the pack is its quirky, delightful, rather off-beat humor. Lines such as; “…you know what I like to say to myself when I’m sad…”

“…What?”

“Beboop…Be…Boop!”

The Official Netflix Trailer

It takes little time to realize, and there’s absolutely no denying, that this is from the same region which also spawned Killer Bunny Thing and each of the Dead Snow films. The character interactions are memorable, the diverse mix of the bachelor collective offers awkwardness, uncomfortability, miscues, and incites smirks aplenty. Zen mentality meets arrogance meets manchild sensibilities meets… you get the point. A diverse collective to say the least.

_{C’mon let’s party, puny humans}

Much like any other example of outstanding celluloid there’s plenty going on. Among the early brilliance; paintball mishaps, guided observatory tours, ‘Lazer Tag’ Japanese futuristic gadgetry, late night campsite rendezvous, and pilfered tumble dryers not to mention Casper’s insistence that Sebastien don a bear costume for the entirety of the weekend’s celebrations.

And it only gets better. Friends somehow find a way to rekindle their relationship (spoiler alert), even though growing up (sometimes referred to as ‘adulting’) so often finds a way to toss a spanner in the works, and the reason why so many household appliances have disappeared soon becomes apparent. But will the utterance of “Be-boop” reinvigorate happiness and save the day, is ‘Lazer Tag’ a lost art soon to find its resurgence, have the film’s FX crew happened upon an abandoned Nickelodeon warehouse full of discarded goop (is the term “Slime” trademarked?), and why is it that so many people still listen to The Dave Matthews Band?

Only a few of these questions will in fact be answered (some find that struggling with even the most mundane of mysteries drove one onward to enlightenment) whereas others will baffle legions of scholars for aeons to come.

_{The best of Lazer Tag buddies}

I’m pleased to announce that “Blasted” excels on a number of different levels. The writing, interaction, and roles are priceless. Mikkel (Fredrik Skogsrud) and Sebastien (Axel Bøyum) generate animated likeable roles and a fantastic pairing. The film also features the inclusion of the small vicinities Police presence, who get relentlessly teased based on the fact that the area is renowned for its “sightings”. Other individuals drive the hilarity, with each bearing a well-crafted uniqueness to keep the film far from cardboard forgetfulness and boredom arenas.

The dialogue throughout is ultra-quotable, the comedy well paced, quick, ranging from dark humor, situational, to that of the slapstick variety and flows altogether superbly. The soundtrack/score is also worthy of note and is both theatrically cinematic and upbeat, with retro tracks often finding a Norwegian slant.

_{And for those who couldn’t stand the suspense, here is the bear costume}

The films landscape, its Cinematography, is a fantastic touch and exquisitely showcases the surrounding beauty, desolation and secluded location far from the frenetic nature of the city. An added element showcases vintage technology clashing with state of the art to incite discussion among viewers. More importantly however is that the films vibe rarely wavers from B movie levels, it doesn’t try to be what it isn’t and proudly wears its often camp/silliness on its sleeve like a badge of honor, although that’s not to say it emulates Velosopastor or features of a similar OTT ilk.

A variety of influence is apparent ranging from recent affairs such as Skyline, classics such as Critters and a slew of standout Creature Features. A wide swath of lesser influences is fun to ponder upon (all naturally dependent upon the viewers movie viewing experience) as the film rolls nearer its (sticky) climax. But again, it’s truly the excellently crafted hilarity, as well excellent directing, the easy-to-follow story and the exceptional acting which makes this film so easily enjoyable.

Add this to a billing including Undead, Black Sheep, Bad Taste, Night of the Creeps, Killer Bunny Thing and Dead Snow for an evening of smirk inducing, utterly unforgettably, slightly off-kilter, though highly enjoyable cinema.

In short, this is another winner from a filmmaking arena which demands further exploration.

Bravo.

Cult

Abrasive Audio – Summer 22

Abrasive Audio – Black Band Shirts, Spikes, Chains, Corpsepaint and… Summer (!?)

As the sun continues to rain down its blistering punishment, fragile flesh bubbles, blisters and peels, and the onslaught of new releases continue unabated.

There’s no keeping up… seriously. What say we just give a handful of releases a spin and see what grabs the attention.

Bring on the Metal (and the sunscreen).

(this entry has been recently discovered, demanded attention with the addition of pictures and relevant links and is obviously a ‘late’ entry to the Abrasive Audio stable – B)

Notturno (Italy) – Obsessions

Release – April 22

https://hypnoticdirgerecords.bandcamp.com/album/obsessions

Artwork – I can see you’re not going to answer my queries on life, the universe and everything. Perhaps I can interest you in participation in a Shakespearean reenactment?

Genre – Depressive/Atmospheric/Gothic/Black Metal

Thoughts –

Of the three tracks on offer here, the first makes an astounding impact. Melancholy and emotion drip from each unhurried note. The vocalist lends a raw, haunting element utilizing a breathy approach which speaks of palpable trauma. The second brings considerably more oomph to this offering, bordering on hypnotic. The last track brings the album to a close and delivers a chilling hybrid of both Black and Doom, again with powerful, emotional vocals and trance-like rhythms. All in all, a stellar debut leaving the listener with little to complain about.

Score – 89

The Eating Cave (USA) – Ingurgitate

https://theeatingcave.bandcamp.com/album/ingurgitate

Release – June 22

Artwork – This Rancor (apparently, I’m a Star Wars nerd for knowing this?) appears hungry… for some crazy riffs.

Unleash the face-melting shredding assault!

Genre – Brutal/Tech Death/Deathcore

Thoughts –

There are many ways to describe Tech Death, although it’s rather tricky to avoid using the same words over and over again. In this case you could toss a dozen adjectives into the mix and still not quite encompass that which is on offer. A single word that must be utilized however is “tight”; “Ingurgitate” display a stunning choreography, and composition, an energetic breath-taking unpredictability (and pace) sure to leave most listeners gleefully sweating. And all carefully controlled, a chaos which is intricate, multi- textured and wickedly amorphous. Strange is that the album displays a number of elements which I’m not wholly a fan of, though I’m fast becoming an enjoyer of, in this instance. Yes, it might have taken a couple of listens to appreciate, for there’s a great deal to unpack here, however when one gets to this point one will be happy to learn that it only continues to give more.

Score – 92

Exordium Mors (New Zealand) – As Legends Fade and Gods Die

Release – October 22

https://exordiummors.bandcamp.com/album/as-legends-fade-and-gods-die

Artwork – Much like everyone else members of Royalty often fall to the laws of perishment. In this case however it appears the successor to the throne has scampered away. Perhaps the menacing sky is to blame?

Genre – Tech/Black/Death

Thoughts –

It doesn’t take but a minute to realize that Exordium Mors are slightly different. Theirs is a style which seems all too familiar yet not at all ‘singular’. Undeniably technical in its prowess, compositions ferociously nod at a slew of influence, albeit mashed together with a frenzied delivery. Listeners might ponder upon similar artists as the audio herein pummels its way through the senses; the diabolical galloping, tight nature of Absu comes to mind, as well an unpredictably chaotic, shrouded in darkness, all-out approach which Primeval Mass so proudly deliver.

As furious as it is, the album isn’t however without melody. A cavalcade of limb- twitching solos and leads (again the insertion of a certain level of technicality) adds another layer (of enjoyment) to elevate this from merely sheer brutality and the predictable maniacal realms which so many in the same crowded arena offer.

Eight long years have passed since the bands last (full length) effort. Oftentimes, given such a period of inactivity, one might wonder if the passion/ the desire still exists. Without reservation I’ll state this element has only flourished in this instance, the execution here is flawless, the compositions are drenched in swirling menace yet reside in strangely criminally infectious arenas, and the finished product is arguably poised to decimate all those who dare choose to experience the fruition of nearly a decade’s pain staking toil and dedication.

Expect to see this plastered across many a Year End List.

Score – 98

Abyssic (Norway) – Brought Forth in Iniquity

Release – October 22

https://osmoseproductions.bandcamp.com/album/brought-forth-in-iniquity

Artwork – “I like your wings Guv’na. Can you fly?”

– Like the wind. That’s why I’m on a ship… With you.

“Ah. Taking a break then, are ya?”

Genre – Symphonic Blackened Death/Doom

Thoughts –

Obvious comparisons must be drawn to Cradle of Filth’s “Damnation and a Day” (as an example I’m quite familiar with) in as far as this is also heavily orchestrated, offers fantastic depth and gooseflesh-inducing emotion courtesy of the full array of professionally manipulated strings, brass instruments and an angelic choir. The melding of the electronic (guitars) and acoustic (orchestration) is a sublime touch to already top-notch compositions whisking the listener away to highly detailed arenas, far surpassing that merely sketched by a multitude of others. The addition of Memnoch’s vocals, an unhurried growling if you will, adds menace, definite archaic qualities doused in mystery, and another layer of enjoyment to an otherwise enthralling slab of exquisitely produced audio.

Score – 93

Cadaveria (Italy) – Emptiness

Release – May 22

https://cadaveria.bandcamp.com/album/emptiness

Artwork – “Ebony, ivory… (album art) … in perfect harmony”

Genre – “Horror” Metal

Thoughts –

Comprised of members from Necrodeath, Opera IX, and helmed by one of ‘extreme metals’ earliest ladies (from which this act gets its moniker), Cadaveria showcases a number of stylistic elements; most notably a shifting dark aura molded by Gothic soundscapes complemented by Black, Death and Speed accents. The album bears a narrative theme, more than most, and transports the listener through various realms exquisitely depicting grief, desolation and a vast array of other emotions as it does so. Cadaveria’s voice is front and center in all of its many guises. In short, an accompaniment propelling each track with a wickedness, a sorrow, a melancholy with definite physical form. Leads and solos add to the fun. In fact, some have likened this bands style to that which Cradle of Filth peddle. I agree (in part) in regards to what this album provides. What differentiates the two is again however is the diversity on display here (that and ‘C’, whose given name is Raffaella Rivarolo, doesn’t howl, growl, bark and vomit ‘staccato vocalfire’ like Dani) rather than a melodic BM, Blackened metal approach this chooses to utilize the stylistic non-conforming approach, whereupon individual tracks weave a spell within which a myriad of styles are expertly cojoined, with each doing their part to bolster the overall effectiveness. Seriously this spans a Lacuna Coil style, in times even a Folk edge, all the way through tracks with more a sinister, menacing aura.

Fans of the Awakenings compilation (featuring all manner of female fronted extreme metal acts from around the world and including Cadaveria within Opera IX and the amazing “My Devotion” track) on Dwell Records from 97′ are going to enjoy the heck outta this.

Score – 90

To the Dogs (USA) – Light the Fires

Release – June 22

https://tothedogs.bandcamp.com/

Artwork – Is there a sequel to Firestarter I’m not aware of? Within which a canine has the ability to frighten the Postman whilst cooking bacon with power of the mind?

Genre – Black/Death Thrash/Crust

Thoughts –

Unceremoniously borrowing from a slew of genre To the Dogs viciously smash together elements of Black, Death and aggressive Thrash then inject the whole with Crust sensibilities. If there were ever an award given to album covers which exemplify the music within, this example would be in the running. This is no nonsense, furious, take no prisoners raw emotion brought to fruition by scathing riffs, punk attitude and a pace to send many happily stumbling to the nearest ER. Another killer release from an act who appear to only get more impressive as their discography builds.

Score – 92

Temple of Void (USA) – Summoning the Slayer

Release – June 22

https://templeofvoid.bandcamp.com/

Artwork – Honestly, it’s a tight race between this act and Inferi for outstanding art of the year (and this isn’t the first time such a situation has existed). Seriously, the imagery here just propels the state of mind towards Lovecraftian realms in wicked quick time.

Genre – Death/Doom

Thoughts –

Not an act which is afraid of stepping away from the expected, Temple of Void have again created an album which exemplifies their willingness to adapt to an ever-morphing audio landscape. But that isn’t to say that the usual genre troupes aren’t in attendance. Instances bring to mind classic Paradise Lost, Katatonia, October Tide and infrequently snippets of a sound associated with 80’s Brit New Age (Goth) Rock.

Nestled within woven passages exuding melancholy, atmosphere and alien realms drenched in chilling enchantment (albeit of the darkly fantastical variety) the whole offers dissonant synth and dirge foundations, molasses sludge rhythms, reflective sojourns, and a damn sight to get excited about for both new and long-time fans.

Sure, this isn’t the usual Death, the typical Doom, but it is expertly crafted and checks all boxes one could hope whilst also offering a hint at perhaps where the ever-evolving ToV might be headed next?

Score – 91

Tempest (Germany) – Point of no Return

Release – May 22

https://tempest-thrash.bandcamp.com/

Artwork – “So, we’ve now got the nuclear codes and… Holy fuck you touched the red button. Don’t ever touch the red button.”

– But I wanted toast!

” Well, now you have plenty, of the mostly charcoal variety!”

Genre – Old School/Aggressive Thrash

Thoughts –

As catchy as a fisherman’s lucky rod and as nostalgic as Saturday Morning cartoons, this hits the spot only then to wrestle it into submission. Think Annihilator rhythms with hooks to make Cenobite legions green with envy, a skin bashing battery to incite limb movement without thought, and a commanding vocal accompaniment to make one sit up and take note. All the ingredients are here, especially for the Thrash loving maniacs who prefer what’s proven to work and zero inventive tomfoolery, so why aren’t Tempest better known?

I’m hoping my words might change that (if only a little, then I’ve succeeded).

Score – 89

Begrime Exemious (Canada) – Rotting in the Aftermath

Release – July 22

https://darkdescentrecords.bandcamp.com/album/rotting-in-the-aftermath

Artwork – It doesn’t seem like we’ll ever get this castle renovated.

– Nope.

Hard to do anything when you’ve ceased to be.

– Ain’t that the truth.

Genre – Black/Death/Groove

Thoughts –

Rather than opt for the brutal approach, B.E have somehow (and rather expertly) melded groove, catchiness, Old School Death values and cavernous cloying filth into an audio concoction which is extremely easy to access and appreciate. A both biting and venomous twin-pronged vocal assault accompanies rhythms of the most criminally limb twitching order making for nary a dull moment, but plentiful instances whereupon one can reflect upon previous releases showcasing this same style though certainly not executed to the level heard here.

To be blunt, this isn’t a typical gore soaked, chuggery-laden death release, nor a sinister blanketed atmosphere drenched gooseflesh raising affair but rather a somewhat intricate affair which will have one moving with mouth agape. This is the variety of album which breathes life into a genre while strangely utilizing the same tools most acts already employ with little to zero difference in the existing status quo, the same old, same old.

This is my first interaction with the B.E catalog and most certainly not my last.

Score – 96

Carrion Vael (USA) – Abhorrent Obsessions

Release – August 22

https://uniqueleaderrecords.bandcamp.com/album/abhorrent-obessions

Artwork – It’s Tuesday. Time to wear my real face.

Genre – Deathcore/Tech Death

Thoughts –

The trepidation with which I approached this release was huge. I had my fingers crossed that the CV formula was intact; their last two albums are certified barn burners, always there to lift my spirits lest my ears slip into subpar audio waters and demand a cleansing.

And… the formula has changed, (wait for it) albeit slightly, to incorporate grandiose atmosphere and even a few instances of audio drenched in a cosmic laden progressive nature. The deftly wicked, insanely gymnastic, ‘spider on a fretboard flourishes’ are intact as too the quite amazing dual vocals from a single throat approach. The composition still bears the one must stretch before hitting play motif and there’s not a single second of filler to be found. I must admit though I became a tad curious (slightly worried, I’m not going to lie) when the album commenced with a Behemothian aura, but it all worked out and this too is an absolute fn’ blast.

Fans of the godlike abilities of Trevor (RIP) and TBDM will devour this and gleefully beg for more.

Score – 95

Reeking Aura (USA) – Blood and Bonemeal

Release – July 22

https://reekingaura.bandcamp.com/album/blood-and-bonemeal

Artwork – A hellish watercolor environment in which pedestrians are seen dilly-dallying plastered against rock faces and within ramshackle constructs perched precariously above crevasses of unfathomable depth. Certain art demands a story behind it, or composed because of what it offers. This is one such piece.

Genre – OSDM/DeathDoom

Thoughts –

With the cover art hinting at many an element, the potential audience really isn’t afforded a definite sense as to what this might offer. Utilizing blunt riffs and a rumbling, ground-shaking, approach this hits like a fleet of dump trucks falling from the stratosphere; vehicles operated by creatures of undeterminable origin, minds overladen with menace and diabolical intent.

Vintage values rule supreme, though the album refuses to follow any predetermined paths carved many moons before, by countless nefarious architects, it plods along, occasionally at an obliterating gallop, nodding to OSDM arenas, dragging one through cavernous mires, teasing at brutal territories, and pounding one with palpable atmosphere, leaving a myriad of fans (of both the old way and the new) smirking in its wake.

Score – 88

Satan (UK) – Earth Infernal

Release – April 22

https://satanuk.bandcamp.com/album/earth-infernal

Artwork – I cast judgement on you albatross. How dare you spawn the imagination behind an Iron Maiden song?

Genre – NWOBHM/Heavy Metal

Thoughts –

I have no idea how these guys do it. They’ve been around, peddling the riffs for as long as the term NWOBHM has been around (late 70’s/early 80’s) and they never disappoint. This style seethes with the essence of that which has spawned countless imitators and the rhythms and vocal accompaniment haven’t lost year edge, in the slightest. In fact, this shies away from that which many immediately think upon with the term Heavy Metal in mind; the album boasts intricate melodies, a satisfying ‘freshness’ that frolics hand in hand with a comforting nostalgia and an exemplary array of rhythms to prompt one to yell aloud “who said the genre is dead?”

Naturally some might argue that this errs more on the side of Proto Metal, while others might develop a glazed over look while uttering the infamous “what’s that?”

It’s easier to simply enjoy rather than scramble for the correct and up to date definition. Seriously does it even fn’ matter?

Score – 95

Sensory Amusia (Australia) – Breed Death

Release – May 22

https://laceratedenemyrecords.bandcamp.com/album/sensory-amusia-breed-death

Artwork – “Alright. Now we wait for Smokey. And when he arrives, we feast upon the flesh of a forest God”.

Genre – Deathcore/Brutal/Tech Death

Thoughts –

Bludgeoning and stabbing riffs are woven within exciting, boisterous, compositions with nods to a wide range of Death sub-genres though no real subscription to one in particular. Vocals are not surprisingly harsh, though thankfully barely this side of bree-bree-bree silliness arenas. Blast beats are plentiful enough to please, whilst melodious instances are fleeting, few and far between. Usually I’d give this a miss, a wide birth, but curiously this is growing on me with each and every listen, teasing me with hidden intricacies which only serve to poke at my curiosity.

Score – 82

Moribund Dawn (USA) – Dark Mysteries of Time and Eternity

Release – June 22

https://carbonizedrecords.bandcamp.com/album/dark-mysteries-of-time-eternity

Artwork – “And it’s done!”

– That looks great, but it’s not quite the hue of purple I was looking for.

“But the tins, the color on the lid. The sheer number of cans.”

– Nope, sorry. I asked for pre-dawn… diabolical.

“Well… poop! I guess it’s back to the paint store.  Ready the bastion of trucks lads. The Boss isn’t happy.”

Genre -Melodic/Epic/Atmospheric Black Metal

Thoughts –

Boasting a synth laden intro then a spoken word passage, heavily influenced, no doubt, by vintage My Dying Bride, might confuse a few, but the album soon hits its stride. Elements of Immortal, Dissection (Storm and Somberlain in particular), Emperor, and Watain are worn unashamedly on the album’s ‘sleeve’. In fact, this release could comfortably reside with any number of BM stand outs plucked from the mid 90’s. Moribund Dawn however, are far from ‘copycat stylists’, their composition whispers knowledge of and homage to the scene, as opposed to “…hey, let’s lift this riff (and this riff, and this one)”. They are also far removed from the assumed BM, be it melodic or otherwise, location (especially based on the quality discovered here) instead they reside in Phoenix, Arizona, a desert hotbed not usually associated with the frigid nature and cold penetrating Northern winds often described within the genre’s lyrical context.

As well intricate (Gothic) Baroque interludes, there also exists passages to excite those whose interests lay more in tradition HM arenas, rhythms carefully woven into the whole to make this vastly more interesting than acts who peddle the raw and/or the “speed for the sake of speed” approach.

Overall, this is a damn sight more accessible than most, though strangely still retains most of the the wicked biting qualities a purist of the scene could hope for. Admittedly as a somewhat casual fan of the scene I’m enjoying this a damn sight more than I thought I would.

Score – 94

Because older releases warrant attention too…

Plucked Screamin’ from Metal Past

Wastewalker (USA) – Lowborn

https://wastewalker.bandcamp.com/album/lowborn

Release – May 20

Artwork – The bloodsucking hordes had finally had enough. The lack of Plasma tainted by Covid vaccinations was at a disturbing high. Leaflets and brochures hadn’t worked, it was time to tske to the streets and protest.

Genre – Technical/Melodic DM/Deathcore

Thoughts –

With lyrical context based on a popular video game series some might be somewhat leery about approaching, pondering upon not quite successful prior efforts composed by a myriad of (in this instance unnamed) acts. This however has chops and wickedly displays talent in all the arenas which matter most. The album offers exciting rhythms aplenty and a dual- pronged vocal assault, an energetic element which serves to complement compositions that hint at a smorgasbord of influence; including but not limited to gymnastic lead-laden melodic death, deathcore in a TBDM and Carrion Vael vein, and accessible (not the variety which drags the listener into fretboard wankery realms) Tech-Death.

Forget your preconceptions about “concept” albums and give this a listen!

Score – 88

Skeleton Pit (Germany) Lust to Lynch

https://skeletonpit.bandcamp.com/album/lust-to-lynch

Release – October 20

Artwork – Johnny knew it was a bad idea to allow axes into pit.

Lesson learned!

Genre – Thrash/Crossover

Thoughts –

Heavily influenced by what appears to be the Bay Area Thrash scene (circa the mid 80’s) as well a style peddled by Overkill. Skeleton Pit dish out hooks by the boatload and swirling moshtastic rhythms to excite any fan whose pit list includes Road Mutant, Fabulous Disaster and a slew of F & J hits (whose names presently escape me). The vocal accompaniment puts me in mind of Kreator, Overkill and Nuclear Assault depending on the track’s mood and there’s also a touch of crossover, ala gang vocals to widen the appeal radius.

Admittedly, this isn’t reinventing the wheel, however it does add weight to the argument that Thrash is still alive and thriving for all those who might have doubts.

Score – 87

– Cult

Scorching the Retinas – (A Killer British Bunny Movie) Cute Little Buggers

Cute Little Buggers (UK) – 2017

Writers – Garry Charles, Andy Davie, Kristopher Dayne

Director – Tony Jopia

Runtime – 108 minutes

And it’s that time again. Cult is away and I’ve a battery-operated device (probably not the one you have in mind, you dirty bastid), a large screen and an unobstructed run of the treat’s cabinet. Feel free to drop whatever mundane task you’re currently embroiled within and join me as I shift into an unnaturally comfortable position and prepare to set the eyes upon today’s depraved cinematic choice;

Cute Little Buggers.

_{And here’s a Trailer courtesy of Octane TV}

Rather than depict an invasion from hungry aliens, or creatures’ intent on harvesting humans as part of “the newest taste sensation to sweep the galaxy” (there I added that which Cult was sure to) the creators of this film chose instead to showcase a pair of scientist’s intent on locating the perfect lifeform (it just so happens to be on earth in this case) to keep their race from extinction. In my mentioning of the creature in question being a rabbit I’m not dropping any spoilers; they’re plastered all over the box art. But before even the Cute Little Bugger makes an appearance in all its CGI rendered Disney brilliance, we meet the dysfunctional duo whose task it is to repopulate.

_{We act like we’re married, is that an alien concept?}

Theirs is an odd relationship; friends perhaps (more likely) co-workers. Brian and Ernest appear to be shock troopers (whatever that is?) decked out as they are in helmets and uniform. Their dialogue suggests something more relaxed, dark humor cavorts with gutter sensibilities to give the film an immediately “light” tone.

But let’s get back to the bunny (“Run away, run away”). Peaceful little Deddington (apparently near Bath, not far from where Cult was raised) is nestled in between a myriad of rolling hills and farmland and miles from any immediately recognizable cities. Home to several unsavory types including a geriatric “get offa my grass” type with a thing for urine, a member of a local crime syndicate and a piss poor example of a local constabulary (small scale British law enforcement outfit for those who might be confused) it’s a fantastic example of a sleepy village with plenty going on (much like as witnessed within the utterly amazing Hot Fuzz) beneath the “that’s a place I’d love to visit” veneer.

_{Some of the ‘Villagefolk’}

But it gets more exciting still. As well killer bunnies (aka penetration units) there’s also an individual who’s recently returned to his childhood haunting grounds. *Insert drama, rekindled romance, and rolling in the hay nekkidness here.

_{Argghhh – I have a gun!}

As the film rolls out it explores the plethora of characters on offer; the jilted lover, the father figure hated for that one moment of indiscretion, a crime scene unit who have successfully managed to embrace gallows humor as a way of life and a constable who doesn’t even slightly attempt to hide her S&M penchants.

Did I mention this has all the makings of a successful B movie? It unashamedly offers its audience breasts aplenty, blood, gore and brawn. However, it doesn’t end there. The humor is an added bonus, especially for those (like myself) who wallow in occasional silliness.

_ME-OW

Caroline Munro (vixen extraordinaire likely previously seen in numerous 70’s horror affairs including the likes of James Bond, Christopher Lee, Peter Cushing, Vampires and the sort) stars as a fortune teller who really doesn’t wish to divulge Barry’s (her customers) future.

And wouldn’t you know it, Barry does not heed her advice. He heads to the woods in search of… Well, I’m not gonna ruin it. Suffice it to say he finds his “treasure” but it ends up costing him an arm (and quite possibly a leg, though the viewer doesn’t get to see that bit).

“So, tell me again what did this?”

…”Rabbits!”

And the silliness commences.

_{This poster about says it all!}

The film continues and picks up sufficient speed to leave an impression. Bunnies run amok to leave their assorted little paw prints upon rivers of crimson (how’s that for a Death Metal track title?)

Surprises continue to appear in many forms, the locals gather to find strength in numbers and display their multi-faceted hidden attributes (usually in the form of an unburdening of stashed, illegal, historical and unusual weaponry). Influence rears its head in many forms and tips a myriad of fabric lined head coverings to numerous cult features (in numerous ways be it within the soundtrack, dialogue or gore set pieces) including (but not limited to) Bad Taste, Brain Dead (Cult is going to lose his shit), Black Sheep, Undead, Critters, Ghoulies, Gremlins and the more obvious choices; Jake West’s Evil Aliens and the slightly aged Night of the Lepus although this certainly puts an undoubtedly dizzying spin on the vintage classic only to drown it in grue, satire and then smother it in bountiful, bouncing, beautiful, boobies (arguably the most important ingredient in any low budget gem which doesn’t rely solely on gore and comedy).

A_{nd here’s some Japanese DVD cover art for those who demand such}

Obviously, there are elements here to turn off those who demand viewing material of the classiest order, and most probably a little more CGI than most are likely to be able to handle. But have no fear. For those of us who deliriously wallow in the low budget arena boasting shit-eating grins this delivers all one could possibly ask for, with the added bonus of accents, small villages filled to the rafters with babes, and oodles of culturally specific humor (“Scousers”, “Northerners” and Posh bastards find inclusion among other, slightly lesser-known outside of Britain, examples) and other factors i won’t divulge lest I ruin an otherwise enjoyable viewing experience.

_Rabbits-!

The films ‘saving all element’, and the cherry on the proverbial cake, arrives in the unlikeliest of forms (which I don’t believe have been utilized before now). As one of the Scientist Alien guys states …” we must stop him…He’s built a weapon of mass Pisstruction!” That’s enough of the spoilers, my horrific grammar and that which continues to pour from my sore malformed digits; inane attempts to preach upon that which has caused me more of a face ache than has been suffered in many a moon.

Forget the words of the legendary British comedic troupe (whose talents arrived many years too early, if truth be told) within much the same situation, when faced with a similar “Cute Lite Bugger”.  Give this a watch and prepare to reevaluate the running order of your favorite low budget (have that said that enough, yet?) celluloid affairs.

I simply cannot scribble the praise which this feature deserves, though I have tried!

Onwards to discovering more of Tony Jopia’s work and, naturally, the output of those whose eye-popping attributes shine throughout this stunning example of decidedly non-Hollywood cinema.

B

Cute Little Buggers is available in the US on Tubi TV, Prime Video and on DVD (via Uncorkd Entertainment and High Octane Films) and has recently found redistribution (with an assortment of delicious extras) upon Blu Ray (as seen here) within the UK via Warped Releasing.