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

Abrasive Audio – A Guest Review

Abrasive Audio – A Guest Pops in to Review an Album

 Hi, and welcome to a special edition of Featured Review. In this installment I’ve somehow managed to wrangle a special guest into dropping a few thoughts on the first-time listening experience of a soon-to-be-released album. Let me clear the mysterious fog some. My guest is none other than one of the many people “attached” to the recently released Pillaging Villagers debut (which I’m hoping has found its way into the ears attached to the same skull housing the eyes currently reading this).

Why, might one wonder, have I asked another to help me in this endeavor? Well, there’s two reasons (probably more, but the most important two I’ll gladly share). The first of which is that the album in question originates from a band from around the same area in which this mysterious figure resides (location withheld to protect the innocent). The second reason is that I believed the style (within the promo) might pique this persons interest, having recently learned of his adoration for fantasy and the like. But more important than all that is that I need a break and the site seriously occasionally requires (more, begs) for someone’s prose upon it which boasts a better mastery of the language and the undeniable style whose motif is that of cohesive decipherability (and that’s most probably not even a word!)

So, without further ado I’d like to pass the mic ( I really shouldn’t say that, I’m not a musician) to he who wishes to be known simply as “iwieldthehammer”, but not without first thanking him for his time, patience, honesty and inventive moniker.

When I was presented with the opportunity to review Lost Tribes of the Moon’s sophomore album Chapter II: Tales of Strife, Destiny, And Despair, I was psyched. An unsigned, Midwestern progressive doom band with a concept album based on Stephen King/Clive Barker tales that ALSO includes a Theremin player?? The promo screamed ‘hidden gem’ & within the first few minutes, my interest was piqued to the max.

Chapter II begins with an ambient synth intro that sets the mood before kicking into the rollicking, NWOTHM-infused “Unleash the Berserkers”. The track’s 8+ min runtime is pulled off well as Tribes keeps it interesting & high energy for the duration, especially when the solo at 6:42 hits, integrating hints of Smoulder & Wheel throughout. By the time “Berserkers” closes, I can’t wait to hear what Tribes has in store for me next.

This is a Theremin and its creator who goes by the moniker of Leon

Unfortunately, that’s when I hit the first Tales two(!) 20+ minute tracks. At first, “A Chapter from the Book of Blood” is a well-executed, Trouble-adjacent doomy affair which showcases vocalist Julie Brandenburg’s smoky timbre. However, 20 min+ songs are exceptionally tough to pull off. To stay interesting, these compositions must constantly evolve, while retaining some sort of anchor (whether a melody, riff or other hook) that the listener can be drawn back in by. They should also have a trajectory – a payoff that rewards the listener for their patience. However, none of these elements are present in “A Chapter…” as, starting at about 7:30 or so, Tribes essentially solos over the same chord progression for eight & a half minutes.

For all those left in The Dark (Tower) these are the books upon which some of the songs here are based

My main issue with Chapter II is the apparent lack of editing. Mastermind Jon Liedtke may be a classically-trained multi-instrumentalist with a degree in music, but Chapter II feels like what happens when superb musicians refuse to stop showing off. There are a lot of sections on this record that feel more about musical exploration & the opportunity to use goofy instruments than truly compelling compositions that further the listening experience. For example, “Maerlyn’s Grapefruit”, “The Man in Black Fled Across the Desert Pt. 1” and “The Way Station” don’t offer much beyond atmosphere & the opportunity to showcase skills on the Bougarabou (whatever that is) or Vibraphone. The two 20 min+ compositions both suffer from the same problem – promising starts that eventually degenerate into self-indulgent wankery (gotta love that word *Ed) as the musician’s trade solos & leave the listener far behind.

The band

There are certainly elements of Chapter II that work well. The album is highly diverse and well-blended; the songs display a wide range of moods and instrumentation, from Mandolin to synth to Theremin and beyond. It doesn’t feel jarring or disjointed when Tribes switches gears from the Slough Feg-ish feel of the first seven and a half minutes of “The Man in Black Fled Across the Desert Pt 2” to the synth-driven closing of the track & acoustic detour of “The Way Station.” In addition, the musicianship is excellent; Chris Ortiz’ bass is a real highlight, especially the solo in “A Chapter…” at 6:55.

I knew it, and so does Julie Andrews, Money does make sound!

However, as much as I hate to admit it, music in 2022 is a buyer’s market where the currency is the listener’s time. There is such an expansive supply of music that musicians have to try harder than ever to captivate the listener and encourage them to spend their time with their music. The artist must balance art as self-indulgence & art as mass appeal. It is a tough balance to maintain and, with some editing, I feel Lost Tribes has the potential to get there on future albums – but they aren’t there yet.

(2.0/5.0)

– iwieldthehammer

Lost Tribes of the Moon’s discography can be found here

https://losttribesofthemoon1.bandcamp.com/album/chapter-ii-tales-of-strife-destiny-and-despair

The album under scrutiny has a release date of March 25/2022 and begs for discovery and obviously opposing opinions.

Support the scene, give them a spin, and formulate your own opinion!

Abrasive Audio…to Soothe the Senses Fulci – Tropical Sun

Abrasive Audio…to Soothe the Senses – Fulci

Fulci – Tropical Sun

(Italy)

Release – May/31/2019

Time to Kill Records

Anubi Press

https://www.youtube.com/watch?v=o7rVqpafX58

https://timetokillrecords.bigcartel.com/product/pre-order-fulci-tropical-sun

Let’s be honest, death metal going hand in hand with cult celluloid isn’t a rare occurrence. In fact, if it wasn’t for horrific deeds, carnage and grotesque tableaus the majority of death acts would sport a rather sparse lyrical output. Naturally, homage to the cinematic greats and specific, celebrated, features isn’t rare either. Necrophagia (sometimes known to feature Phil Anselmo) are known to string together a homage montage of gross-out, grisly moment, movie sequences as a visual element to complement their brutal tunage.

https://www.youtube.com/watch?v=KBM2RHNIZCI&t=49s

Of the three bands named after Lucio Fulci (an Italian cult director famous for his mountainous legacy of celluloid spanning a plethora of genres from the 60’s, 70’s and 80’s) Fulci is the only one based in the same country in which the prolific director and writer actually lived; Italy.  This has to score them extra marks, right?

’Tropical Sun’ is based on ‘Zombie’ (Flesh Eaters – 1979) one of Lucio Fulci’s most infamous slabs of celluloid, whilst their first, full length, was based on another entitled ‘City of the Living Dead’.

https://cbcunited.bandcamp.com/album/opening-the-hell-gates

‘Tropical Sun’ isn’t a “traditional” death metal release, it sports depth, context and stylistic variety due, in part, to the addition of somewhat of a novelty; Synth elements. Complete with, somewhat lengthy, soundbites. (lifted from the feature itself) they incite a smirk on the faces of those familiar with the feature, serving to inject intrigue (like a contagion) into those who (for some reason) aren’t. This element alone adds a certain uniqueness and identity to the release propelling it above the ‘run of the mill’ brutal death affair.

Tracks are unique and delightfully different from each other, and are often separated by over the top theatrical dialogue exchanges from the movie. Exchanges which often showcasing ignorance coupled with arrogance upon the residents of the country in which this movie is based from those hailing from a ‘more’ developed country.

The album starts with an electronic passage which should toss anyone familiar with the movie (the genre and the synth style from the period the soundtrack itself is courtesy of Fabio Frizzi) back in time to the last time it flashed across their retinas, and perhaps even the first time the movie assaulted their senses. Then the title track, ‘Tropical Sun’, drops and the listener begins to understand they are about to be submerged into an audio experience they might not have expected.

Influence is wide and fleeting in ‘Tropical Sun’. ‘Legion of the Resurrectionist’ and ‘Church of the Undead’ have a definite a Bolt Thrower dirge vibe, whilst other riffs and melodies swatches bursting with familiarity come and go with frequent regularity. Within ‘Tropical Sun’ styles are appreciatively varied. Old school sensibilities cavort with grindcore and Slam frolics with brutal death. AS this bounces betwixt the ears Suffocation might flash across the cortex as too Cannibal Corpse and a slew of others known for incorporating the occasional doom-laden riff/melody into their brand of audio.

The introduction to ‘Palms by the Cemetery’ adds a spot of levity to the proceedings in juxtaposing gurgling, throat-ripping carnage against a Caribbean guitar ditty. The mixture and combination of extreme and synth works excellently, the overall mix isn’t too heavy in any one area and the production is top-notch and surprisingly there’s more than enough groove to go around.

(for those curious the Zombie trailer courtesy of BloodyCinemaUSA)

It’s obvious that Fulci are talented, have done their research and know how to create and compose straying, as they do so, from copycat realms whilst frequently tugging at reminiscent strings. More impressive still is how they weave their influence alongside the electronic soundtrack elements it makes for an interesting audio experience (one might wonder if it were longer whether it could in fact synchronize to the film, much like the debates surrounding Pink Floyd, ‘Dark Side of the Moon’ and ‘The Wizard of Oz’) which any fan of nineties death can and will appreciate.

Scarecrow, Lion, Tinman…what are we doing here? I’m scared!

The album ends on a high note. ‘Immortality Virus’ is an instrumental conclusion of sorts, an epilogue of sorts. The final track, ‘March of the Living Dead’ shows Fulci do with the ‘Zombi’ soundtrack as Entombed did with the ‘Phantasm’ soundtrack (better known as Mike Oldfield’s ‘Tubular Bells’). By doing so they give it definite presence, a highly effective distorted doom edge in effect transforming it into a track sporting limb tapping, infectious, rhythms which will haunt the listener’s thoughts for days afterwards. A ‘treatment’ which has been long overdue in my opinion. An overall effect which aids tremendously in sparking curiosity, in effect bringing the Italian maestro (the ‘godfather of gore’) output to a larger audience; the metal masses with a penchant for the horrific.

Keep the eyes open and the ears to the ground for this release, it combines the best of both worlds. Cult, gore-splattered lumbering undead cinema and intoxicating death melodies, brutality and groove. What more, could one seriously, ask for?

 

In the next few Fulci will be touring in support of the release across the Midwest US

 

Cult

Abrasive Audio….to Soothe the Senses (Vacation Edition)

Abrasive Audio (Part the Ninth)

 

I’ve been riding the rough seas of metal and I’ve survived to tell of my exploits.

Keeping it basic this week. Onward to audio extreme…

 

Chevalier – Destiny Calls

(Finland)

Release – April/26/2019

Gates of Hell Records

Clawhammer PR

https://chevalier.bandcamp.com/album/destiny-calls-2

Artwork – 8.5

A detailed, intricate medieval-esque image boasts a somewhat mystical religious aura. Imagery which drips in mystery, treachery and an enigmatic agenda.

First Track – 8.5

A guitar crescendo immediately brings to bear thoughts of audio of a NWOBHM leaning as too do the tracks rhythms, vibe production and tone. Speed metal with an epic unpredictable nature, and an intriguing vocal style, meets power and epic metal. Quite against my opinions on the genre, I’ll admit I’m rather liking this.

Initial Listen – 8

Sporting a nature that’s part traditional heavy metal, part speed metal with splashes of avant-garde amidst a lyrically heavy fantastical setting “Chevalier” have managed to carve their own niche, albeit one that’s somewhat familiar to fans with a hankering for audio which whips up nostalgia from the very roots of the scene. Classical and baroque folk touches alongside narrative-esque introductions add depth, separating this from the majority of other releases all vying for attention in the exploding revival movement. Strangely several passages had me thinking upon the ‘Princess Bride’ movie (due partly because of the similarity to Andre the Giants voice, though also due to the tone of the audio itself). As with any releases within this genre the vocals of of a love it or hate it, break it or make it style. Oddly they’re growing on me with each and every revisit. Undeniable too, is this releases ‘vinyl vibe’ if that’s not a nod to the early scene and a treat for fans from around the same era, I honestly don’t know what is.

Recommended for fans of vintage Helloween, Iron Maiden, Candlemass, Voivod and Sabbat (UK) and those with a penchant for epic metal drenched in infectious rhythms and fantastical themes.

Favorite Tracks; The Curse of the Dead Star, Stormbringer.

Crestfallen Queen – Queen of Swords

(Germany)

Release – May/25/2019

Church Within Records

Against PR

https://crestfallenqueen.bandcamp.com/

Artwork – 8

Classical imagery with an occult and slightly macabre twist.

First Track – 8.5

Listening to the introduction is like being plunged into a pitch-black abyss where ominous sounds converge, striking, from every angle. This effect disappears, to be abruptly replaced by an acoustic doom soundscape that transforms into a galloping traditional heavy metal pace complete with smoldering vocals which occasionally reach a surprising feral intensity. A varied track which climaxes in surprisingly melody an effect which only heightens the intrigue for the remainder of the album to come.

Initial Listen – 8

Moody with definite rhythm, groove, and atmosphere this release bursts with varied influence, undeniable nostalgia, and covers a wide stylistic radius. Epic tracks showcase interwoven melodies and galloping riffs to form a constantly shifting doom/heavy metal landscape dotted with a myriad of emotion. The exemplary vocal range adds another layer to an album that slightly different, reeks of 70’s progressive somewhat “fuzzy” hard rock, yet utterly captivating.

Favorite Tracks; Queen of Swords, Eurydice’s Lullaby.

Nocturnal Witch – A Thousand Pyres

(Germany)

Release – March/25/2019

Evil Spell Records/Undercover

Against PR

https://nocturnalwitch.bandcamp.com/album/a-thousand-pyres

Artwork – 7.5

Anyone up for the immolation of a collective of undesirables?

…There’ll be pizza!

*Sudden rush of hurried footsteps.

(I knew that would work!)

First Track – 7.5

An unrelenting mixture of black n’ thrash metal that’s reminiscent of the S. American scene with an intensity which screams familiarity. Intriguing indeed.

Initial Listen – 8

Chock full of unmerciful rhythms (albeit sometimes simplistic – verging on D-beat) and crescendo type riffs result in limbs moving of their own accord. Although, overall, it boasts nothing new to add to the scene it’s easily appreciated.

Perhaps not for true traditionalists/ Kvltists, but rather for those who, like myself, are slowly submerging themselves into a genre which offers considerably more than one might originally assume.

Favorite Tracks; A Thousand Pyres, Scorn and Wrath, Raise the Swords.

Bastardizer – Dawn of Domination

(Australia)

Release – April/30/2019

Evil Spell Records/Undercover

Against PR

https://bastardizer.bandcamp.com/

Artwork – 8.5

There’s definitely something arcane and evil afoot here. Perhaps a sacrifice  to the gods of rock n roll? This bears somewhat of a mid-era Morbid Angel vibe, perhaps that’s an indication of the audio on offer?

First Track – 8

A militaristic introduction, of sorts, doesn’t give much away (as to the genre, this could be speed, thrash or epic metal at this point) unlike the opening guitar rhythms and the venomous vocals slide into the mix. This is blackened speed metal folks, and I’m bobbing around like a buoy in a raging tsunami.

Initial Listen – 8.5

Falling neatly into the Motorhead, Venom and the blackened speed dynamic this album offers nothing stunningly new to the genre (however, it does waver from the traditional formula on occasion to great effect). But, with that in mind, this is a top-notch example of that realm. The rhythms are tight, addictive and inciteful, the vibe one of wickedness, and the vocals drip with an attitude that’s reeks of a South American bestial, blackened speed influence.

The audio concoction here is fantastic and when through will leave the listener sweating, panting, but eager for more.

Fans of Hellripper, Whipstriker and Venom will not be left disappointed!!

Take note – the Land Down Under is famous for more than merely the obvious, in fact it offers a delicious array of metal which fans of audio such as this are sure to devour greedily.

Favorite Tracks; Demons Unleashed, Whiskey till Death, A Dose of Vengeance, Midnight in Hell, Mongrels Wrath/The Depraved Nazarene.

Frust – Recurring Dreams

(Austria)

Release -April/4/2019

901514 Records DK

Against PR

https://frust-at.bandcamp.com/album/recurring-dreams

Artwork – 7.5

Complete with the title, and the style of the band’s logo, the artwork could mean several things. I’m leaning towards a guppy flushed down the toilet, out for vengeance (is this a Troma title? If not, Why?). Though the album’s title text suggests something, perhaps, a bit more classical in tone.

First Track – 7.5

Bleak, cavernous and suffocating. Black in tone and drenched in an industrial tone with a synth dressing and dreamy atmosphere certainly makes for an interesting start.

Initial Listen – 7

The varied tone, pace and atmosphere of this album makes for a real mixed audio bag and quite a listening experience.

An industrial audio landscape drenched in cinematic synth elements often makes itself known, occasional black metal rhythm duck in for quick how-de-dos whilst more folksy classical elements frolic alongside guitar rhythms and an angelic voice to make up the softer side of the album keeping the listener unable to predict which direction this might take next, and whether they should let loose with a neck snappin’ impromptu dance routine or merely let allow the music to wash over them as they relax in a semi- inebriated state.

This is rather hard to categorize but delivers a smorgasbord of familiarity amidst a sonic bombardment which hints at mid-era Bathory worship as well a love for the symphonic and atmosphere by way of a synth accompaniment.

Favorite Tracks; Sfrawd Dica, Frei im Traum, Verfall.

War Curse – Eradication

(USA)

Release – May/10/2019

Svart Records

Dewar PR

https://warcursemetal.bandcamp.com/

Artwork – 8

A lone crow/raven perched in the remains of a tree kaws over a desolate landscape. The palette of this image is exquisite, moody and bears undeniable ominous qualities.

First Track – 8.5

Polished, in your face, aggressive thrash with infectious rhythms, fantastic pace and a vocal approach which’ll excite those you just can’t get enough of the style proudly displayed by (in particular) Chuck Billy and also that heard within mid-era Annihilator.

For some reason the thrash arena suddenly appeals to me again.

Initial Listen – 8.5

This burns with a tone which screams instant acceptance for fans of aggressive, high energy thrash. Those within the frenzied following of Forbidden, Overkill, Testament and Annihilator will have no problem whatsoever in allowing this entry into both their ears and prized audio collections. A fantastic introduction to the band and their brand of top notch, dynamic, riff heavy, thrash.

Favorite Tracks; Asylum, Eradication, Polluted Minds.

BAT – Axestacy

(USA)

Release – April/26/2019

Hell’s Headbangers

https://bat-richmond.bandcamp.com/

Artwork – 7.5

Raw and crude yet this seethes with a wicked vibe which makes one think of “demos” from decades past and audio of an underground origin.

First Track – 8.5

It isn’t long until one realizes this is unadulterated raunchy rock n’ roll dipped in speed metal values. And there’s no complaints here. This, ladies and Gentlemen is going to be a fun ride. Break out the beers and prepare to loosen up.

Initial Listen – 8.5

So, what does a release with a length of under fourteen minutes and six tracks offer someone who’s unfamiliar with the moniker ‘BAT’?

“You can’t stop what we came here to do, and you know our intentions are crude!” About nails it! Channeling Motorhead, Anthrax and Venom rhythms with a certain Raven cheekiness with no two tracks alike makes for a head bangin’ good time and BAT does not disappoint as they expertly careen across a myriad of styles, leave necks sore and leave no pulse unraised.

Highly recommended!!

Favorite Tracks; Wild Fever, ICE, Axestacy.

Appalling – Inverted Realm

(USA)

Release – May/3/2019

Redefining Darkness Records

https://redefiningdarknessrecords.bandcamp.com/album/appalling-inverted-realm

Artwork – 8

Based on the brilliant artwork here

there’s really no doubt what the listener might be letting themselves in. The question remains, however, where does the audio lay in the extreme metal spectrum?

First Track – 7.5

Hardly typically death metal chuggery, this track offers the same chaotic-type approach favored by Morbid Angel and then builds on it with melodic Gothic passages. Vocals are of the rare variety, where every word is clear and concise, a style which Goatwhore fans will find familiar and might instantly appreciate.

Initial Listen – 8.5

For a debut this tells of infinitely more experience. Tracks are of an applaudably condensed length, as if all the fat has been shed leaving only the ‘prime cuts’ remaining for listening to eagerly devour.

An exquisite audio mixture sporting grandiose death stylings, smattering of black metal atmosphere, evocative passages and sprinkles of doom all overlaid with arcane/medieval sensibilities.

This is an act which needs tabs kept upon. If this is any indication of what’s to come their future is indisputably akin to staring at the sun through a microscope. My only qualm is that this is woefully short, 27 minutes and only seven tracks. I want…need, more!

Favorite Tracks; Hot Coals for Branding, A Mutilation at Large, Critical Thinking, Templar.

Necrosexual – The Gory Hole Overture in F#

(USA)

Release – May/17/2019

Dewar PR

https://necrosexual.bandcamp.com/album/the-gory-hole-overture-in-f

Artwork – 6

I’m honestly not even sure what I’m looking at here. A tombstone with an eye dripping pus from its center. And a coffin wrapped in chains in the middle of that. One thing’s for certain this is crude, hinting at, perhaps, audio of the same nature…?

First Track – 7

Traditional heavy metal rhythms, complete with crescendo wailing guitars and the occasional, abrupt, high pitched scream, doused in an 80’s style speed metal vibe. I can’t help but think of GWAR, though the similarity is slight, not in the least overpowering.

Initial Listen – 7

Akin to Gothic, sexually-charged hard rock/heavy metal seething with 80’s speed metal attitude this is certainly not a run-of-the-mill release, I honestly believe it wouldn’t have been thought of such decades ago either when a style such as this was more ‘in vogue’. An intriguing mixture of styles (recalling acts, in instances as far afield as The Misfits, Venom on account of the vocals in particular the Cronos era and the exuberance of early Raven) which might take someone like myself, unaccustomed to the style, some getting familiar with.

Favorite Tracks; The Gory Hole Overture in F#, In Ancient Daze (Black Widow).

Cabrio – Devotion and Hate

(Chili)

Release – April/5/2019

Against PR

https://toxicrecords.bandcamp.com/album/devotion-and-hate

Artwork – 8

Like a twisted version of the Holy Mother Mary in which instead of kindness, compassion and love, destruction and wrath exude from her embrace.

A wicked image indeed!

First Track – 8

With a title which could be a nod to the infamous metal cruise of the same name Cabrio deliver pulverizing riffs and an assault akin to that of Overkill colliding with Soulfly. A heavy accented vocal approach complements the aggressive riff aplenty, in-your-face, thrash style that drips with a certain South American flavor.

Initial Listen – 8

High-energy aggressive thrash, bordering on melodic death (in moments aggressive hardcore), channeling a myriad of influences (Machine Head, Soulfly, Suicidal Tendencies, Hatebreed, Fear Factory among others) seething with unmistakable exotic flavor, atmosphere and attitude.

This audio that’s sure to incite a frenzy in a live setting.

Favorite Tracks; I Have Become, The Rapture, Dios Sin Fe.

Sxuperion – Endless Spiritual Embodiment

(USA)

Release – May/3/2019

Bloody Mountain Records

Clawhammer PR

https://bloodymountainrecords.bandcamp.com/album/endless-spiritual-embodiment

Artwork – 7.5

A ghostly apparition, a wraith of sorts, in angelic form in limbo with its arms spread in an all-inviting gesture. But, there’s something amiss. An air of menace lies over this image like a shroud.

First Track – 8.5

Whirling hyper-speed rhythms and blast-beats conspire to form a Cosmic-esque fury. This transforms into an audio soundscape akin to slipping into the unknown and then again into chaos.

An intriguing start prompting me to search for a thesaurus so that I might get close to describing the audio experience which beckons.

Initial Listen – 8.5

An unrelenting tapestry of brutality interspersed with passages of doom- laden cinematic atmosphere and intriguing soundbite snippets which suggest a science fiction setting akin to discovering the unknown and plunging into mysterious, often tempestuous, occasionally suffocating, realms. A varied vocal assault consisting of wails, screams, growls and grunts add depth and invoke a smorgasbord of mood making for an unpredictable audio journey. Overall an intricate composition, an audio experience which demands several listens to fully appreciate but captivates from the first.

Favorite Tracks; Sacred Chamber of the Enlightenment, Phallic Point of Periapsis, Infinite Ethereal Vault.

Kull (formerly Bal Sagoth) – Exile

(UK)

Release – April/30/2019

Black Lion Records

Qabar PR

https://kullblacklion.bandcamp.com/album/exile

Artwork – 8

Classical yet too dark and moody for a Running Wild release (it has a Pirate ship). Boasting an ominous title like ‘Exile’ one knows there’s something ominous afoot and I’m criminally intrigued.

First Track – 8.5

I’ll admit the introduction threw me for a loop. It plays like a fantasy platform game and bears a glorious, grandiose, militaristic nature, as if a battle and enemy has just been vanquished and all is on glorious display. The music itself at first sounds like it doesn’t mesh. However, as the track progresses the elements come together. A symphonic backdrop against epic melodies with a certain underlying menace yet undeniably fluid in nature. An overall infectious combination complete with snarling vocals. A concoction which puts me in mind of ‘Damnation and a Day’ CoF material and the first (and my favorite) Black Guard release.

Initial Listen – 9.5

I don’t honestly know why I haven’t taken the time to listen to Bal Sagoth, I’ve seen the logo a few times. As if this is any indication of what’s on offer, I’m missing out.

Grandiose in tone and scope Exile offers that which many have tried, in vain, to capture. Exquisite rhythms, thundering riffs as well passages of beauty complement a symphonic backdrop, epic in scale. The vocal department is varied and ranges from narration like accents to wails, screams, whispers and growls. Suffice it to say I’m a long- time fan of Cradle of Filth and I’m blown away with what this release offers!

I’m tempted to say that this careens into power metal realms, it certainly carries the ‘weight’ though has a black feel to it which I would only imagine will make many fans of the aforementioned scene run for the hills (how’s that for a tip of the hat?) Hardly traditional of any one genre this overflows with menace, majesty and at times a certain viciousness, even a narration of sorts, a fantastical concept unfolds if you will. This might at first make heads spin. As it progresses, however, confusion is sure to translate into admiration, appreciation and frantic research into a back catalog which demands attention based on the brilliance of this alone. I’m floored!!

Prepare to scoop your jaw from the floor, this will make waves!

Sins of the Damned – Striking the Bell of Death

(Chile)

Release – March/3/2019

Shadow Kingdom Records

https://shadowkingdomrecords.bandcamp.com/album/striking-the-bell-of-death

Artwork – 8.5

This art reeks of a 90’s thrash/death crossover vibe. Zombies, skeletons a Grim Reaper, a militaristic vibe and crimson soaked carnage. I’m loving it!

First Track – 7.5

Rapid paced thrash/speed which’ll raise the blood pressure and make those limbs a twitch. Injected with a splash of heavy metal ala Iron Maiden and a vocal style which is easy to get behind.

Initial Listen – 8

Fans of European thrash from the late eighties will lap this up. Similarities to Sodom, Vendetta and a slew of other acts which strive to be the fret board-melting fastest come to mind. And although this really adds nothing new to expand upon the genre it showcases an act who know how to create pleasing audio and also have an understanding of which buttons to pummel to keep the listeners attention. Enjoyable throughout, this sports a cavalcade of riffs and rhythms sure to spark abrupt movement into the most exhausted of torso, deserving placement among others in any self-respecting speed metal fans audio arsenal.

Favorite Tracks; They Fall and Never Rise Again, The Outcast (Rise of Cain), Death’s all Around You.

That’s it for this mammoth installment, until next time our paths of audio interest meet.

Cult

Abrasive Audio…to Soothe the Senses Part the Eighth

Abrasive Audio part the Eighth

Onwards onto undiscovered arenas. Now, where did I put my wellies?

Disclaimer; I usually won’t mention or review releases I don’t take a liking or can’t get into, alas that’s why the scores shown here are relatively high. As always beauty is in the eye (or ear) of the beholder, and my opinions most probably vary from yours. Feel free to suggest, recommend or comment.

Leather Glove – Perpetual Animation

(USA)

Release – March/8/2019

Sentient Ruin

https://leatherglove.bandcamp.com/album/perpetual-animation

Artwork – 8

It might take a few glances to realize what’s going down. My guess; picking up a corpse for removal in an area ridden by plague. The already partially loaded cart would suggest it’s from several centuries ago and that’s there’s definitely an epidemic or worse ravaging the local area.

First Track – 7.5

Doom meets synth meets old school dirge/death. Quite the combination, it has an experimental aura about it but also an air of familiarity. Dark, dense and heavy with unhurried growling vox, I’m liking this!

Initial Listen – 8

A myriad of styles on display here, though thankfully none which are wildly removed from their companions. Dense sludge runs hand in hand with elements teasing the grindcore arena with ill begotten groove side effects, whilst mid-tempo death cavorts with funeral doom pacing and atmosphere all encased in a package which, though somewhat out of the ordinary, is still oddly familiar. And all composed/created by a mixing engineer, Greg Wilkinson, who’s especially well known for his abilities behind the board representing EarHammer Studios.

Recommended for fans of earlier Carcass, Bolt Thrower, Nuerosis and a plethora of other acts who embrace multi-genre mingling, integration and whom strive to open the minds of fans of extreme audio.

Favorite Tracks; Perpetual Animation, Embrace those Grim Decisions, A Visceral Notion of Death, The Resurrectionist.

Wormwitch – Heaven that Dwells Within

(Canada)

Release – April/5/2019

Prosthetic Records

https://wormwitch.bandcamp.com/

Artwork – 8.5

Classical with a renaissance edge. A serene image, heavenly whites amidst a forest setting though there’s something amiss. A sense of malevolence lurks, an ominous nature that’s unmistakable, camouflaged but present. Perhaps our maiden is exhausted from ‘the kill’?

First Track – 9

Galloping melodies and ultra-catchy rhythms grab the attention immediately, an undeniable wickedness builds intrigue. Drum salvos are front and center giving the style somewhat of a unique quality which is difficult not to appreciate. An excellent introduction.

Initial Listen – 9

A crushing, inciteful, drum tempo is the back bone of this release balanced by delicate folk elements, symphonic accompaniments, exquisite atmosphere and cresting majestic black metal rhythms the overall effect is a wonder to have betwix the ears. Neither fully black in tone nor completely crust in vibe (the drum style often gives it this edge) this precariously traipses a slew of genre boundaries offering a myriad of stylistic temperaments to delight all whose senses this audio falls upon. Admittedly my first experience of the band, and I’m left wanting more!

Favorite Tracks; Disciple of the Serpent God, Vernal Tomb, Spirit Braid, Dancing in the Ashes, Lord of Chains.

Bloodphemy – In Cold Blood

(The Netherlands)

Release – April/12/2019

Black Lion Records

Qabar PR

https://bloodphemyblacklion.bandcamp.com/album/in-cold-blood

Artwork – 8

Daddy, daddy…daddy? Oh, you’re a Mummy.

Nevermind.

First Track – 8

Mid-tempo bludgeoning groove ala Grave and Bloodbath. The intro hints at something denser, more cavernous in nature, but I’m still happy.

Initial Listen – 8.5

Oddly the feel of some of the riffs here remind me of Candlemass, Messiah Marcolin could so stomp around the stage to these jams. In other instances, the influences are unmistakable. A diabolical nature aka Morbid Angel appears as too rhythms which recall ‘Tomb of the Mutilated’ era Cannibal Corpse, in other instances yet a slight experimentalism adding a certain unique flavor to the album. Overall, a release which keeps the listener on their toes (sporting a myriad of rhythms which transform just when one feels they have a track and artist in mind) though reeks of unmistakable familiarity.

Favorite Tracks; Spree Killing, Mental Atrophy.

Teleport – The Expansion

(Slovenia)

Release – April/5/2019

Edged Circle Productions

https://teleport1.bandcamp.com/album/the-expansion

Artwork – 8

Enigmatic yet draped in a theme which scream cosmic-sized scope. Wait, is that chunk of floating rock a skull..?

First Track – 8.5

Complex and chaotic, steeped in cosmic, celestial, themes and a remarkable ominous nature.

Initial Listen – 9

An odd name for an extreme metal outfit but don’t let it fool you, this ‘album’ runs the gamut with grandiose themes, progressive, unpredictable rhythms and an often-disorienting aura. Technicality careens headlong into a death/doom shroud making for a release that’s highly pleasing with an appeal which spans a wide radius ranging from atmospheric chaotic black metal through death/doom and also brutal technical progressive death, often elements which are expertly weaved together in the space of a matter of moments. Each of these three tracks have their own identity sporting unique qualities showcasing talent which isn’t afraid to make itself known.

Highly recommended for those who have a penchant for audio spanning a wide radius in the extreme metal arena.

Favorite Tracks; This delivers from start to finish!

Haunt – Mosaic Vision (EP) Digital release

(USA)

Release -March/22/2019

Shadow Kingdom Records

https://hauntthenation.bandcamp.com/album/mosaic-vision

Artwork – 8

Is that a Phoenix rising from the ashes or an albatross emerging from a nest with a skull within it? I’m not entirely certain. This is miles from art I’m accustomed to, in an arena far from that which this band resides, though I still remain intrigued.

First Track – 9

Galloping rhythms, riff aplenty, decipherable lyrics and a vocal style which tosses one back decades to a time when Heavy Metal was a term still exotic, somewhat foreign, and relatively fresh on everyone’s lips. Needless to say, the grin plastered across my chops in monstrous and maniacal. Holds my calls!

Initial Listen – 9.5

Fluid rhythms, infectious melodies and an overall style which harkens back to the heyday of NWOBHM putting one in mind of early Iron Maiden, Diamond Head and White Spirit with exemplary solo and lead work evoking strong emotions and thoughts reminiscent of Randy Rhoads era Ozzy material.

Haunt continue to impress bearing the standard, leading the charge of the Heavy Metal revival this follows on in the grand tradition of the amazing ‘Burst into Flames’. Haunt’s future is blinding!

Four tracks of exquisite heavy metal.

Imprecation – Damnatio Ad Bestias

(USA)

Release – March/22/2019

Dark Descent Records

Clawhammer PR

https://darkdescentrecords.bandcamp.com/album/damnatio-ad-bestias

Artwork – 9

Intricate, detailed, chaotic and ‘busy’. Vivid imagery which leaves little to the imagination in regards to the audio that’s about to assault the senses.

First Track – 8.5

Diabolical and steeped in a vibe that’s part black, part bestial, part death and draped in a vintage Morgoth (‘Cursed’ era) and Morbid Angel infernal wickedness. I’m hooked!

Initial Listen – 9

Primate, archaic and raw, yet refined. Fans of Gravehill, Morbid Angel and audio of the old school death camp with a blackened aura and chaotic passage infusions will lose their shit over this audio feast!

And there’s plenty of groove and rhythm to sate those with yearnings for such.

Don’t miss out on this, I nearly did!

Favorite Tracks; Temple of the Foul Spirit, Damnation Ad Betias, The Shepard and the Flock.

Entrapment – Imminent Violent Death

(The Netherlands)

Release – May/11/2019

Dawnbreed Records

Anubi Press

https://entrapment2.bandcamp.com/

Artwork – 8.5

Intricate black and white imagery, the more one looks the more details become apparent. I’m a sucker for these, especially when they’re of the grotesque variety complete with tentacles. Seriously, who doesn’t like Lovecraftian themed art?

First Track – 8.5

Considerable ‘bounce’ to this track and a rhythm which will incite all kinds of movement.

Familiar sounding vocals add to its appeal.

A great start!

Initial Listen – 8.5

Death metal that’s both energetic and old school. With melody aplenty and nudges towards grindcore-esque boundaries. Vocals are akin to both Karl (Bolt Thrower) and Martin van Drunken (Comecon, Hail of Bullets, Pestilence).

Overall this is a solid release and will appeal to fans of Asphyx, Bolt Thrower, Pestilence and others who delicately balance brutality and melody in their extreme metal assault.

Favorite Tracks; Mortality Unleashed, Sacrilegious Congregation, Morbid Habitation, Process of Dehumanization.

Side note; This is the bands final album scheduled for release on the same day of their last show; Graveland open air fest on May/11th.

Blind Monarch – What is Imposed Must be Endured

(United Kingdom)

Release – April/5/2019

Black Bow Records

Dewar PR

https://blindmonarch.bandcamp.com/album/what-is-imposed-must-be-endured

Artwork – 7.5

A ghostly apparition traipsing across rocky gradients with an ancient temple of sorts in the back ground. This could only mean one thing its time for a ‘Pot Noodle’, headphones and an uninterrupted hour or so in which to submerge oneself in new audio.

First Track – 8

Shrieks and howls nestled in funeral doom values basted in dread and shrouded in sludge pacing and cinematic atmosphere. A great start with an intriguing ‘break’ and reincarnation, of sorts, to nudge at the curiosity.

Initial Listen – 8.5

An epic release showing definite promise. An excellent marriage of bleak audio landscapes, sludge pacing and funeral doom elements accompanied by a varied vocal range which effectively adds depth and palpable atmosphere. The last track is a fantastic finale with its rainy-day temperament and the addition of a female voice.

Favorite Tracks; Suffering Breathes my Name, Living Altar.

Bonehunter – Children of the Atom

(Finland)

Release – September/28/2018

Hell’s Headbangers Records

https://bonehuntermetal.bandcamp.com/album/children-of-the-atom

Artwork – 9

As if lifted from an 80’s fantastical movies VHS cover this makes an immediate impression and only warrants more attention based on the amount of insane details displayed within. Rabid animals, mutated creatures, a mushroom cloud and beast warriors wielding wicked looking weapons.

First Track – 9

Black metal rasped vocals against a speed metal/punk attitude with splashes of atmosphere and the occasional majestic riff passage, it doesn’t seem as it though it would work, but it does, and my ears are perked!

Initial Listen – 9

Hard to pinpoint exactly what this is but it incorporates a great deal from speed, heavy metal and black arenas. The overall concoction is filthy, boasting riffs which will stick for the listener for days. Think Venom, Witchery and early Bathory boiled in a South American pot stirred by a torso adorned with chains, denim and spikes. I can’t believe I missed this last year!

Recommended for fans of Hellripper, Whipstriker and speed infused black metal tainted by heavy metal values.

Favorite Tracks; Demonic Nuclear Armament, Children of the Atom, The Reek of Reapers Scythe, Devil Signal Burst.

Pissgrave – Posthumous Humiliation

(USA)

Release – March/1/2019

Profound Lore Records

(Cassette release by Night Shroud)

https://pissgrave.bandcamp.com/album/posthumous-humiliation

Artwork – n/a

Grisly stuff indeed, I feel that I can’t rate this as it’s a photo rather than artwork perse’.

Though I will comment that it certainly grabs the attention and depending on the constitution might demand that a bucket be at the ready. Poor chap should’ve read the label on the new taste sensation that’s sweeping the galaxy; ‘Extreme Pop Rocks’. Apparently, they aren’t for just anyone.

First Track – 7.5

Grinding unmerciful death that’s undeniably unrelenting and steeped in a vile nature that’s palpable. In a similar vein to early The Berserker sans soundbites. Suffice it to say this has my attention.

Initial Listen – 8.5

Influences here are varied and runneth over. The albums unrelenting assault puts me in mind of The Berserker, Immolation and Hate Eternal (and in part vintage Carcass) although draped in a dirgey grind shroud whilst infrequent diabolical and infernal elements recall vintage Morbid Angel. The vocal approach has an all-consuming effect, a blunt flesh-peeling harshness, a beckoning presence of sorts sounding as if filtered from another realm entirely.

Following the first two tracks the album picks up offering distinct riffs rather than, what many would consider, an attack that’s in the most part merely ‘noise’.

Definitely not for the faint for heart, though recommended for those whose passions slip into waters made murky by the enigmatic, the archaic and the primal. Much like a lovable (?) fungi this album’s appeal festers, growing on the listener over time.

Favorite Tracks; Funeral Inversion, Into the Deceased, Emaciated, Rusted Wind.

Frosthelm – Pyrrhic

(USA)

Release – March/23/2019

Revenger Records

Clawhammer PR

https://frosthelm.bandcamp.com/album/pyrrhic

Artwork – 8.5

Ominous, treacherous and foreboding. This guy is on a mission. An excellent image more traditionally befitting a death album which leaves me highly curious indeed!

First Track – 9

Inciteful rhythms, effective atmosphere and a change of pace and neck snappin’ riffs which could well spike blood pressure into dangerous territories. A fantastic blend of atmosphere, melody and evil.

Hold my calls, this is great stuff!

Initial Listen -9

Melodic and doom-laden black death which has depth, atmosphere and boasts significant and abrupt changes in pace which only adds to the albums overall allure. Clean, crisp production might mean that traditionalists and Kvlt fans steer clear, however this sports a great deal to be excited about. A solid effort from start to finish which delivers varied elements and overflows with infernal influence though not the raw aura some might come to expect from the genre.

Favorite Tracks; A Gift of Razors, Pisslord, The Sorceress, Pyrrhic pts. 1 and 2.

Hannes Grossmann – Apophenia

(Germany)

Release – March/11/2019

Independent

(a Recc’ via Fiend Gottes – former “Thydemonsbescribblin” site partner)

https://hannesgrossmann.bandcamp.com/album/apophenia

Artwork – 8

Unconventional art for a metal release, more befitting what one might assume a Duran, Duran album might sport or even a slice of deviant fan art for David Bowie’s Labyrinth. A feral spirit rests (readying to pounce?) on the edge of a table with technical illustrations as the backdrop. Does this image signify primal nature in juxtaposition to human nature, experientialism with hybrid DNA or am I just scribbling inanely? Nevertheless, based on the unfathomable talents of the author I am excitably curious.

First Track – 9

Classical, intricate, technical and exactly what I would expect from the mind of Mr. Grossmann, (based on his work in Necrophagist, Alkaloid, Obscura, Blotted Science among others) with that being said however I am still utterly impressed at the varied audio, incorporating a myriad of stylistic elements, which graces my ears.

Initial Thoughts – 9

There is a slew of words which aptly describe this release, though none of which come to mind at the moment. Unpredictable is one, Virtuoso (talent) is another, Jaw dropping, bloody brilliant (this is four!) is yet another. I think you catch my drift. Hannes and crew are setting the bar for this arena incredibly high incorporating progressive and brutal elements amidst constantly evolving rhythms, opassages which are unexpected to say the least, thought-provoking lyrics and drum salvos which are simply inhuman. The bass and guitar partnership are incredible and chuggery is, thankfully, at a minimal. Overall this audio package is intricate, expertly weaved and a testament to the fact that tech-death doesn’t have to go OTT or fall overboard in wizardry obscure realms.  This demands attention, and to think I had to be pushed into its direction.

Recommended for fans of Alkaloid, Opeth, Amorphis, Necrophagist and Alterbeast.

Favorite Tracks; Deep, Reeks Insidious, They, The Flying Pizza Conundrum.

Plucked from Metals Past

Aggravator – Sterile Existence

(USA)

Release – November/24/2016

Dead Center Productions

https://aggravator.bandcamp.com/album/sterile-existence

Thoughts-

Rouge Trooper comes immediately to mind (a blue fellow plucked from the pages of 2000AD, any fellow readers here?) the artwork also bears comic book imagery similarities. Needless to say, I’m colored, not green or blue much like the person in the image, but curious.

Energetic and aggressive, bordering on death territories, this sporting vicious vocals dripping in spite. Plentiful nods to Slayer, Kreator, Exodus and Destruction makes for an album that’s exciting and dangerously infectious from the first track to the last. However, fear not for although Aggravator channel and borrow from the greats (within the same scene) they boast enough (of their own) identity to stray from ever being deemed copycats.

Highly recommended for those requiring fresh talent to add to their collection and their thrash roster playlist. ‘Sterile Existence’ is Aggravator’s third full length and shows a band at the top of their form offering the hungry metal asses fluid breakneck rhythms and seamless transitions from galloping pace to passages of a more technical nature, but better yet no ballads in sight!. This is an album which demands attention from newcomers to the thrash arena and aficionados alike.

Favorite Tracks; Decapiter’s Temple, Subconscious Blind, Future Rephased, Target Obliteration.

Keep an ear out for Aggravators newest slated for release around spring of 2019.

 

Cult

As always feel free to suggest, recommend or comment, or better yet share.

Your slave to audio extreme.

Abrasive Audio…to Soothe the Senses. Attack of the Compilation #7

Attack of the Compilation – Extreme Metal Attack (anno XVI)

Extreme Metal Attack (anno XVI)

HelldProd Records

Release – March/22/2019

(Celebrating the 16th event of its kind in Portugal scheduled for March 22/23, 2019)

https://helldprod.bandcamp.com/album/extreme-metal-attack-anno-xvi-2019-tickets

Release date March/22/2019

…

Well hello again.

Cult’s house is empty.

It’s quiet. Which is strange as the spawn of Cult usually leaves a tornado of destruction in her wake, she isn’t shy about letting loose amplified power from her infantile pipes either, the words “I’m a princess!!” Never fails to leave a smirk on my gnarly visage.

I’m discovering new stuff every day. Like where Cult secretes his sugary goods in order that his lips are the only ones to taste them (clever bastid!). I believe I’ve found his weakness however, if it even comes down to it all I’ll ever need do is hold one of his beloved Funkos hostage and he’ll be like putty in my grasp.

Now, where was I? I got distracted.

Ah, there’s his computer. One nudge of the table on which it’s perched and the screen flashes into life. It appears Cult has left me a template (what a nice fellow), either that or he didn’t get around to finishing this. Ha! I’ll make his day and do it for him.

Now what do we have here? An underground metal compilation supporting a festival in Portugal. I’ve visited numerous times. The people are tasty (though there’s no ketchup in sight) and the language is like the exquisite howling of a tortured soul to my ears.

Hmm-! My interest is perked, my nipples are hard, I’ll spare you the description of my aroused genitals. Let’s take a listen, shall we?

Well, would ya look at that. It seems as though, on visual contact anyway, this compilation seems right up my alley (there’s a ‘double-entendre’ if ever I visualized one, yuck!)

The track title is enough to raise the hackles of a hell hound with a hankering for audio extreme.

Wait. I smell audio extreme. I’ll save you for later!

‘Fire’, ‘Daemons’, ‘Abominations’, ‘Deathchant’ and ‘Unholy Semen’ (full of salty protein nutrition, no doubt, at least that’s how I’d spin it on a first date) all words which I’m intimately familiar with though which still never fail to grab my attention. Now, where was I? A tray full of snacks, Chef mix, donuts? I jest, I have the attention of a flea. But, strangely, where metal is concerned, I’m hyper-vigilant, if only I had the memory to match.

Perusing articles of a similar nature I can see that Cult has devised a rating system especially for the purpose of releases such as this. I like it, but it won’t work in this instance, I need my own flavor.

Let’s try this instead.

Abysmal.

Not in the good way. Toss this in the ocean and punch the nearest passerby to let out the frustration of spending money on schiite such as this. Jesus might like this. But I still believe it has the potential to do naught but line the birds cage. Jesus loves everything, which in my opinion is rather silly. Jesus you’re a prat!

 

Hrrrrrhhhhh-!

Better, this shows potential. Much like, I’d imagine, your mother on a first date. But it still leaves me wanting.

The Goblin are going crazy!

Admittedly the annoying green bastid like most things and get excited at the drop of a turd but occasionally they have a suggestion which turns heads. And if the whole collective, much like an obnoxious stench-ridden green tide, agrees there must be something worth giving, at least, a cursory glance towards.

Time for a Crimson Splattered Moshpit!

Now this is worth sharing, break out the goblets, the fiery liquid, the unwilling, let’s break some limbs and party till the Dark Lord yells at us to get back to work!

All Mine!

I’m a selfish bastid. And this is too fkn’ good to share, it’s all mine!!

I’m confused, still!

 

That’s better, get the point? I don’t care, let’s continue.

Nine tracks in all, and I’ll be if each one of them doesn’t excite in their own way.

Nocturnal are to first to rip into the senses, the track appears oddly ironic. I’m bouncing around like a primate with its a lit firecracker in its anus. Let’s just say Cult is going to return home to find shit all outta’ whack. The place is destroyed, his coffee is on the carpet (not to fret it’s in a spill proof type container thing) one of the legs of his side table is reduced to splinters, several (of the various) notebooks from his desks is confetti and the picture of the smiling green guy above his desk is slightly askew. I need to calm down. But what a start. Damn!

The audio continues. There’s no frilly crap to be found here folks I can make that out within no time at all. Blackened speed/thrash, black metal and black every-goddamn-thing else is on the menu, venomous vocals which would strip primer from a myriad of vehicles in a gangsters paradise (whatever that means) complement rhythms inciteful enough to raise the Dead (keep the ‘toilet water’ handy, corpses have a stench to cut through even the most wicked of sinus blockage).

After a solitary listen, I’ll grant this a rating of Time for a Crimson Splattered Moshpit within spitting distance of the All Mine! rating.

Overall this collection is one I’d gladly take a few lashings for, my boss is a split-tongued, pitch fork wielding, demanding cock-nugget, what can I say?

Within the collection there are a handful of tracks I lost total control of my body over whilst listening, tracks I’d gladly place on an infernal playlist and irreparably damage my misshapen torso to.

In order…

Nocturnal – Rising Daemons

Fast as unholy fuck with rhythms to match and wicked vocals and a nod to vintage speed metal. An amazing introduction to this, or any compilation. My neck is broken, again, from the vigorous head bangin’, I’ll have to reset it (but it was worth it!)

Dethronation – Deathchant Assyria

Try as hard as I might I can’t help but bounce from one wall to the next with this between my ears. Old-school blackened speed and attitude with a South American feel. What’s not to like?

Did I mention this has an epic length and passages of doom tinged atmosphere, nope? Well I apologize. Great track!

Blackevil – Between Fire and Fire

What is it about “speed” that gets to me so?

This question might never be answered, in much the same way human males have a fascination of over-sized mounds of chest fat fit to bursting.

Blackevil have somehow fused NWOBHM with blackened speed with a familiar vocal style I can’t for the infernal life of me place (there’s that shit memory again). Regardless this fkn’ rips!!

Nefastu – Belica Neblina

Blistering black metal similar to Tatgren’s scorching Abyss output. Need I say more, probably not, but I will.

Alcoholocaust – Supreme Heavy Metal Negro

Chainsaws and machine guns and there’s the N word in the title. One of these three things is enough to incite a riot in the liberal mind, the other two are used to exhaustion every night in the suburbs of Chicago. Take your pick, I’ll be busy acting like a frenzied force of nature as I prance around without a care in the world.

Martyrium – Abominations

Easily the most polished sounding track here. This boasts epic values and sports black, death and doom, albeit pitch in tone, elements.

It’s the sacrificial aura that does it for me, however. Gteat stuff!

Necromutilator – Unholy Semen of Doom

I swear if this track sucked especially with the words ‘unholy semen’ in its title I’d hurt a Mfer’. Thankfully it doesn’t! Groove aplenty.

Toxik Attack – Loucos Pelo Old School

I can’t for the life of me make out what they are saying but I’m loving this. It has a folk/heavy metal/speed metal vibe which I’m finding irresistible.

That’s about it, this compilation made me jizz all over the damn place, several times in fact, caused me a concussion from slipping in the mess and resulted in an unfathomable amount of broken bones. Not to worry they’ll knit together again, and I’ll become infinitely uglier.  This is par for the course and I’ve become accustomed to it.

Fuk, I hear footsteps, I’ve no time to clean up. Perhaps a note will suffice…?

There, I’ve placed it where it will be easily spotted.

Oh, what does it say?

Sorry Daddy, it was me.

Love M.

No one will ever know.

Now to secreting myself where no one will find me. Wait a minute. She’s barely two, do you think she even knows how to brandish a crayon, or use punctuation?

B