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Originally, this
was released in 2007, “Deathcult Barbaric Hell” is the debut album
from this US war metal band known as Amputator. Greyhaze Records is
re-releasing this classic on vinyl, for the first time, if you have
never heard the band they play a barbaric and vicious form of
blackened death war metal. The guitar work is done with chaotic and
extremely fast guitar riffs and patterns. The guitarist does slow to
a more mid paced controlled speed, in a few of the songs, before
going back to the extreme and crazed guitar sound and style. The
vocals are harsh, raw screams and some deeper, gruff death growls
used throughout the release. The music has been remastered for the
LP version, but still holds things up in the barbaric blackened
death war metal scene. - Patrick
https://greyhazerecords.bandcamp.com/
https://www.greyhazerecords.com/ |
This is my first
encounter with COS, spoiler up front; I very much hope it is not my
last. The track on first side is the title cut; it captured me
almost immediately, as the music and the singer are filled with
infectious charisma. The song features a rich tone and silky flow,
the music is classic doom metal influenced, but there is much more
going on as it also has hard rock influence and a touch of
progressive rock flair. The guitars dance and gallop along, but
always return to that emotional doomy heart punch, it is hard to
even call this doom at the same time, because in certain sections of
the tune the pace is very quick. It is so damn infectious, I can not
stop listening to this song, I am convinced it will be a future
classic! I can not move on to track two without mentioning the
vocals of G.E., he has one of the best classic doom style vocals I
have ever heard!! His voice is smooth, so deeply achingly emotive
that I can feel it is my soul as it soars through my headphones with
such a dynamic range, reflecting the poignant sentimentality of the
music step for step effortlessly. It is just wonderful and I am not
sure I have ever written so much about one song before haha! Side B
of this record features a live recording of “The Hangman”, which is
a song from their debut self titled full-length record. Honestly,
the first reaction is a slight letdown, but that is partly due to
such a drastic drop in sound quality, the recording on the first
song is stellar, loud and full then it drops way down here to kind
of a flat low level. About halfway through the song, it has this
metal or hard rock version of a latin inspired beat / section. It is
strange and maybe an acquired taste, but it does seamlessly weave in
and out of the hurriedly mournful metal mainstay of the tune better
than you would think. This side of the record is a step down from
the first, a true B side in that sense, but Side A is more than
worth the price of admission, all on it’s own. That title song is a
fucking masterful work of art, from the beginning of it’s six minute
length, to the last second! Get this posthaste! - Dale
https://www.facebook.com/caveofswimmers http://southerndruidrecords.storenvy.com/ |
|
Datura came out
swinging in the second week of June with their debut full-length The
Harrowing, celebrating its release the day after at the Raleigh
Deathfest with one of the best performances on stage that night.
These guys have been a part of the local metal scene in North
Carolina for many years, and in their current incarnation have been
making music together since around 2015. They began recording The
Harrowing last October, and now the fruits of their labors finally
manifest! The album expertly combines various influences within its
43-minute playing time, most significantly from thrash and death
metal, although one may find sprinkles of doom here and there in
such tracks as “Haxan” and “Keeper of the Light”. Regardless of
subgenre nitpickiness, the album will have you headbanging no matter
what track you listen to. Give “Battle Worn” a listen, and the
initially mid-paced riffing will guide you into each verse, building
anticipation up until the chorus calls out at the “battle-worn
betrayer” with righteous indignation, then releasing you into the
rhythmic aftermath that eventually winds down like the falling
action of a story within the track’s latter half. Or maybe you would
prefer the next track, which showcases Kellie Gates’s vocals at
their best, in my opinion. Listen as the guitars at times punctuate
the verses, and at times gallop along, keeping the composition
moving in a constantly forward direction until you get the
broken-down form in the chorus where Gates takes over with deadly
delivery of punching lines and contrasting soaring screams. Needless
to say, there is a lot to love about this album—more than I can
succinctly determine in a single paragraph. Navigate to Datura’s
Bandcamp or Spotify in order to hear for yourself why Datura is one
of the most promising extreme metal acts coming out of central NC
today. – Aaron
https://datura666.bandcamp.com/ https://www.rustyknucklesmusic.com/collections/datura |
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We see the
return of the old school thrashing maniacs to Canadian Assault, with
a new two song EP. The first song, on this vinyl, is “Hell Comes To
Life”, which an aggressive thrash metal attacking track featuring
ripping guitars played with a lot of skill and fierce patterns. The
vocals are some raw screams mixed with some blackened style vox. The
second song is a cover, Judas Priest’s classic “Hell Patrol”, the
band does a great job capturing the intensity of that song, but also
adding a dash of their own style to the song. If you are a fan of
the early years of thrash, such as Kreator, Exodus, Judas Priest
“Painkiller”-era, then be sure to check this slab of vinyl out as
soon as it is released. - Patrick
https://deathofkings.bandcamp.com/ http://boris-records.com/
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So up first on
this split vinyl is the Philippines own Deiphago with three songs
from their recent demo “Lucifer Alpha Omega”, which was a demoed
version of songs that wound up on their “Satan Alpha Omega” album
released on Hells Headbangers some years ago. The music is raw,
crude black metal that stays true to the early black metal genre.
The vocals are raw screams mixed with some deeper growls that are
used throughout the songs. The guitars are played with aggressive
and fast guitar chords, but do slow down to a slow to heavier mid
pace within some of the songs. Flipping over to the second side, we
have the U.S. war machine known as Amputator, who presents two
unreleased songs for us. Amputator’s style is barbaric and vicious
war metal. The drums are blast beats, performed with fierce brutal
attack, going from an all out assault of blasting beats to a calmer
and fast drum pattern. The vocals are gruff screams and growling.
The end result of this split release is a pretty great one uniting
two of the underground’s best blackened death war metal bands. -
Patrick
https://www.facebook.com/deiphago/
https://www.greyhazerecords.com/
|
There is no
beating around the bush here, from theme, to look, to the music
itself is a violent and evil sounding love letter to the German
thrash scene of the early to late ‘80s. You could maybe even narrow
the focus even further and call this Sodom worship (“In The Sign Of
Evil” MLP and the first couple albums in particular), but there is
no doubt bands like Kreator, Destruction etc… also played a part in
shaping this band. I am sure, with this being nothing new or
experimental, progressive or whatever the fuck focused fans have
already stopped reading this review. Which is just fine, this not
made for you, so continue moving along as there surely is nothing
new here. This Swedish band features members (which has been kept
kind of hush, hush for the most part) who are currently or formerly
members of bands like Destroyer 666, In Aeternum, Centinex,
Interment, Hypnosia etc.. After finding that out, you may not be
surprised to discover the ferocious Teutonic thrash, played by these
maniacs is picture perfect old school blitzkrieg metal of the
highest order. This is truly top shelf thrash; played at break neck
speeds with amazing riffing that had my head banging like a puppet
on a string, leaving me no choice to bow to it’s will. Yes, it is
that fucking good! The only problem is it is too short, only two
original songs, followed by a scathing cover of “Tormentor” by
Kreator. All of which, barely breaks the nine minute mark, so a
rather short 12”, but one thing I can promise, if you worship ’80s
German thrash. You will be standing close to the record player,
because you will be flipping and replaying this constantly, as you
punch the air with your spiked fist and bobbing your head in between
swinging that arm back to the beginning of the record time and
again. Take it from me; during the course of writing this review, I
am literally 30 listens deep on this thing with no end in sight!
- Dale
https://www.facebook.com/DreadfulFate/
http://www.edgedcircleproductions.com/
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|
 
Birmingham,
Alabama’s Ectovoid returns with a brand new release featuring three
brand new tracks of extremely solid and heavy death metal. The
vocals are a mix deep death metal growling and some old school gruff
style growls. The music is interesting and keeps your interest at it
chugs along at a brutal edge and a fast tempo. The band does play
some brief slower, mid paced sections as well. If you are a fan of
early Autopsy and Immolation then be sure to pick up a copy of this
nice piece vinyl audio violence. - Patrick
https://www.facebook.com/ectovoid
http://shop.bloodharvest.se/ |
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Originally,
these three songs were a part of the split release with Brutal
Distortion, which was released way back in 1990. The Expulser half
of the split have been remastered, but the songs still hold a raw
sound and feel to them. The first song “Vomiting Paradise” is a
semi-fast thrash style, which features some very good musicianship.
The guitarist even adds some well written and performed nice solos.
The second song is “The Offensor”, which is a faster, more crazed
tune that goes for it. The final track is “No Resurrection”, which
is probably the heaviest out of the three tracks on this LP. The
drumming on here is done at hyper-speed and the vocals are more old
style death growls with some gruff screams intertwined throughout
the growling. If you are a fan of old school thrash metal with
elements of the early days of death metal, then be sure to pick this
up today.
- Patrick
https://greyhazerecords.bandcamp.com/
https://www.greyhazerecords.com/
|
Exterminator was
an early Brazilian thrash metal band with some early death metal
influences. This recording was originally released in 1987; it was
the bands debut (as it turns out also their final release) which is
now getting the vinyl treatment with this reissue on Greyhaze
Records on the thirty anniversary of the original release. The
vocals on here are raw thrashy screams mixed with some early death
metal growls that really fit the bands musical style. The guitarist
wrote some very aggressive and memorable riffing patterns, he even
mixed in some well played and written solos. For the most part, the
guitars are played in mid paced range with some faster parts here
and there in some of the songs. The drummer does a solid job of
combining both middle speed drumming and faster paced drums, which
he uses throughout the recording. If you are a fan of original, well
played thrash mixed with elements of death metal you should pick up
a copy of “Total Extermination” as soon as it is available to the
public. - Patrick
https://greyhazerecords.bandcamp.com/
https://www.greyhazerecords.com/ |
|
Haunting were a
band that was part of the Atlanta, Georgia underground metal scene.
The band only put out one release, entitled “Sealed Shut”, which was
a limited run demo tape that came out in 2014. That release plus a
new intro is essentially what this is, so a re-release, but now on
the vinyl format for the first time, giving a chance for those that
missed it the first time around to get on it. Just reading the bio
from the label, apparently the band was very important back in the
2013-1016 time period in helping revive a local Atlanta seen that
was in decline. Haunting’s music is a nice blend of thrash and early
death metal. The guitars are played with crazed, fast guitar
patterns. The guitarist has a talent for writing some well executed
guitar riffs, and even adds some solos, which are weaved into the
music quite skillfully. The vocals are old school gruff growls and
some screams are used here and there in a few of the songs. If you
are a fan of old school death and thrash metal, then make sure to
you check this one out and pick up your own copy today. -
Patrick
https://borisrecords.bandcamp.com/album/sealed-shut
http://boris-records.com/
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This album was
originally released in 2011; it is the bands second full-length
release, which is now finally getting the vinyl treatment via the
great Boris Records (a champion of the Atlanta, Georgia extreme
metal scene). Hellgoat play a straight forward and thoroughly
Satanic vicious black metal style. The vocals are harsh, raw
blackened screams and screeches. The vocalist does use some deeper,
gruff growls and shrieks in a few of the songs as well to round out
his vocal arsenal. The drums and guitars are played with fast and
chaotic patterns reminding me a lot of the early ‘90s black metal
scene. If you are familiar with Hellgoat’s musical style and
appreciate then do not hesitate to pick up a copy of ‘Death Conquers
All’ on the sweet format of vinyl as soon as it is released. -
Patrick
https://www.facebook.com/Hellgoat-359498710801448
https://boris-records.com
|
 
This came out of
left field for me, as I had never heard of Hellthrasher before now,
at least not a band by that name. As I understand it, you might be
able to call this Memphis band a bit of project band featuring
members of Incineration, an ex-member of influential crust punk band
His Hero Is Gone and some other local musicians. The result is a
pretty brutal mixing of death metal, grind and crust, which is heavy
and chunky as fuck, not to mention just catchy enough in many
sections that I can not even help myself from headbanging to the
metallic maelstrom. The pacing is up and down, from middle pacing
chunky death metal to vicious outbursts of high velocity grinding at
times, with crust-like structuring and vibe. The vocals, much like
the music, seem like a hybrid of the above subgenres with an
undertone of aggressive hardcore crust screeching cutting through
the slightly more predominant dm growling. I find that combo pretty
satisfying, but I guess it depends on how particular you are with
those styles, on whether you would mind or not the mixing of those
styles. The drums are really the backbone of this record in a lot of
ways, it is a rather menacing forceful drum performance, which sets
the tone, strongly backing up the thick rumbling bass and stout
guitar riffing, and propelling the whole thing in a forward motion
in a lot of ways. I am uncertain of the running time, I would guess
somewhere between 15-20 minutes, but it is an intense ride you will
want to take repeatedly, so you can keep the intensity rolling and
trust me you will want to keep it rolling. It is always a treat for
me to receive vinyl for review, it is like an Xmas present for me,
so cheers to the label for sending this cool limited (300 copies I
believe) release on beautiful dark red marbled vinyl (it comes in
three editions of red & black marbled and straight black). I
listened to this on bandcamp just for comparisons sake and the
sound, in my opinion, kills on the vinyl version. - Dale
https://hellthrasher.bandcamp.com
http://blakskul.bigcartel.com/ |
Death metal
seems to be experimenting quite a bit this year in terms of bringing
influences from other sorts of music into its compositions. Death
doom often reigns in this area, but recently psychedelia elements
have been sneaking their way into the brutal form. Enter John Frum,
a super group of sorts, with “A Stirring in the Noos” released on
May 12th in association with Relapse Records. This album merges
psychedelia with dusky death metal with seasoned competence, as is
to be expected from a lineup that includes members like bassist Liam
Wilson of The Dillinger Escape Plan and vocalist Derek Rydquist of
ex-The Faceless fame. These two band members produced the elements
that I found myself focusing on the most when I was listening to the
album, not because of their status in the scene, but rather because
of just how much control each has over their deliveries. Wilson’s
bass at times pummels through the composition, and at times acts as
the pulse to the music. Rydquist’s vocal performance demonstrates
his wide range, fluctuating from mid-lows to blackened mid-highs. He
has complete power concerning the verses he conveys. However, the
drums and guitar do not feel as exceptional in comparison, even
though they both show technical capacity throughout the album. Matt
Hollenberg’s guitar solos are often astoundingly tortured in the
manner that has become familiar in this brand of death metal, but
they sometimes fall short in terms of being memorable. Similarly,
Eli Litwin’s drumming exhibits his mechanical proficiency, but there
were only a few sections on the record where I truly noticed the
drums as being brilliant. This is not to say that the album overall
is lackluster. Quite the contrary—I believe the band will only
better from here because this album presents much promise for their
future. John Frum carve out a space to call their own in the vein of
psychedelic death metal, but whether they will maintain their rank
alongside so many other fantastically written experimental death
metal projects churned out this year remains uncertain. - Aaron
http://johnfrumband.com/
https://john-frum.bandcamp.com/
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|
It is an
interesting choice by this Finnish band to start off the opening
song on their debut album with a cover tune. After listening to it
though, it does feel right, as they really add their own style
heavily to this cover of Darkthrone’s “The Serpent’s Harvest”, from
the Total Death album. They end up largely making the song their
own, yet still paying homage to the songs immense cadenced
foundation riff. This is my first encounter with this young band,
after apparently having missed their digital single and ep, both
released a couple years ago. Khanus has been hard at work on this
introductory record ever since and that hard work shows. I suppose
you could call the band avant-garde or progressive to some extent,
as the band incorporates many unusual elements, such as all sorts of
primitive sounding ritualistic and occult or Shamanic ceremonial
type elements such as chants, hypnotic rhythmic drumming, overall
tempos and timing. Like I said, I guess you can call them that, but
unlike most bands placed into the avant-garde / progressive realm
Khanus never abandons their root sound. Which is very heavy and
slightly doomy darkened death metal, that brutal underpinning is
always the anchor with everything else spinning around it’s orbit.
Despite that description everything on here is solid and well
performed, but there is really nothing overly technically impressive
or amazingly complex going here with their slow-ish to middle paced
music. But, the way it is all put together, the vision and song
crafting are where it is special or at least different, and somewhat
original (okay so maybe Master’s Hammer and Root have done something
approaching this) when combined together as you all know that alone
is an achievement these days. All the above described, conspire
together to create a very shadowy and mysterious atmospheric vibe
that is magnetic in a sinister trance-inducing manner. The vocals
display an impressively wide spectrum of styles, often featuring
spoken word or partially sung and spoken passages in a brutish
intimidating style, as well as growling, clean voices, triumphant
almost classic doom style singing and as mentioned previous various
iteration chanting. As I said earlier, there is nothing mind-blowing
here with regards to it’s unremarkable individual elements, but the
manner in which they have all been masterfully woven together, in a
different and original sounding way is what makes this a special
record, worth your attention. - Dale
https://www.facebook.com/khanusband
https://i-voidhangerrecords.bandcamp.com |
This Spanish
band is new, but it’s members have been around for years in other
bands (Sheidhim, Graveyard, Morbid Flesh etc…), so it is no surprise
how mature this mini-album sounds and the performances within.
Things start off with a possessed demonic intro that reminds of the
early vocalization of the infamous Hellhammer. Following the intro,
the music explodes out of your speakers with an exciting burst of
forcefulness, which is sure to invigorate the listener into a frenzy
of adrenaline filled headbanging fury. It is a straight shot to the
veins of potent, swirling guitars producing a catchy and heavy riff
storm. The energy is high, often with a rapid pace to match, but the
band does slow things down now and then to create an underlying evil
atmospheric to underpin the barbarity. Think of a blitzkrieg melding
of early Venom and Celtic Forst, mixed with newer influences like
Vomitor, Dissection, Bestial Mockery, Nifelheim, Destruktor and
Gospel Of The Horns. So yes, it is in my mind, a caustic love letter
to some of the most vicious bands from the Australian and Swedish UG
scenes. There is not that much of an own sound, but fuck it, when
they do it this fucking good and put this much dedication and
diabolic energy into it. I can do nothing but praise what they have
accomplished here on this six song, twenty minute recording. Not to
even mention, how do you not love a band with high quality music,
who also have a song title called “The Great Masturbator”! -
Dale
https://krossfyre-spain.bandcamp.com/ http://www.hellsheadbangers.com/
|
 
Atlanta’s death
metallers Malformity return with a new 7” EP, which features two
tracks of old school brutal death metal. The first track is
“Rapturous Damnation”, which is four minutes of solid and raging
barbarous death metal music. The vocals are growls that fit in the
musical style very well. The guitars are played at a mid paced
tempo, but do speed up a few times, before calming back down to the
middle paced realm once again. The second and final song is
“Unraveling”, which is a much faster and chaotic piece of music
compared to the first track. The drumming is played with some
blasting drum parts that do slow down slightly to a fast style
similar to the mid ‘90s US and Swedish bands from this era. The
vocals in this song are a mix of gruff growls and some deeper
brutish growling as well. If you are a fan of quality old school
death metal, which has influences from both American and Swedish
death metal scenes, you should definitely pick up this seven inch
when it is released. - Patrick
https://www.facebook.com/Malformity/
http://boris-records.com/ |
 
If anyone knows
me, and my musical tastes, they know how big of a die hard I am for
early to mid ‘90s Greek black metal. I worshipped at it’s malevolent
altar back then, and since tape trading, buying releases and
following this scene. It unfortunately, over the years, largely
morphed stylistically and sound-wise into something I largely did
not care for. I long for those olden days, so does Medieval Demon,
who are keeping them alive and attempting to return the scene to
past glory. I immediately think of one of my all time favourite
black metal releases when listening to this, which is Necromantia’s
side of their split album with the mighty Varathron, released way
back in 1992, a pure masterpiece. Before anyone gets the wrong idea
that M.D. are a new young band, picking up the old mantle, forget
that straight away. despite having called it quits for 15 years at
the end of the ‘90s, Medieval Demon actually formed in 1992
releasing demos, a split ep and album prior to the hiatus. The two
main driving forces of the band are brothers Lord Apollyon &
Sirokous, who also run a record label called Cryptia Productions, as
well as running a black/death record store together in Athens. This
release spews no less than fifty-five minutes of the audio
personification of blasphemic darkness and evil! The old Greek bm
style, while similar to the early ‘90s second wave of black metal
coming from Scandinavia, tends to possess more ritualistic drumming
and effects. These bands also show more passion for the first wave
of black metal, in the late ‘80s, with more traditional metal
elements than many of their Scandinavian counterparts. The sound
also often includes dark and freezing synth accents, frequently
coupled with a building crescendo of dramatic hypnotic beats. When
performed and crafted correctly it can truly take the listener on a
sinister emotional mental journey. I know I have built this album up
high, I do not want to mislead here, it may not rival those early
classics, as good as it is. But, it does capture that sound and
tradition with an authentic reverence, assuring that the flame is
lit again and that the air crackles electric with the old magic once
again. So, if you miss the early years of Greek black metal, as I
do, and adore the early releases of bands like Necromantia,
Varathron, Rotting Christ, Nergal, Kawir, Agatus, Zemial, Thou Art
Lord and more (not Greek but I even hear a bit of Mortuary Drape in
there) then you will need to look into this straight away! -
Dale
https://medievaldemon.bandcamp.com/
http://www.hellsheadbangers.com/ |
|
Starting off
this cool piece of split vinyl is the American warring blackened
death metal horde Morbosidad with a new track, entitled “Verdugo”,
which is an excellent death black metal assault of real destruction
and fury. The vocals are cool raw gruff growls and screams. The
music is mid paced with a few outbursts of intensity mixed into the
anarchy. The second song is “Pureza Del Martir”, which is a more of
a little faster paced, and straight to the point with blasting drums
backed with a mix of gruff growling and tortured screams. Sweden’s
Kill (featuring Carl Warslaughter whom long time CA readers will
remember well from the infamous band Bestial Mockery) like their
counterparts on this split release are veterans of sick UG game.
Kill appear with one longer song (well longer than the two
Morbosidad tracks) entitled ‘Prayer Of Destruct’, which is a
frenzied piece of blackened death metal music and a real beast of a
song! The music is played with a lot of raw intensity that is grim,
but also showcases the bands experience and sadistic song writing
abilities. The vocals on this track are raw, harsh hateful sounding
screams. This is an excellent release for fans on truly dirty and
evil metal from the depths, so check it out and also support the
great Hells Headbangers who have fine taste in music and champion
true death and black metal. - Patrick
https://www.facebook.com/thetruekill
https://shop-hellsheadbangers.com/
|
|
 
This is the
debut release of Don Of The Dead of (the legendary) Nunslaughter’s
new band. Don never ceases to deliver both quality and debauchery in
equal quantities! This is such an interesting mix of death metal
depravity, combining things like hints of Nunslaughter greatness
with classic influences from the likes of Autopsy, Impetigo, early
Morbid Angel, Slaughter (from Canada) and small whispers of other
necro inspirations from things like Punk and black metal. The vocals
are a diabolic mix of raspy black metal style vocals, deep growls,
higher pitched growling, hysterical screams, and gore grinding
gurgles, along with half spoken bestial howling! These vocals would
make the likes of Stevo from Impetigo, Abscess and the vocal chords
of demons straight out of hell proud!! It is hard to choose a
favourite song out of the five on here, but “Abducted, Raped And
Eaten” is a strong contender for me. This is 12 minutes of an
utterly wonderful cacophony of sickness and depravity that must be
heard to be believed! I fucking loved this and can not wait for the
full-length album due out somewhere around the end of 2019. -
Dale
https://nighnacht.bandcamp.com/
http://www.hellsheadbangers.com/
|
|
This evil union
of two of Greece’s longest running and notorious bands have now come
together for a special release split featuring one new song from
each band. Rotting Christ starts the split off with their track
‘Spiritual Sancti’, which is played with the bands signature style
and sound, while adding some melodic black metal with touches of
gothic music elements. The vocals are gruff growls that fit this
song just perfectly. Varathron owns side two with their song ‘Shaytan’,
which for the most part is played with a lot of speed and intensity,
but does slow down to a calmer pace in a few parts. Personally, I
prefer both bands earlier works, but the new songs have a lot of
complex and well executed structures. If you are looking for quality
black metal then look no further than the “Duality Of The Unholy
Existence” split release. - Patrick
https://hellsheadbangers.bandcamp.com/
http://www.hellsheadbangers.com/ |
|
This is a
re-issue of this notorious legend bands final album that originally
came out in 1996. The album starts off with a short intro before
kicking off the music with a middle paced thrashy old school black
metal sound. The vocals are a mix of old style gruff growls and some
screams mixed in. There is also some clean singing believe it not
and even some whispery spoken word type of vocals used in some of
the songs. The guitars are done mainly with mid paced guitars, but
do speed up to a faster pace now and then throughout the recording.
‘The Worst’ (a very apt title as this has to be the worst thing the
band released - Dale) is Sarcofago’s last full length release, while
this release is nowhere near as fast or chaotic as the bands earlier
releases, but the ‘The Worst’ does still have some good music on it
at times. - Patrick
https://www.greyhazerecords.com
|
|
From the Bay
Area of California we have some fresh, hearty meat entering the
contemporary death metal scene: Succumb’s self-titled debut. This
album was released by the band formerly known as Cloak on May 5th in
association with Flenser Records, and has made ripples in the metal
community, or at least in the metal blogosphere. Coming in at about
34 minutes of spin time, this record wastes not a single second
within its tracks, moving from passage to passage seamlessly with
such ferocity that you will wonder when you are truly allowed to
catch your breath and massage your neck. Harry Cantwell’s drumming
especially adds to the band’s mercilessness, taking a methodical
approach that reigns in the other elements of the compositions while
still maintaining his own furious pacing and rhythm. Indeed, the
guitar and bass consistently feel like they are on the brink of
becoming chaotic throughout certain areas of the album, but the
drums chain them to the coarse earth while the vocals shout down at
them from above. Cheri Musrasrik’s feral, yet controlled, yells
exchange lines with bassist Kirk Spaseff’s deep growls
intermittently in such tracks as “Bedchambers”, providing a terrific
contrast that helps keep the listener invested in the well-crafted
verses. Altogether, the elements combined on this record rightly fit
together, and thanks in good part to the masterful mixing by Jack
Shirley, they only rupture at the seams when it is strategic for the
band to do so. Oftentimes heavily rhythmic, and always heavy,
Succumb’s self-titled debut brings a hardcore flare to death metal
that will definitely see their ripples in the medium turn into
waves. – Aaron
https://succumb.bandcamp.com/album/succumb http://theflenser.com/ |
This is the
debut album from this young Finnish band, having formed in 2013,
subsequently releasing a demo and a couple seven inches since then.
I am extremely pleased that I chose review this album; it is one of
the best black metal albums I have heard in recent years. White
Death proudly continues the old traditions of early 90s black metal,
but put their own stamp on this classic sound, whilst updating it in
their own way. I also get impression, unlike so many black metal
bands these days, they are serious about the philosophies and
meaning behind what originally started the black metal scene and
made it severe and evil. This album takes everything you love about
early ‘90s Scandinavian black metal and stokes that fire up to a
full northern blaze! The mainstay of the music, is mainly a
blitzkrieg attack of seething hatred and violence, tearing asunder
everything in it’s path. Despite that being the staple of their
sound, at times it is also surprisingly diverse, in it’s emotive
qualities and thoughtful song structuring. There are also times,
when it is almost perplexing that the music is this grim and harsh,
yet also incredibly melodic. I say that, because all too often a lot
of melodicism is the enemy of musical barbarity and violence, not so
with White Death, they marry the two into a catchy, stealth-like
savage beast. Always present within the sound, is the classic bm
freezing grim atmosphere, which produces that tangible feeling of
darkness and evil within the listener that has made me a slave of
this movement for nearly three decades. There are some keyboards,
but they are mainly kept as a background accompaniment, filling in
the atmosphere and not dominating in the forefront, which is just
way I prefer. The vocals, much like the music, are harsh and varied
in an interesting way, the icy rasping quality is great, but has
some depth to it and as mentioned containing some diverse nuances.
There is even one vocal bit that sounded like a tortured demon
possessed horse snarling or something fucked up like that. This is a
fantastic debut album, showcasing what traditional black metal is
really capable of, while still staying true to it’s roots and deadly
tradition. I simply can not recommend this enough! - Dale
https://www.facebook.com/unholywhitedeath
http://neuntoter.org/
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