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

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

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