Tag Archives: death metal

Album Review – Shed the Skin / Harrowing Faith (2016)

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Not only an amazing tribute to the life of American musician Tom Rojack (R.I.P.), but also a lesson in old school Death Metal by five skillful veterans.

Rating4

shed-the-skin-album-coverFormed in 2011 in the city of Cleveland, Ohio, in the United States by longtime friends Kyle Severn (drummer from Death Metal legends Incantation) and Matt Sorg (guitarist for Ringworm, Charred Walls of the Damned, Blood of Christ and Beyond Fear, among others) after playing together in a tribute to old school band Blood of Christ at a memorial show for their friend Tom Rojack, who passed away in 1997, Death Metal quintet Shed the Skin are unleashing upon the earth their highly anticipated debut full-length beast entitled Harrowing Faith, following their 2014 7” EP Rebirth Through Brimstone. More than just an album, Harrowing Faith is a statement that proves the fire of traditional and brutal Death Metal is far from being extinguished.

And let me tell you that the name of the band, inspired by the track also named “Shed the Skin” from Blood of Christ’s 1993 four-song promo cassette simply titled Promo ’93, perfectly illustrates what the music by this old school Satanic Death Metal horde will inflict in you. Featuring a gory artwork by James “Human Furnace” Bulloch (Ringworm), Harrowing Faith transpires violence and bloodshed, with each one of its 12 compositions offering the listener the talent and aggressiveness of the band’s five Death Metal veterans in a little less than 40 intense minutes.

The obscure and atmospheric intro Plasmic Flames can be considered the calm before the storm in Harrowing Faith, because when the metallic riffs by Matt ignite the mosh pit-generator Daimonic Adytum all hell breaks loose. Moreover, lead singer and guitarist Ash Thomas (FaithXtractor, Vladimirs, Acheron) vomits his deep guttural like a maniac beast, enhancing even more the impact of this excellent Death Metal devastation. Then we have the title-track Harrowing Faith, a brutal havoc played at full speed where Kyle is absolutely on fire, providing more fuel for Ash to thrive with his demonic gnarls. Albeit very technical, it’s still absolutely raw and dark just the way we love in Death Metal, especially the demented sound of guitars the likes of Cannibal Corpse.

shed-the-skin-bandBlackened bells tow in a sensational demonic intro for the next tune, Putrid and Pious, as fast and aggressive as the previous tunes. The growls by Ash get deeper and deeper, with the album’s outstanding production and hints of Doom Metal taking the song’s pugnacity to a whole new level. A somber ambience grows in obscurity in Unbound Revenant, once again venturing through the realms of Doom Metal, in special the slow and steady drumming by Kyle, being perfect for fans of extremely Stygian music. Right after that doomed exhibit, a sick guitar solo kicks off a two-minute feast of sheer Death Metal entitled Warband Under the Baphomet, with highlights to its amazing vibe, fierce beats and a superb job done by both guitarists Ash and Matt as well as bassist Ed Stephens (Ringworn, Vindicator, Charred Walls of the Damned) with their lacerating strings. And the band keeps the album at a very high level of quality with the deranged composition CSUM, where not only guitars and drums are in total sync, but the hints of progressiveness added amidst all savagery also increase the overall quality of such hostile chant.

In Alpha and Omega, guitar noises grow in intensity and are violently joined by all instruments, generating total madness in the form of high-end Death Metal for the delight of diehard fans of the genre; followed by Cambion, where Ash sounds like a demonic ogre on vocals. Furthermore, this song shows that Death Metal doesn’t need to be played at the speed of light to be awesome, being as heavy as hell due to its amazing riffs and bass lines. There’s still more destruction to come, starting with Inhuman Accretion, a solid composition with demented guitar solos and endless savagery where Kyle is a stone crusher on drums as usual. The last regular song of the album, named Innermost Sanctuary, is very melodic and keeps up with the rest of the album in heaviness, but sounding slightly generic compared to the other songs, with the piercing guitars by Ash and Matt being its best element, whereas the hellish outro Execration Divine, showcasing the Phantom of the Opera-inspired organ by Brian Boston and the demonic guitar lines by Ash and Matt, puts an end to this lesson in Death Metal.

If you’re not yet familiar with the works and projects by each of the five Death Metal war dogs behind Shed the Skin, I suggest you go check their Facebook page, and in case you want to purchase this scorching gem of extreme music called Harrowing Faith simply visit the band’s BandCamp page or the Hells Headbangers Records’ BandCamp page. Wherever Mr. Tom Rojack is, I’m certain he’s truly honored with the final result that Kyle, Matt & Co. achieved with Shed the Skin, a tribute to his life and to all things Death Metal.

Best moments of the album: Harrowing Faith, Putrid and Pious and Warband Under the Baphomet.

Worst moments of the album: Innermost Sanctuary.

Released in 2016 Hells Headbangers Records

Track listing
1. Plasmic Flames 2:06
2. Daimonic Adytum 1:55
3. Harrowing Faith 3:10
4. Putrid and Pious 3:39
5. Unbound Revenant 4:05
6. Warband Under the Baphomet 2:01
7. CSUM 3:28
8. Alpha and Omega 4:44
9. Cambion 4:21
10. Inhuman Accretion 2:42
11. Innermost Sanctuary 4:04
12. Execration Divine 2:38

Band members
Ash Thomas – vocals, guitars
Matt Sorg – guitars
Ed Stephens – bass
Brian Boston – keyboards
Kyle Severn – drums

Album Review – Dystehist / Ad Divinvs Malvm Caro Factvm Est EP (2016)

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And divine evil was made excellent music thanks to an up-and-coming Blackened Death Metal project hailing from the United States of America.

Rating5

dystehist-ad-divinvs-malvm-caro-factvm-est-coverFormed as a nameless experiment in 2011 by vocalist and writer Tzel (Tyranny Enthroned, Reject Christ), and after a few years of fluctuations, periodic hiatus, dissections and modifications, American Blackened Death Metal project Dystehist has finally reached its desired shape and form, culminating with the spawn of its debut EP this year entitled Ad Divinvs Malvm Caro Factvm Est, which would translate into English as “to divine evil made flesh”. Based on that name alone (and every time a band uses Latin to name their albums and songs) I guess you can have a very good idea of how devilish and heavy the music by Dystehist sounds, and if you’re a longtime fan of Extreme Metal you’ll surely have a good time enjoying the four visceral tracks found in this excellent album.

Hailing from the famous city of St. Louis, located in the state of Missouri, United States, Dystehist play what can be called “Luciferian Metal”, an artistic definition for their piercing blend of old school Black Metal with more contemporary Blackened Death Metal, or an evolution of extreme music that takes no prisoners and spreads vileness and blasphemy through each note played. Fans of Emperor, Behemoth and several other bands that are always pushing the boundaries of extreme music will instantly connect with Dystehist’s heaviness and thematic, not to mention the huge and auspicious room the band has for advancement taking into account this is just their first release ever despite already sounding like veterans.

The frist of the four songs, Avra Devolvat (or “aura unleashed”), brings forward the aggressiveness of Death Metal, in special the deep growls by Tzel, with the demonic approach of Black Metal, resulting in a well-balanced devastation perfect for slamming into the pit. In addition, its bestial but very technical drumming, together with the powerful performance by Cin with his guitar riffs and solos, ends up boosting the overall malignancy of the song. In Extasim Metv (“in the ecstasy of fear”) builds an instant bridge from the previous tune, with their blackened music growing in malice and profanity while Tzel gets extremely hostile, taking his growls to a deeper hellish level. Yet again, we witness a precise combination of technical Death Metal with the obscure sounding of Black Metal.

dystehist_logoAn ominous intro grows into an assault of Death Metal in Latria Vesani (“worship madness”), where it’s interesting to see the progressive elements added to the music, especially to drums, and when all instruments accelerate and get heavier the band reaches their most impactful sonority. Put differently, this is an amazing ode to darkness, or an excellent Extreme Metal composition full of breaks and variations for the delectation of all types of death and black metallers. Their last blast of Blackened Death Metal comes in the form of Mortvis Pax Ere (Avte Conqviescit), or “the peace of the dead (has been silenced)”, showcasing Tzel and Cin in total demonic sync, with Tzel’s desperate gnarls being effectively complemented by Cin’s demented guitar lines and the sharp bass lines by Ethom. Throughout the song’s almost nine minutes of hatred and despair, drums are played at times at the speed of light, alternating with more rhythmic beats and, consequently, generating an amazing and demolishing result in the end.

The devilish music by Dystheist can be better appreciated at their official Facebook page, and Ad Divinvs Malvm Caro Factvm Est can be purchased at their BandCamp page or at the Sepulchral Silence Records’ BandCamp page. It looks like the divine evil proposed by Dystehist was not only made flesh, but also excellent Blackened Death Metal music, and I can’t wait to see what Tzel and his horde will unleash upon humanity when their first full-length opus becomes a demonic reality.

Best moments of the album: Latria Vesani.

Worst moments of the album: None.

Released in 2016 Sepulchral Silence Records

Track listing 
1. Avra Devolvat 5:42
2. In Extasim Metv 5:47
3. Latria Vesani 7:15
4. Mortvis Pax Ere (Avte Conqviescit) 8:45

Band members
Tzel – vocals
Cin – lead and rhythm guitars, vocals
Ethom – bass (session)

Album Review – Porta Daemonium / Serpent of Chaos (2016)

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Let the ritual begin to the sound of the old school fusion of Black and Death Metal by this demonic band from Chile.

Porta Damonium_Serpent of ChaosPure evil, hatred and darkness are about to take over the world through the bloodthirsty music by Chilean Black/Death Metal horde Porta Daemonium, who are releasing their debut full-length opus titled Serpent of Chaos, a devastating album comprised of eight cavernous compositions tailored for fans of Immolation, Incantation, Angel Corpse and many other renowned spawners of dark and apocalyptic Death Metal. And if you survive the 27 minutes of bestial growls, demonic riffs and two-fisted beats that envenom the entire album, you’ll be allowed to cross the gates of the netherworld and join this hellish band on their path to eternal damnation.

Hailing from the city of Santiago, the amazing capital of the Republic of Chile, Porta Daemonium started their mischievous career almost 20 years ago, more specifically in the year of 1998, when they were still called Porta Salomoniis. However, due to undisclosed reasons, the project took almost two decades to really take off, having released only a few rehearsal demos and promos through the years (most of them after changing their name in 2011 to Porta Daemonium) until their disfigured progeny Serpent of Chaos finally reached its ultimate form earlier this year. As already mentioned, Serpent of Chaos is a tribute to the true essence of Death Metal, a straightforward and extremely raw album that proves  to the unbelievers how powerful this obscure genre still sounds even after decades being almost unchanged, surviving to all new trends and transformations in music.

First originated in Pagan Europe as an invocation during rituals to summon Choronzon and to activate the eleven dark angels of the broken pentagram, Zazas Zazas Nasatanada Zazas (or “Open, Open, Gates of Hell Open” in English) is a hellish atmospheric intro perfect for the massacre that’s about to come, the ungodly Via Sinistra, where the obscurity of Black Metal and the characteristic deep growling of Death Metal are enhanced by its blackened lyrics (“Glory to the tunnels forgotten, A timeless trails Apofis / Where whisper in the dark. The voices on the other side. / In the realms of Lilith, Under the Tree of Knowledge / Celebrating Via Sinistra.”), not to mention all the destruction generated by drummer Ocultavio while at the same time guitarist Ignigarak fires forbidden riffs from his blasphemous instrument.

After that brutal start, lead singer Avitchi and his horde of chaos bring forth another bestial composition named The Blood of the Dark Madness, a song not recommended for the lighthearted. Quite the contrary, it will definitely darken your thoughts and soul, giving you the chills if you’re a big fan of the early days of Cannibal Corpse and Morbid Angel. And their demonic onslaught goes on with more visceral barks by Avitchi penetrating our ears in To the Left of God, a truly heavy Death Metal chant with a potent Black Metal vibe led by the blast beast by Ocultavio; followed by A Las Primordiales Serpientes del Caos, the only song in Spanish and, in my opinion, the most awesome of all. Although I doubt you’ll be able to recognize any of the words almost vomited by Avitchi even if you speak fluent Spanish, you can still enjoy the amazing job done by Ignigarak with his flammable guitar riffs and solos, as well as the complete anarchy blasted by the whole band to conclude this vile chant.

Porta Daemonium_1Bassist Necroterror and drummer Ocultavio craft a Doom Metal ambience that ignites the most obscure of all songs, the slower and more rhythmic The Apep’s Chaotic Dreams, an interesting variation of the band’s traditional havoc perfect for banging your head nonstop during their live performances, whereas the title-track Porta Daemonium lives up to the tradition of evil and putrid Death Metal, in special its wicked lyrics (“Practice the black tradition, Of walking reigning between the Qliphoths / And leave a key for us, to cross to another side / We will Open the portals to the unknown / In the name of the eleven Ancient Ones”). Moreover, the low-tuned guttural vocals, the drums at the speed of light and the epicness added to its second half help elevate it to one of the top moments of the album without a shadow of a doubt. The sharper guitar lines and cleaner sonority found in the last track of Serpent of Chaos, Under the Sigils of the Fallen Angels, turn it into perhaps the most Black Metal of all, an infernal composition with highlights to the excellent guitar solos by Ignigarak, and when it’s over you’ll be at long last fully consumed by darkness.

Opening the gates of hell and unleashing the Stygian music by Porta Daemonium upon humanity is easier than reciting a satanic mantra. All you have to do is like their Facebook page and purchase your copy of Serpent of Chaos at their BandCamp page. Let the ritual begin to the sound of the old school demonic fusion of Black and Death Metal by this excellent band from Chile, and let’s hope these talented musicians release many more brutal albums like Serpent of Chaos in the coming years for the delight of all fans of extreme music. Zazas Zazas Nasatanada Zazas!

Best moments of the album: The Blood of the Dark Madness, A Las Primordiales Serpientes del Caos and Porta Daemonium.

Worst moments of the album: None.

Released in 2016 Iron, Blood & Death Corporation

Track listing
1. Zazas Zazas Nasatanada Zazas 3:08
2. Via Sinistra 3:24
3. The Blood of the Dark Madness 3:28
4. To the Left of God 3:14
5. A Las Primordiales Serpientes del Caos 3:44
6. The Apep’s Chaotic Dreams 2:56
7. Porta Daemonium 4:20
8. Under the Sigils of the Fallen Angels 3:18

Band members
Avitchi – vocals
Ignigarak – guitars
Necroterror – bass
Ocultavio – drums

Album Review – Denominate / Those Who Beheld The End (2016)

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Behold the ascension of an awesome band from Finland that adds a lot of progressiveness to their Death Metal without losing the genre’s core viciousness.

Those_Who_Beheld_the_End_Cover640It’s not a secret to anyone that Finland always delivers when the music in question is Melodic Death Metal. However, the Land of a Thousand Lakes now offers a more brutal and old school version of the genre the likes of Death and Carcass thanks to Progressive/Technical Death Metal band Denominte. This powerful five-piece act has just released their debut full-length album entitled Those Who Beheld The End, experimenting with melody and progressiveness while at the same time keeping the heaviness and aggression of Death Metal flowing from each of the album’s seven demolishing compositions.

Formed in 2009 in the city of Oulu under the name Encrypted and having released their debut EP named Realms of Confusion in 2014, the band decided to change their name to Denominate in 2015 (with no changes to their lineup, though) as well as to increase their focus on the harmonious parts of their music instead of just pounding their instruments manically. As a result, in Those Who Beheld The End, recorded and mixed at a private studio in Oulu in two separate sessions due to their studio engineer’s personal projects (which ended up delaying the release date for some time), Denominate bring forward a strong balance of violence and melody that will please both fans of old school Death Metal and admirers of the more modern sounding of Melodic Death Metal.

As soon as you start listening to the opening track, In A Chasm Of Stone, you’ll be able to notice those core ingredients in their music due to the high level of intricacy found in their guitar lines. As aforementioned, they play a very technical version of Death Metal without losing the genre’s inner havoc, with the exceptional drummer Joni Määttä sounding like a machine gun and, consequently, bringing an additional layer of brutality to their music. Degradation is an old school chant led by the vicious growling by Ville Männikkö, and even with all the devastation going on you can still savor the progressiveness of the riffs and solos by guitarists Kimmo Raappana and Eetu Pylkkänen; whereas the heavier-than-hell bass lines by Tuomas Pesälä kick off the obscure song Penumbra, enhanced by the low-tuned gnarls by Ville and the unstoppable beast by Joni, guiding the listener to darkness. In other words, this is definitely the type of composition that will pave Denominate’s path to stardom in extreme music.

Promokuva_3The Demented Scholar of Abatos not only has an awesome name, but it’s also an extremely well-crafted composition where bass guitar and riffs generate the requested obscurity for Ville to keep growling and screaming. Moreover, this progressive song, less bestial and presenting more melodious lines, perfectly depicts the new concept proposed by the band, and as you’ll be able to notice while listening to it the final result is quite interesting. And following that stampede of progressiveness we have the 11-minute visceral hymn Torments of Silence, starting with a somber acoustic intro before darkness takes over the sonority and the band’s crushing Death Metal dominates your mind. Not only the sharp riffs by Kimmo and Eetu take the spotlight, but add to that the song’s precise tempo changes and the sonic impact of this excellent full-bodied composition increases considerably.

A very technical riffage together with blasting drums can only result in good music, which is the case in Apeirophobia (the fear of eternity), highly recommended for guitarists that love extreme music thanks to the job done by both Kimmo and Eetu, not to mention the song’s thoughtful and hellish lyrics (“Arising from a need, to achieve and repeat / tainted by fear to be doomed to predict / every action from here to eternity / linked to the past, past to the future / the ageless serpent ever devouring itself / the Styx ever-flowing, towards the source”). And lastly, walking through the realms of Melodic Death Metal we have Terrestrial Funeral, one final shot of progressiveness blended with endless pugnacity where the bass lines by Tuomas get even more complex than before, while Ville keeps screaming with anger in his heart until an excellent guitar solo concludes the song and the album.

In summary, the music found in Those Who Beheld The End might not be that very traditional form of Death Metal that stormed the world decades ago, but it maintains the vicious essence of those golden years without sounding outdated or repetitive, pointing to a very promising future of the genre. With that said, behold the ascension of this awesomely heavy band by visiting their Facebook page, YouTube channel and SoundCloud, and grab your copy of Those Who Beheld The End (you can listen to the entire album HERE) at Record Shop X, at the Inverse Records’ webstore, at Denominate’s BandCamp page, on iTunes and several other locations.

Best moments of the album: In A Chasm Of Stone and Penumbra.

Worst moments of the album: None.

Released in 2016 Inverse Records

Track listing
1. In A Chasm Of Stone 5:08
2. Degradation 4:05
3. Penumbra 5:07
4. The Demented Scholar of Abatos 5:40
5. Torments of Silence 11:16
6. Apeirophobia 6:04
7. Terrestrial Funeral 5:49

Band members
Ville Männikkö – vocals
Kimmo Raappana – guitars
Eetu Pylkkänen – guitars
Tuomas Pesälä – bass
Joni Määttä – drums

Album Review – The Sound That Ends Creation / We Are The Burden (2016)

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Get ready for 21 minutes of brutal and technical Grindcore that will crush your spinal cord mercilessly.

Rating5

the sound that ends creation - we are the burdenIf someone asks you to mention a good one-man or one-woman band in Heavy Metal, the first names that will come to your mind probably play raw and obscure Black Metal. I would say that’s the case in nine out of ten projects, but obviously there are also many excellent multi-instrumentalists generating interesting material in other ramifications of heavy music such as Death and Doom Metal, for example. However, I believe this will be the first time you’ll be facing a one-man army blasting a trenchant fusion of Grindcore and Metalcore, two subgenres of heavy music where you’ll usually find regular bands comprised of at least three members. I’m talking about The Sound That Ends Creation, the indomitable creature generated inside the mind of American musician Chris Dearing in which he plays all of guitar and bass, as well as performing vocals and programming drums.

Formed in early 2016 in the city of Allen, Texas, in the United States, The Sound That Ends Creation blends all main styles found in extreme music, those being Death Metal, Black Metal, Mathcore and even Sludge and Stoner Metal, together with the project’s core essence formed of unrelenting Grindcore. The result of that brutal fusion can be seen in We Are The Burden, the debut album by The Sound That Ends Creation that will crush your spinal cord mercilessly in its 21 minutes of uncompromised devastation. Do not expect any sign of happiness or positivity emanating from the music, but only sheer savagery perfect for slamming into the pit as expected from any good Grindcore band.

Chris comes barking like a rabid dog in the opening track, a two-minute technical Grindcore tune named The Complex, also blasting the first wave of heavy riffs and violent beats in We Are The Burden. Moreover, drums sound amazingly organic despite being programmed, which is also the case in Burn the Trees, Burn the Bark, a diabolical mix of Grindcore and Black Metal, with its guitar lines being as sharp as the Death Metal-inspired growls by Chris. It doesn’t matter if the music gets faster than a bullet or as sluggish and somber as traditional Doom Metal, the entire song kicks fuckin’ ass. And the distorted mind of Chris provides the listener another two-minute havoc overflowing anger and hatred entitled A Cyclical Dawn, with highlights to all its tempo changes, which in my opinion means a lot considering the fact this is a relatively short composition.

TSTECLOGOThe Fires Are Growing trespasses the boundaries of heaviness, almost feeling like pure old school Death Metal at times while also sounding extremely progressive, flowing to a lancinating ending before the most intricate composition of the album, Machinations Of Progress, brings forth chaos and harmony at the same time. Highly recommended for fans of complexity and fury in music the likes of old school Carcass, this is the perfect example of how our lone wolf is capable of sounding like many well-established Technical Death Metal bands even being by himself and having no support from any record label. And how about an atmospheric break titled Interlude before Chris’ onslaught returns? You better take that time off to breathe, because what he delivers in A Hollow Pine Box is simply awesome. Not only guitars are superb (as well as all rhythmic beats and breaks), but there’s also room for hints of Pantera and the low-tuned sonority of Stoner Metal, enhancing the song’s impact on the listener.

If you’re still alive after such level of devastation, there’s still more madness in the form of music for you. Pounding his guitar and bass, Chris offers more high-quality Death Metal and Grindcore in less than two minutes titled Bottom Feeders, followed by The Open Eye, where the high-pitched growling by Chris together with his deeper guttural brings more flavor to the overall result. And closing the album with a beautiful message about how cruel and heartless we can all be, Chris presents the extremely technical A Portrait Of Inhumanity, a brutal Death Metal assault with progressive notes where Chris has another visceral performance on vocals.

After listening to such an inspiring album, I suggest you all go get in touch with Chris and his electrified The Sound That Ends Creation at the project’s Facebook page, Twitter and YouTube channel, and if you love the demolishing sound of raw and technical Grindcore you can purchase We Are The Burden at The Sound That Ends Creation’s BandCamp page. Chris’ 21 minutes of ruthless and virulent music are definitely worth the investment, and by buying the album you will also help this talented artist in perpetrating the awesomeness and energy of the independent scene of extreme music.

Best moments of the album: Burn the Trees, Burn the Bark, The Fires Are Growing and A Hollow Pine Box.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. The Complex 2:06
2. Burn the Trees, Burn the Bark 2:18
3. A Cyclical Dawn 2:24
4. The Fires Are Growing 2:08
5. Machinations Of Progress 2:10
6. Interlude 1:13
7. A Hollow Pine Box 2:07
8. Bottom Feeders 1:38
9. The Open Eye 1:59
10. A Portrait Of Inhumanity 3:14

Band members
Chris Dearing – vocals, all instruments

Album Review – ThrOes / This Viper Womb (2016)

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After a few years in the making, the Tasmanian devil Trent Griggs and his henchmen finally bring to life over one hour of unrelenting flesh-eating Dissident Metal not recommended for the faint-hearted.

Rating4

THROES_TVW_COVERWhat I’m about to say might sound a bit cliché, but based on the aggressive and defiant nature of the music found in This Viper Womb, the brand new album by Dissident Metal act ThrOes, I believe we should start calling this awesome band from Hobart, the capital and most populous city of of the Australian island state of Tasmania as the “Tasmanian Devils of Extreme Metal”. Tasmanian devils are not only hostile carnivores, but also extremely asocial and neither demonstrate nor respond to affection, behavioral attitudes that match perfectly with the vicious vocal attacks, savage guitar riffs, crushing drums and even the idiosyncratic sounds of an instrument called EBow found throughout the entire album. In other words, ThrOes are unleashing a wild beast upon humanity, and it seems they’re not worried at all about the noxious effects of their music on the human mind.

Conceived by multi-instrumentalist Trent Griggs in December 2003 and having released a four-song promotional demo titled The Drowning Rituals in 2005, this interesting Avant-garde Black Metal one-man project has been going through a slow and steady process of evolution and materialization, impacted by several factors such as Trent’s perfectionism (a good element in this case, by the way), the distance between Trent and the other musicians who helped him in This Viper Womb, and also his time off in 2015 to focus on the birth of his first son Dorian. Now in 2016 it’s time for Trent, together with Australian vocalist James Ludbrook (Damaged, Terrorust) and the bestial American drummer Kevin Talley (Chimaira, Suffocation, Dying Fetus, Six Feet Under, DevilDriver), to envenom the world with the uproar caused by the ten distinct compositions from This Viper Womb.

As soon as you hit play and the opening track Permanent Midnight starts, you’ll face the spoken words by Terence Mckenna taken from the lecture “Culture And Ideology Are Not Your Friends”, presented at the Whole Life Expo in Denver in April 1999, just to show you how unconventional ThrOes are. Thus, it doesn’t take long for the atmosphere to be filled by the sick screams by the unstoppable Trent, sounding like a heavier version of the iconic Mike Patton, with all instrumental pieces being obscure, violent and reverberating, not to mention the song’s lyrics depicting the torments of a disturbed mind (“Holes for filling / With drink and smoke and coke and dope / and crack and smack, xanax, prozac, / panic attacks, terror attacks / It’s a head shrinker’s racket but they’re kidding no-one, we are drowning in this”). This is one of the craziest types of music you’ll find anywhere thanks to our Tasmanian friends, and that madness goes on in Shock to the Guts, another perfect example of what Dissident Metal means. Kevin simply kicks ass with his precision in this innovative fusion of Black, Death, Industrial, Doom and Progressive Metal, piercing your ears while the guitar solos bring some serenity amidst sheer rebelliousness.

The sinister Dead Lights already starts with Trent growling like a demon, with the additional vocals by James Ludbrook increasing even more the pandemonium generated and the bass lines by Trent adding a lot of groove to the music. Now you better get ready for eight minutes of distorted passages and desperate harsh vocal lines in Conscience Makes Cowards (I couldn’t agree more with the name of the song), which sometimes gets to such a high level of progressiveness you might get lost in time and space until Trent calls you back to reality with his hellish screams; followed by Nothing Left for the Vultures, an explosion of sharp growls and metallic riffs by Trent accompanied by the beyond complex drumming by Kevin.

throesCutting guitars and the deranged vocal duo Trent and James are the main ingredients in the extremely heavy Nowhere Else, a unique composition that leans towards Progressive Black Metal, with its second half being a descend into the underworld so disturbing it is until it finally reaches its hopeless conclusion. The eccentric title-track This Viper Womb, which emanates progressiveness and obscurity, is a funereal ode to dementia with sluggish beats and bizarre sounds in the background while insanity keeps growing and filling the song’s atmosphere, and ThrOes bring forward more Extreme Metal to you in Lavish the Anguish, full of distortions and focusing more on instrumental pieces in the first half before Trent and James begin their vocal onrush, boosting the song’s ferocity.

If you survived ThrOes’ merciless strike of extreme music until this point of the album, their coup de grâce comes in the form of Feed It, a furious Black Metal-inspired chant showcasing harmony and despair mixed in the riffs and anguished vociferations by Trent. Moreover, I guess I don’t need to say how amazing the drums by Kevin sound once again in this boundless turmoil of Dissident Metal, right? And what better way to end such a distinguished amalgamation of crazy emotions and sounds than with an eerie instrumental outro that goes on for over five minutes? That’s what Trent offers us all in D.N.A. Corruption before returning to his obscure lair in Tasmania.

The exotic and blackened world of ThrOes can be better appreciated through their Facebook page, YouTube channel (where you can listen to the whole album with lyrics for every song), SoundCloud and official blog, and you can grab your copy of This Viper Womb at the Aesthetic Death Records’ webshop. In This Viper Womb, the Tasmanian devil Trent and his henchmen bring forth over one hour of unrelenting flesh-eating Extreme Metal not recommended for the faint-hearted, finally putting the vastly wild and mysterious Tasmania on the map of heavy music for the total delight of fans all over the world who are always searching for this type of fresh and innovative band.

Best moments of the album: Permanent Midnight, Dead Lights and Feed It.

Worst moments of the album: Conscience Makes Cowards.

Released in 2016 Aesthetic Death Records

Track listing
1. Permanent Midnight 4:54
2. Shock to the Guts 7:16
3. Dead Lights 6:41
4. Conscience Makes Cowards 8:29
5. Nothing Left for the Vultures 8:41
6. Nowhere Else 6:52
7. This Viper Womb 6:02
8. Lavish the Anguish 5:15
9. Feed It 6:31
10. D.N.A. Corruption 6:00

Band members
Trent Griggs – vocals, guitars, bass, ebow
James Ludbrook – additional vocals
Kevin Talley – drums (session)

Album Review – Grotesque Ceremonium / Demonic Inquisition (2016)

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Call it Torturing Metal, Inquisitor Metal or simply old school Death Metal, the destructive music by this one man-army from Turkey will inflict some good pain on your body and soul.

Rating5

153-1Before starting reading this review, go down to the very end of it and take a good listen at the brutal devastation called “Burned At The Stake” by Turkish Death Metal one-man army Grotesque Ceremonium. Are you done listening to it? Good, because that will make it a lot easier for you to understand what an “unholy old school Death Metal band influenced by early 90’s dark, putrid evil” is, also setting the tone for every single song in Demonic Inquisition, the debut full-length album by this promising project led by the multitalented musician Batu Çetin.

Formed in 2014 in Ankara, Turkey, and having released a debut EP entitled Blasphemous Goat Observance that same year, Grotesque Ceremonium return in Demonic Inquisition with a concept album about the Dark Ages and the Medieval Inquisition, where all punishments and inquisition methods were performed by demons and Baphomet’s evil army against all believers of God. Singing about witches, witchcraft, demonic punishments and tortures in the depths of hell (the satanic temple of Baphomet), Mr. Batu Çetin will take you on a tormenting journey accompanied by the sound of his old school extreme music, leaving your agonizing soul completely disoriented and desolated. What else do you need in good Death Metal music, right?

Putrid growls and snarls permeate the air in Defiled Spirits Of Unholy Torments, where Batu displays a very good control of all instruments, in special his obscure riffs and drums like what we see in bands such as Cannibal Corpse and Morbid Angel, therefore sounding as Death Metal as possible. The title-track Demonic Inquisition builds a direct link with the opening track, enhanced by its profane vociferations and a hellish ambience. By growling deeper and deeper, Batu takes us to the hideous pits of Medieval Inquisition in a little over six minutes or torturing passages and pure Death Metal, exactly the way it’s supposed to sound.

In Burned At The Stake, which is obviously about one of the most heartless forms of torture, Batu translates the unbearable pain caused by fire into brutality with his guitar lines and rhythmic drumming, whereas in Malefizhaus & Hexengefangnis, the witch prisons built during the Bamberg Witch Trials with a capacity of 30 to 40 prisoners each, our one-man army once again provides his vision of such disgusting event through his old school musicality, with highlights to his satanic riffs and nefarious growling. If you feel your head burning after all the darkness spilled by Grotesque Ceremonium so far, get ready for more aggressiveness in Barbaric Apostasy, where despite adding hints of Blackened Doom to his beats, Batu never deviates from the foundations of Death Metal. Put differently, simply bang your fuckin’ heads to this amazing feast of extreme music until your brain detaches from your skull.

gro-bandAgonized Screams Of The Damned might be faster than the previous songs, but it’s still sluggish and extremely heavy, which obviously turns it into one of the most devastating songs of the album (if not the most). Moreover, Batu keeps roaring his fiendish gnarls and delivering his very traditional guitar lines, and pay attention to how vocals and riffs follow the exact same pattern during the entire song, showing how methodical this musician is. Following a similar sonority, we are embraced by total fuckin’ darkness in a disquieting composition entitled In The Cauldrons Of Hell, which blends the heaviness of old school Death Metal with the funereal beats from Doom Metal and Blackened Doom.

The last original track in Demonic Inquisition, named Crushing Morbid Death, is sheer Death Metal with no extra ingredients or any type of shenanigans: it’s simply Batu blasting his wicked growls, riffs and drumming in three minutes of Stygian music. And lastly, the cover version for Profanation, by old school American Death Metal band Incantation, lives up to the original version from 1992, an amazing tribute to one of our death metaller’s main influences with highlights to its “lovable” lyrics (“Pentagram is hailed in hell / Star of death brings infinite life / Enter the circle and desecrate / Devours the soul, embalminate the body…”). Not only that, keep in mind Batu is not a full-bodied band like Incantation, but just one single person, yet again showcasing his refined abilities as a musician.

This impactful display of putrescent Death Metal, available as a jewel box CD limited to 500 copies (including an 8-page booklet) or as a digital download, can be purchased at the band’s BandCamp page, at the Satanath Records’ BandCamp page and webstore, or at Discogs. Perhaps we should say Grotesque Ceremonium, the disfigured child created by the mind of Mr. Batu Çetin, is a forbidding form of Death Metal called “Torturing Metal” or maybe even “Inquisitor Metal” due to its vile nature. A good epitome of what Batu is capable of generating in music, and an excellent alternative for any fas avid for the heaviest form of Death Metal you can think of.

Best moments of the album: Malefizhaus & Hexengefangnis and Agonized Screams Of The Damned.

Worst moments of the album: None.

Released in 2016 Satanath Records/More Hate Productions

Track listing
1. Defiled Spirits Of Unholy Torments 4:52
2. Demonic Inquisition 6:28
3. Burned At The Stake 3:08
4. Malefizhaus & Hexengefangnis 5:24
5. Barbaric Apostasy 5:49
6. Agonized Screams Of The Damned 3:53
7. In The Cauldrons Of Hell 4:47
8. Crushing Morbid Death 2:53
9. Profanation (Incantation cover) 5:04

Band members
Batu Çetin – vocals, all instruments

Album Review – Winterhymn / Blood & Shadow (2016)

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If your fearless heart claims for top-notch Epic Folk Metal, you’ll definitely enjoy this excellent compilation of songs perfect for your mead-drinking and mud-fighting parties.

Rating4

Blood&Shadow_FrontAlthough I couldn’t see Pagan/Folk Metal squad Winterhymn kicking ass live during Paganfest America Part V here in Toronto in 2014 due to traffic issues (as you can read HERE), I went after their music to get to know more about this American sextet, and let me tell you I was impressed with the energy, passion and creativity flowing from their symphonic and progressive compositions. With that said, I guess I don’t need to mention how excited I got when I received their brand new album for review, the melodious Blood & Shadow, right?

Since their inception in 2009, these folk metallers from Cincinnati, Ohio have been bringing the epicness of Celtic and Scandinavian Folk sounds to the United States, starting with their 2011 debut album Songs for the Slain until this year’s Blood & Shadow, also sharing the stage with renowned names like Eluveitie, Turisas, Chthonic, Arkona and many others. Featuring a beautiful and sanguinary artwork by Irish artist Vasilis Zikos, reflecting a scene from Winterhymn’s personal mythos (which the album is entirely based upon), Blood & Shadow is the soundtrack for drinking lots of mead and getting in random fights in the mud around a bonfire, all embraced by the undeniable talent of four brave lads and two stunning maidens.

Blending elements from Folk and Black Metal with hints of Power Metal, the melodic battle chant Blood of the Moon kicks off the album on a high note by bringing forward a very epic rhythm with highlights to the mesmerizing sound by violinist Umbriel, followed by Dream of Might, which leans towards pure Folk Metal. Albeit slower than the opening track, it still offers a high dosage of epicness, with the vocals by lead singer and guitarist Draug being perfectly complemented by the pounding drums by Valthrun and the once again incredible violin sounds by Umbriel. And the outstanding Pagan Metal composition Blood Burner is one of those songs tailored for fans of vicious battle chants who love to slam into the circle pit with a pint of cold beer in hand, with Draug and Varrik providing some exciting riffs and solos while Valthrun doesn’t let the amazing energy in the music go down.

Less violent and with a more progressive flow (but still very impactful), Legacy in Flames offers lyrics about the everyday life of a warrior nicely declaimed by Draug and bassist Alvadar (“We hunt our prey / With our last breath / By the sanguine moon / Through realms of death / So curse our name / You’ll be slaughtered all the same / Your legacy in flames”), with its last part being highly recommended for prancing around a fire pit with a pint of mead; whereas The Summoning displays a higher focus on Death Metal guttural vocals while instrumental is purely Folk Metal, a good balance that works well for a while but that unfortunately falls flat close to the end of it. Seafarer, a “Middle Earth-inspired song”, is a semi-acoustic ballad where violin and acoustic guitars generate the perfect atmosphere for Draug and his clean vocals, a soulful break from the band’s traditional battle hymns before Silenced by the Northern Winds gets back to brutal folk music with Draug leading the band’s onrush with his imposing growls, boosted by an excellent guitar solo to properly conclude this thrilling tune.

zGroup (22)In Shadow We Ride, another classic Folk Metal tune by Winterhymn, offers the listener slower beats and a fighting vibe, with its second half getting slightly heavier and, consequently, adding some extra flavor to the overall result (especially the potent bass lines by Alvadar). And in Huntsman, a serene intro morphs into brutal Pagan Metal, with its lyrics being everything a fan of this type of music loves (“They marched across the Iron Jaw with sword and helm / Seeking fabled woodland doorways to the twilight realms / The proudest of their captains are now hunted like boars / Their banners lie in gory pools upon the forest floor”). Moreover, all instruments sound potent and sharp, accrediting it to be one of the best songs of the new album for their live performances.

The final triad of Folk Metal in Blood & Shadow begins with the electrifying The Wolf’s Head, where Death and Power Metal elements arise. The song’s riffs and solos, together with the precise drumming by Valthrun, set the music on fire, with both guttural and clean vocals and the background sonority crafted by Umbriel and Exura on violin and keyboards, respectively, being absolutely outstanding. Into the Depths shows the whole band still has enough fuel for more Epic Pagan Metal, which after a solid intro gets heavier than almost everything from the album, not to mention the heroic singing by Draug. And lastly, Umbriel dictates the rhythm through her fast and melodious violin in The Chosen End, where all band members unite to provide the listener a full-bodied composition overflowing courage, passion and pain, a climatic ending for such a professional album.

If your courageous heart claims for top-notch Epic Folk Metal, go check Winterhymn’s Facebook page, as well as their YouTube channel and ReverbNation page, and don’t forget to buy their new album at the SoundAge Productions’ webstore, at the band’s BandCamp page, on iTunes or on Amazon. As aforementioned, there’s no better way to get drunk with mead and engage into mud-fighting than to the sound of such an amazing band like Winterhymn.

Best moments of the album: Blood Burner, Silenced by the Northern Winds and The Wolf’s Head.

Worst moments of the album: The Summoning.

Released in 2016 SoundAge Productions

Track listing
1. Blood of the Moon 3:48
2. Dream of Might 3:59
3. Blood Burner 3:19
4. Legacy in Flames 4:51
5. The Summoning 4:12
6. Seafarer 3:20
7. Silenced by the Northern Winds 6:53
8. In Shadow We Ride 4:47
9. Huntsman 5:23
10. The Wolf’s Head 3:39
11. Into the Depths 6:25
12. The Chosen End 4:31

Band members
Draug – vocals, lead guitar
Varrik – guitar
Alvadar – bass, backing vocals
Exura – keyboards
Umbriel – violin
Valthrun – drums

Album Review – Diabolizer / Apokalypse MCD (2016)

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A short and violent soundtrack to apocalypse delivered by a promising Death Metal band forged in the scorching fires of Turkey.

Rating4

diabolizer_apokalypse_coverThe already scorching fires of Kadıköy, a large cosmopolitan district of Istanbul, Turkey, are about to become even more incandescent due to the release of the excellent MCD entitled Apokalypse, forged in the pits of hell by a relentless Death Metal entity known as Diabolizer. Formed in 2012, this apocalyptic horde is comprised of members from Decaying Purity, Engulfed, Deggial and Godslaying Hellblast, among others, all prominent bands from the Turkish underground scene, with a sole purpose of worshiping destruction and punishing any living creature that dares to confront them with their decimating Death Metal.

This thrilling MCD contains five brand new compositions by the Diabolizer crew and two tracks from their very limited 2012 promo Shadows Of Impending Decimation, as a bonus to all true supporters of good old Death Metal. Not only that, in order to give a proper face to their music, Diabolizer recruited Polish illustrator Robert A. von Ritter (Armagh, Ragehammer) for the artwork and Polish artist Piotr Kurek of Mentalporn (Ulcer, Embrional) to take care of the design of the album, and the final result is obviously amazing, representing in images all the fury and melody found in Apokalypse.

Diabolizer come crushing with their loud and infernal Death Metal from the very first second of the opening track, Process the Void, with lead singer Abomination sounding like a raving bulldozer while drummer Aberrant delivers pure hatred through his drums. After listening to this amazing showcase of Extreme Metal made in Turkey, you’ll start wondering if there’s a way they could sound even more furious than this. Well, those Turkish metallers actually answer that question with the superb Death Metal chant Condemned to Burn in Hell, where they masterfully unleash hell with Mustafa and Ewan pounding their strings and Abomination going from the deepest guttural to enraged high-pitched screams in an solid and demonic way.

And there’s absolutely no sign of Diabolizer slowing down in Temple of Demonic Torments, where Aberrant keeps showing off his tremendous skills as a drummer whereas Mustafa and Ewan once again fire their aggressive but melodious riffs and solos, followed by Blood Aesthetics Dictated,  with Abomination commanding this sonic onslaught by bursting his lungs out. This is brutal Death Metal with highlights to its barbaric rhythm and relentless riffage, and get ready to feel your entire body soaring after banging like a wild beast to this demented tune.

diabolizerInspired by the musicality found in most albums by the iconic Cannibal Corpse and blended with elements of contemporary Black Metal, Hammer of Diabolization (such a beautiful name for a song) offers the listener some interesting tempo changes and lots of variations to its intensity, a breathe of “sulfuric” air that ends up providing a humongous extra dosage of electricity to the overall result. In regards to the two bonus songs taken from their 2012 promo, I bet you can imagine they are as demolishing as the new songs if you haven’t heard them yet. Beneath the Skullthrone and Descend into Desolation are both exceptional Death Metal songs, with the latter being more brutal and, therefore, more gripping.

In order to get in touch with Diabolizer, simply go check their Facebook page, and if you want to purchase a digital copy of Apokalypse you can find it for sale at their BandCamp page. In case you’re an old school metal fan and prefer a physical copy of the album, the MCD is available in two versions: a regular jewel case CD with an 8-page booklet and a limited edition (100 copies) of jewel case CD branded with serigraphy print and patch. If Diabolizer were capable of delivering such a high level of violence and hatred in only a few songs like what we can see in Apokalypse, I wonder what will happen when they finally release their first full-length album upon humanity. Maybe we’ll witness the ultimate “soundtrack to apocalypse”, don’t you think?

Best moments of the album: Condemned to Burn in Hell and Hammer of Diabolization.

Worst moments of the album: None.

Released in 2016 Third Eye Temple

Track listing
1. Process the Void 4:57
2. Condemned to Burn in Hell 2:58
3. Temple of Demonic Torments 4:34
4. Blood Aesthetics Dictated 4:37
5. Hammer of Diabolization 5:34

Shadows Of Impending Decimation (Promo 2012) bonus tracks
6. Beneath the Skullthrone 4:34
7. Descend into Desolation 4:57

Band members
Abomination – vocals
Mustafa – guitars
Ewan – guitars
Alican – bass
Aberrant – drums

Album Review – EvnaR / E.V.N.A.R. (2016)

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Two high-skilled Spanish brothers and their loyal Slovenian sledgehammer deliver a lesson in Blackened Death Metal, spreading darkness and destruction all over the world through their purely demonic and extremely refined technique.

cover artworkConceived in the minds of Spanish blood brothers R.M. (vocals) and J.M. (guitars) before founding Black/Death Metal band Between the Frost in 1993, and reignited in 2010 with the help of the impressive Slovenian drummer Robert Kovačič (Belphegor, Obduktion, Nothnegal), Blackened Death Metal act EvnaR is releasing their debut full-length opus, curiously entitled E.V.N.A.R., with the main objective of spreading darkness and destruction all over the world through their purely demonic and extremely refined technique, which will certainly please all fans of Behemoth, Belphegor and God Dethroned, among others.

The pitch-black artwork by Spanish artist César Valladares, whose pencils are also seen in the artworks for bands like Asphyx, Balmog and Graveyard, with the Reaper sitting on his throne waiting for the doomed to take unholy communion with him, not only represents the desire of the brothers to have a more primitive cover art based in the classic concept of the Grim Reaper, but it’s also a precise depiction of the unrelenting Blackened Death Metal discharged by this exciting band from Tarragona, Catalonia. As one final (but important) detail before all hell breaks loose, E.V.N.A.R. was recorded with a lot of patience and dedication for one year in different studios in Spain and Slovenia, being finally mastered by multi-instrumentalist and producer Tore Stjerna at Necromorbus Studio in Sweden, just to give you an idea of how crisp and ear-splitting the compositions by EvnaR sound.

The sharp and fast riffs by J.M. ignite the Blackened Death Metal extravaganza named Blasphemia Manifesta, a feast of extreme music from the netherworld where R.M. personifies the song’s demonic lyrics through his gruesome growling (“Darkness unites us beyond / All human will / We should be strong as the evil in whom believe / Denial praises / Utter darkness / This is our grim black cult, grim black cult of death”), while in Contemptus Vitæ we are able to witness why Robert was the perfect fit for the band, delivering complex and vicious beats and fills. Furthermore, the whole song leans towards pure Black Metal due to its frantic speed and to the hellish sound of the guitar by J.M., an extra hint of devastation to an already solid composition.

Then we have a fantastic composition from hell entitled Infinite Dark Hatred, which name epitomizes its sounding. There’s a gargantuan amount of hate and despair in R.M.’s vocals, barking like a rabid demon most of the time, whereas the intricacy found in the drumming by Robert gets closer to what we can normally find in more progressive heavy music. In Death In The Air (Stench Of The Slain), rumbling bass lines are quickly followed by more satanic riffs and bestial beats, getting even more blackened than the previous tracks and, consequently, resulting in a nonstop havoc highly recommended for fans of old school Black Metal with a more melodic approach. If you’re a true fan of guttural vocals, I bet you’ll be screaming the chorus together with R.M. every single time you listen to this amusing chant.

band photoKing Of The Grand Uruk has as its main ingredient its epic lyrics about a powerful entity of darkness (“Two parts god, one part man / King of the Grand Uruk / The envy of the gods / Carved his story in stone / Dreams and visions fighting both / Against demons and men”), which will surely grab the attention of any listener avid for a good storyline behind a sonic chaos. Musically speaking, it’s another potent blast of extreme music, where not a single space is left empty, and if you know Robert from his previous bands you can imagine how astonishing his drumming sounds in this savage composition. And embracing total fuckin’ darkness, the Spanish brothers and their loyal Slovenian sledgehammer deliver traditional Black Metal with the most poisonous elements from Death Metal in Torment of the Damned, showcasing an amazing combination of metallic riffs and rhythmic beats.

Conceived In Fire provides a quick break for us to recover our energies in the form of acoustic guitars and less devastating riffs, but that’s obviously for a very short while as their menacing sounding returns to torment our souls ruthlessly. Furthermore, the complexity displayed through the guitar lines by J.M. will put a smile in the face of any guitarist who loves extreme music or even the ones who have never had any contact with the furious uproar of Blackened Death Metal. And last but not least, it looks like EvnaR have absolutely no mercy on our souls based on the demented tune that closes the album, named My Cremation, where the unstoppable beats blasted by Robert complement the hurricane of darkness led by J.M., while R.M. keeps vociferating his putrid words vigorously.

Although it might have taken a considerable amount of time for EvnaR to become a reality in the world of extreme music, every second was worth the wait thanks to the brilliant job done by this power trio when recording E.V.N.A.R., and in order to know more about their blasphemous and cataclysmic music, go check their Facebook page and get your copy of E.V.N.A.R. at their BandCamp page, at The Vinyl Division’s BandCamp page, or at Discogs. I won’t be surprised if I see this album among several rankings listing the top releases of 2016, it doesn’t matter if it will be on a list built by an entity specialized in extreme music or not, so compelling the content of the entire album is.

Best moments of the album: Blasphemia Manifesta, Death In The Air (Stench Of The Slain) and My Cremation.

Worst moments of the album: None.

Released in 2016 Winter Demons/The Vinyl Division

Track listing
1. Blasphemia Manifesta 2:52
2. Contemptus Vitæ 3:49
3. Infinite Dark Hatred 4:36
4. Death In The Air (Stench Of The Slain) 3:25
5. King Of The Grand Uruk 3:10
6. Torment Of The Damned 4:44
7. Conceived In Fire 6:10
8. My Cremation 2:44

Band members
R.M. – vocals
J.M. – guitars
Robert Kovačič – drums