Album Review – Cabal / Magno Interitus (2022)

***Review by Luke Hayhurst, writer for Morbid Wings (Print) ZineVM Underground Fanzine and Doom-Metal.com***

This is my first experience of Danish band Cabal and I can only describe the sound they create as weaponized music. This their third album to date, entitled Magno Interitus and released through Nuclear Blast Records, is a sort of conglomeration of Blackened Deathcore, Djent, Dubstep, Doom and Hardcore.

What the band strive to achieve is a sort of gloomy, doom laden atmosphere, and this they achieve. Underneath that atmosphere however is something far more sinister. Whilst this kind of music isn’t my thing, I can certainly appreciate what has been pieced together here. So instead of banging on about what bands this reminds me of, (None, I have very little knowledge of this style) I’ll instead try to describe how this album makes me feel and what it brings to mind.

If I were a film maker engaged in creating a movie about two warring factions, one a desperate bedraggled remnant of humanity and the other a sleek, mechanical army of robots, (Yes, I am aware I’m essentially talking about the later Terminator films) then this would be my soundtrack. For this album sounds like mechanized Armageddon, and its unstoppable unwavering post-industrial style that fuses the disjointed nature of Djent with a more scattergun Dubstep element, as well as hostile crushing Deathcore, would be the perfect fit for my soundtrack.

In my opinion, a band like Cabal defies genre boundaries. If a band can take someone like me who has no real appreciation for Deathcore and make me think about what I’m experiencing, then they have to be a very talented and creative band indeed. So whilst a true Deathcore fan would give this a higher grade, a novice to the style like me to give it a seven I think says even more about why you should listen to Magno Interitus.

Best moments of the album: The album ends very strongly with Exsanguination and Plague Bringer.

Worst moments of the album: Nothing to massively complain about.

Released in 2022 by Nuclear Blast Records

Track listing
1. If I Hang, Let Me Swing 3:14
2. Insidious 2:09
3. Magno Interitus 3:27
4. Existence Ensnared 3:25
5. Insatiable 3:26
6. Blod af Mit 4:17
7. Exit Wound 2:43
8. Violent Ends 2:41
9. Like Vultures 3:05
10. Exsanguination 3:20
11. Plague Bringer 3:45

Band members
Andreas Bjulver Paarup – vocals
Christian Hammer Mattesen – guitars
Chris Kreutzfeldt – guitars
Malthe Strøyer Sørensen – bass
Nikolaj Kaae Kirk – drums

Guest musicians
Simon Olsen – vocals on “Insidious”
Joe Bad – vocals on “Magno Interitus”
John Cxnnor – industrial noises on “Blod af Mit”

Links
Cabal Official Website | Facebook | Instagram | Linktree | Spotify | BandCamp | YouTube

Album Review – Culto Negro / La Noche Oscura del Alma (2022)

This Costa Rican horde will crush your senses with their debut opus, transforming the dark night of the soul into a first-class fusion of Black and Speed Metal.

Forged back in 2015 in the dark pits of Heredia, one of Costa Rica’s most historical cities, Black/Speed Metal horde Culto Negro (which by the way means “black cult” in English) has just unleashed upon humanity their debut full-length opus, beautifully titled La Noche Oscura del Alma, or “the dark night of the soul”, a sulfurous album of old school extreme music that exhales rage and adrenaline. Recorded by the band’s own guitarist Isak Arroyo at Orion Studios, mixed and mastered by Colin Marston at Menegroth Studios, and displaying a sick artwork by Nuno Zuki of Belial NecroArts (with additional artworks by Alan Corpse at Leprous Hands Arts), La Noche Oscura del Alma doesn’t have a single second of peace, offering our avid ears 39 minutes of a sonic Armageddon masterfully crafted by vocalist D.N., guitarists Esteban Sancho and Isak Arroyo, bassist AntiChristopher and drummer Vörago.

More than just a simple intro, Espectro Lunar (“lunar spectrum”) is already a bestial attack by Culto Negro where the riffage by Esteban and Isak is truly infernal, setting the stage for D.N. to kill in Desdoble (“unfold”), a fast and furious hybrid of Black and Thrash Metal that will please all fans of the genre bringing forward an amazing job done by Vörago on drums, keeping the music vibrant and evil from start to finish. Then it’s pedal to the metal as this Costa Rican party has no time to end to the sound of El Quinto Ángulo (“the fifth angle”), where D.N. makes his personal tribute to Hardcore and Punk Rock on vocals while the band’s guitar duo delivers sheer awesomeness through their riffs and solos, followed by Verso Adivinado (“guessed verse”), another frantic, demonic creation by the quintet where AntiChristopher’s bass punches add a touch of dementia to their scorching guitars, while Vörago hammers his drums in a true demented way. And Navajas, Cadenas y Espejos (“knives, chains and mirrors”) sounds like a hellish fusion of the music by Slayer, Motörhead and The Exploited, being therefore a fantastic option for slamming into the pit like there’s no tomorrow.

Get ready to be smashed like a bug by Culto Negro in the venomous Rojo Siniestro (“sinister red”), with D.N.’s vocals sounding more deranged than ever while Vörago keeps dictating the pace with his Punk Rock-infused beats; whereas in Caos o Cosmos (“chaos or cosmos”) the name of the song says it all, offering us all a chaotic sonority from the very first second with Esteban and Isak delivering pure thrashing riffs for our total delight. And such dynamic guitar duo revs up Culto Negro’s engines once again in Salvajes Destructores (“savage destroyers”), highly recommended for some nonstop headbanging and slamming into the pit; while Violencia Psicoactiva (“psychoactive violence”) is Black, Thrash and Speed Metal straight to your jugular, showcasing more of AntiChristopher and Vörago’s infernal kitchen. La Larga Marcha (“the long march”) can be considered the most infernal, brutal and caustic of all tracks where D.N. continues to vociferate like a rabid creature. Put differently, let’s all raise our horns to Culto Negro and their anti-religious extreme music. Last but not least, we have their cover version for Hermética’s Desterrando a los Oscurantistas (“banishing the obscurantists”), which original version can be enjoyed HERE, from Hermética’s 1989 self-titled debut album. It’s indeed an amazing rendition by those Costa Rican metallers, with AntiChristopher hammering his bass in great fashion until the very end.

If you believe you have what it takes to join the black cult ruled by such talented horde form Costa Rica, you can stream  La Noche Oscura del Alma in its entirety on YouTube and on Spotify, and of course purchase it from the Godz ov War Productions’ BandCamp page or webstore, as well as from the Violence Records’ BandCamp page. Culto Negro are also waiting for you on Facebook and on Instagram armed with the austere chants found in La Noche Oscura del Alma, showing us all Costa Rica is a metallic country as opposed to what most people think about it. They managed to transform the dark night of the soul into top-tier Extreme Metal in their debut effort, and may their music continue to darken the skies for many years to come.

Best moments of the album: El Quinto Ángulo, Navajas, Cadenas y Espejos and Salvajes Destructores.

Worst moments of the album: None.

Released in 2022 Godz ov War Productions/Mythrone Promotion/Violence Records

Track listing
1. Espectro Lunar (Intro) 1:53
2. Desdoble 2:51
3. El Quinto Ángulo 2:52
4. Verso Adivinado 3:29
5. Navajas, Cadenas y Espejos 3:38
6. Rojo Siniestro 3:57
7. Caos o Cosmos 4:02
8. Salvajes Destructores 3:43
9. Violencia Psicoactiva 4:29
10. La Larga Marcha 5:29
11. Desterrando a los Oscurantistas (Hermetica cover) 2:15

Band members
D.N. – vocals
Esteban Sancho – guitars
Isak Arroyo – guitars
AntiChristopher – bass
Vörago – drums

Interview – Konstantin Shepes (Lifetaker)

Lifetaker

***Interview by Luke Hayhurst, writer for Morbid Wings (Print) ZineVM Underground Fanzine and Doom-Metal.com***

Luke Hayhurst: Greetings Konstantin and to all of Lifetaker. How is life right now in Germany?

Konstantin Shepes (Lifetaker): Hey Luke, thanks for having us! Since we can not speak for every soul living in this country. Indeed; to us life seems quite bearable at the moment because we are stoked about our new record that came out on Friday!

LH: I won’t lie, until you messaged me about your new album I had not heard of Lifetaker. With that in mind, can you tell me about the genesis of the band? How you came into existence, and how you came to choose the provocative name, Lifetaker?

KS: Lifetaker was formed back in 2018, and we’ve known each other for years. However, we played in different bands up until this point. So, forming Lifetaker became a lucky twist of fate in a way. The band turned out to subjectively fulfill every aspect of being in a band that each member was missing at some point in the past. So, the genesis of Lifetaker lies in the fact that four dudes who share the same vision on art and musical direction happened by mere accident.

You are right! The name itself may appear kind of provocative but so does the music!

LH: You are about to unleash an absolute colossal panzer attack of a second album entitled ‘Der Letzte Raum’ which translates into English as The Last Room. What can you tell me about the concept behind the album name?

KS: We went with “Der letzte Raum” because we thought it’s a decent allegory for the word “crypt” and at the same time the title is not over-explaining things to the listener. On the other hand, it made sense to choose a German title since the songs are performed in German. This is an idea we finally decided to do on this record because it allows us to put lyrics to songs that the songs deserve. Overall, the record is not meant to follow a specific concept. Every song stands on its own.

LH: I’m intrigued by the artwork for the new album. Who designed the piece and what instructions did you give them? How happy are you with the final piece?

KS: The artwork for “Der letzte Raum” is an actual painting by the Russian artist Veronika Polonskaya. We loved it at first sight and worked things out so no instructions were needed.

LH: I mentioned in my review that I’m not massively well versed in the style you play. You combine the very best elements of Grind, Sludge and Hardcore. Which bands would you say are direct influences to the Lifetaker sound?

KS: To be honest, and by saying this I am really honest… We are not influenced by any band out there. We love music to the fullest, of course we do, and we listen to a lot of stuff out there for sure. But, over the years we figured out that being influenced by other artists leads to nothing but the past. We record all the time and besides the records we have already put out, there is an uncountable amount of b-sides on our hard drives that never made it on a record. What drives us is vaguely motivated by music. It is more likely that we let things happen naturally based on our experiences as artists, as musicians, as human beings…true to the motto: If it feels right, it is right. By saying this, I mean that there is not a lot of overthinking going on and we do not plan everything down to the last detail. When you think of a Lifetaker record, and everything that lies beyond, you can think of a car crash. Things happen when you do not expect them to happen!

LH: I saw on your social media that you describe yourself as an anti-fascist band. Do you consider yourself a politically influenced band and how does that channel into your work?

KS: To our understanding anti-facism, or identifying as an anti-facist band, means that you are embracing the future with a healthy mindset and respect for your environment. And the people you are surrounded by, no matter who they are and where they come from. Lifetaker is not meant to be a political band because we prefer the subject of art over the subject of politics. In my opinion, there is no such thing as political art. It is always art, or politics, never both. The moment you try to inject your political taste into art, you are a politician and not an artist. This is what propaganda means. As a band, we really don’t feel like betraying the potential of art because of propaganda that is based on nothing but personal taste. Overall, political views are never channeled into our work.

Album Review – Lifetaker / Der letzte Raum (2022)

LH: Have you had any dealing with bands of a fascist nature? How prevalent in Germany would you say National Socialist ideals are within the music scene?

KS: No, we never had to deal with artists or bands of fascist nature and never will. We do not deal with facism, we smash it!

Concerning National Socalist ideologies within the German music scene. I would say there are people who do not make a secret out of it and are proud to carry these ideals. And there are people who flirt with these ideals but would never admit it in public.

In both cases, the only thing we as a band can say is fuck them!

LH: Getting back to your music. You released your debut album ‘Night Intruder’ back in 2020. How do you feel your sound has progressed since your first album going into your second?

KS: The sound has progressed in a way that we have managed to let go and get rid of certain aspects that are not necessary. The overall statement of a song/record is based on how we have pictured it before recording. Compared to our debut, the new record is straight to the core madness! Both in sound and songwriting, you will find a more punk and noise inspired approach to it.

LH: You have released the new opus on a great looking LP through Black Omega Recordings, who also released your first album. How did this collaboration come about? Why did you decide to stay with the same label?

KS: John who runs Black Omega Recordings used to be the vocalist for a band that I am friends with. At the time, Lifetaker was looking for a label when it came to the release of Night Intruder. We asked John if he would be interested in releasing the record. Since John is a really cool guy, who shares the same views and beliefs, plus the fact that he obviously must have enjoyed the record, it came to the collaboration that lasts until today.

The fact that we stay with the same label is based on the principle that we only work with people who share the same vision and who are truly dedicated towards what they do. We like authenticity, that is why we go with Black Omega Recordings and Lower Class Kids Records.

Lifetaker

LH: Do you take much notice of your local music scene? Are there any bands local to you that you feel people should be paying more attention to?

KS: Sure, we always keep an eye open for what is going on right now! We would love to shout out our friends in Isocult. Check them out, they definitely deserve more attention. It is your way to go if you are into cold post/wavy electronic tunes!

LH: What are the upcoming plans for Lifetaker once the album is unleashed? Will you be touring the new album? How hard is touring right now in Germany, what with the current energy crisis?

KS: We have already started working on new material for future releases. Hopefully we’ll be able to properly tour the new album since COVID-19 made it nearly impossible to play live for the past two years. Furthermore, we hope that the energy crisis will not get us in too much trouble. We are constantly working on things so that we can do what we love most, play live! Let’s see what the future holds for us.

LH: That is all I have for you. Thanks again for taking the time to answer my questions. I shall leave the final words for you.

KS: All the best to you and everyone out there! Stay safe!

Links
Lifetaker Facebook | Instagram | Linktree | Spotify | BandCamp | YouTube

Album Review – Lifetaker / Der letzte Raum (2022)

***Review by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***

Prolific Grind/Hardcore/Sludge quartet Lifetaker have returned with a sophomoric full length album entitled Der Letzte Raum (“The Last Room”) which will see the light of day later this month on an impressive looking LP, put out via Black Omega Recordings.

If you are going to call yourself Lifetaker you damn sure best have a sound to match the statement, and these German chaos merchants go about proving their mettle over the course of fifteen short sharp bursts of violence incarnate. I’m not massively well versed in either Grindcore or Hardcore so I’ll instead spend my time telling you how the album sounds rather than trying to unpick the bands myriad influences.

And what it sounds like is what I imagine having your face forcibly dragged along a cobbled street at a hundred miles per hour might sound like. A violent uncontrollable maelstrom of bludgeoning beats, Buzzsaw riff-age and a vocal style from the gutters, spewing forth bile and spite at every available moment. And yet at times Lifetaker produces moments of pure unadulterated fist pumping madness such as the delightfully catchy Kehlbiss or the equally as fun sounding Kadaverstille which are surely destined to be pit favourites at any upcoming shows that the band grace.

An absolutely banger of an album from start to finish; chaotic and carnage filled, viciously spiteful and intoxicatingly gratifying. Like a Panzer tank belligerently bulldozing your house and making you ask for more! Plug this directly into my veins and leave me to it!

Released in 2022 Black Omega Recordings

Track listing
1. Bunkerjugend 1:33
2. Patrizidprotokoll 2:31
3. Fleischwolf 1:37
4. Strafisolator 1:11
5. Alpha Antichrist 1:02
6. Kehlbiss 1:05
7. Störfunk 0:49
8. Kadaverstille 1:25
9. Blutopfer 2:05
10. Gottgeburt 1:22
11. Madenvolk 0:55
12. Schlafparalyse 1:42
13. Tempelfaust 1:49
14. Vernichtungstanz 2:22
15. Gamma Mörser 2:15

Band members
Konstantin – vocals
Alex – guitars
Gerrit – bass
Nico – drums

Links
Lifetaker Facebook | Instagram | Linktree | Spotify | BandCamp | YouTube

Album Review – Gorotica / Morbid Menagerie (2022)

This repulsive, perverted and cannibalistic Australian-based troupe of questionable French origins offers in their debut opus a fulminating 22-song platter of Death Metal and Grindcore.

Shambling out from the dead blackened underbrush of Sydney, Australia’s backwoods comes a repulsive, perverted and cannibalistic troupe of questionable French origins, collectively known as Grindcore act Gorotica. Living as a reclusive hive for the past three years, the troglodytic trio formed of Jon Von Cannibale on vocals, Gaspard La Verge on the guitars and bass, and Raymonde Peste on drums have been honing their rusted blades and musical skills to now emerge under the Gorotica moniker and bring forth to the public their mission of death and cannibalism in auditory form, or in other words, their debut full-length album Morbid Menagerie. The album offers a 22-song platter of Death Metal and Grindcore with elements of Hardcore garnishing the meat and bones of the music, and with several guests lending their pipes to the chaos, most notably the talented Miller from Sydney grind stalwarts Black Rheno and Tobias from the well-known prog outfit Glass Ocean, presenting it as a highly recommended option for admirers of the goriest side of metal music.

Get ready for a pulverizing Grindcore feast titled At The Gates Of The Necropolis, the perfect welcome card by the band where Jon is bestial on vocals; whereas Gaspard’s metallic riffs and rumbling bass lines are accompanied by the classic drums by Raymonde in Fleshgrind, offering us all two minutes of savagery and heaviness. Born Unto Death is another brutal, venomous onrush by the trio, with Gaspard delivering sheer adrenaline through his Hardcore-infused riffs, not to mention the monstrous roars by Jon, while Teeth Removed With A Sledgehammer brings forward 33 seconds of pure dementia, speed and violence where Jon gets the help from Miller on vocals. Less aggressive and exhaling groove, it’s time for Raymonde to take the lead with his rhythmic beats and fills in The Necrophile, and back to their more infernal mode, Jon growls nonstop accompanied by the insane blast beats by Raymonde in Malevolent Insertion. Guest Tobias lends his demented, deep roars to the band in Corpsefucker, followed by Left To Bleed, starting with the low-tuned bass punches by Gaspard and evolving into a Grindcore extravaganza perfect for slamming into the circle pit. Things get even sharper and more thrilling in Knife Wound Gratification, with Gaspard stealing the spotlight with a maniacal string work while also presenting some welcome breaks and variations. In Graveyard Cannibal it becomes clear that they’re definitely a band that mastered the art of crafting sick tunes that last for less than a minute, and needless to say, Jon is insane on vocals, followed by Execution By Fire, slightly more melodic than its predecessors and sounding confusing at times.

One of the heaviest songs of the album, The Endless Urge, is Grindcore at its finest with all band members being on absolute fire until the very last second, while Ocular Impalement offers our ears one more round of dementia and gore in less than a minute; and their Doom Metal vein arises in Human Skin Drapery, a neck-breaking tune led by the sluggish and pounding drums by Raymonde. It’s time to slam into the pit one more time to the sound of Consuming The Flesh Of The Dead, with Jon bringing forth his trademark deep gnarls, followed by 12 seconds of pure insanity entitled Forced Cluster Headache, working as a “warmup” for Purging The Apocalypse, a fantastic, fast and furious Grindcore attack thanks to the superb job done by Raymonde on drums. The title-track Morbid Menagerie continues to smash everyone that crosses their path to pieces, not to mention guitars and bass by Gaspar couldn’t have sounded more metallic. Then guess what? We’re treated to 44 seconds of pure violence in Severed Head Pincushion, flowing into the dark and sinister Obsession With Mutilation, a good option to headbang in the name of Grindcore and Death Metal. And how about a minute of undisputed aggressiveness as their second to last breath of classic Grindcore? That’s what you’ll get in Desecrating The Remains Of A Virgin, before Bound To The Breaking Wheel closes the album exactly like it should, with no shenanigans, no artificial elements, just plain Grindcore by such skillful and enraged trio.

As already mentioned, Morbid Menagerie is indeed a demented platter of Death Metal and Grindcore by those three mysterious marauders that form the uncanny Gorotica, and you can already preorder such disturbing album from their own BandCamp page, and soon also stream it in full on Spotify. You can also start following Gorotica on Facebook and on Instagram for an overdose of gore and death on your daily routine, making your life a lot more fun to the sound of their bloodcurdling creations. In the end, it doesn’t really matter if the band members are French or Australian because the music found in Morbid Menagerie is awesome, showing the trio knows exactly what they’re doing and, consequently, offering us all another great option for enjoying some carnage inside the circle pit.

Best moments of the album: Fleshgrind, Born Unto Death, Knife Wound Gratification, The Endless Urge and Purging The Apocalypse.

Worst moments of the album: The Necrophile and Execution By Fire.

Released in 2022 Independent

Track listing
1. At The Gates Of The Necropolis 1:49
2. Fleshgrind 2:03
3. Born Unto Death 3:10
4. Teeth Removed With A Sledgehammer 0:33
5. The Necrophile 2:25
6. Malevolent Insertion 1:47
7. Corpsefucker 0:31
8. Left To Bleed 2:34
9. Knife Wound Gratification 2:08
10. Graveyard Cannibal 0:47
11. Execution By Fire 2:03
12. The Endless Urge 2:17
13. Ocular Impalement 0:44
14. Human Skin Drapery 3:09
15. Consuming The Flesh Of The Dead 1:39
16. Forced Cluster Headache 0:12
17. Purging The Apocalypse 1:11
18. Morbid Menagerie 2:13
19. Severed Head Pincushion 0:44
20. Obsession With Mutilation 1:55
21. Desecrating The Remains Of A Virgin 0:58
22. Bound To The Breaking Wheel 3:50

Band members
Jon Von Cannibale – vocals
Gaspard La Verge – guitars, bass
Raymonde Peste – drums

Guest musicians
Jean-Paul Lattouf – percussion
Miller – additional vocals on “Teeth Removed With A Sledgehammer” and “Severed Head Pincushion”
Tobias – additional vocals on “Corpsefucker”
Rasmus & Gaspard – additional vocals

Album Review – Municipal Waste / Electrified Brain (2022)

Richmond, Virginia’s most insane thrashing squad is back in action with a new album of 14 balls-to-the-wall tracks of ripping Thrash Metal at its finest.

In case you’re not yet acquainted, Richmond, Virginia-based Thrash Metal/Crossover squad Municipal Waste was formed back in 2001 and has been considered by many as the torchbearers for Thrash Metal for the last two decades. Now in 2022 it’s time for Tony Foresta on vocals, Ryan Waste and Nick Poulos on the guitars, Landphil on bass and Dave Witte on drums to kick some ass once again with their newborn opus, entitled Electrified Brain, highly recommended for admirers of the music by Suicidal Tendencies, Nuclear Assault and Toxic Holocaust, among others. Produced by Arthur Rizk and featuring an old school artwork by James Bousema, Electrified Brain will offer your thrashing ears 14 balls-to-the-wall tracks of ripping Thrash Metal at its finest infused with Hardcore and Punk Metal, inviting you to slam into the circle pit like a true metalhead this summer.

Sit down on the electric chair and get ready for the thrashing title-track Electrified Brain, where Tony roars manically supported by the frantic riffs and beats by his bandmates, and Ryan and Nick keep slashing their stringed axes mercilessly in Demoralizer, another classic Thrash Metal tune where Landphil and Dave also make the earth shake with their straightforward kitchen. It’s time to bang your head nonstop to the sound of Last Crawl, a beer drinking, hard hitting Thrash Metal composition where Tony sounds even more demented on vocals, followed by Grave Dive, reminding me of “Toxic Waltz” by Exodus and, therefore, inspiring us to “dance like a money” to the old school riffage by the band’s guitar duo. There’s no time to breathe as the circle pit keeps moving fast in The Bite, spearheaded by Dave’s frantic drumming and with guest vocalist Blaine Cook of The Accüsed adding his touch of insanity to their music, whereas in High Speed Steel the lyrics couldn’t have been more metal (“Born from iron / Strong as steel / Faster than all hell on wheels / Reaching speeds from the unknown / Racing to the terror zone”) while the music is simply awesome and insane. Then more of their incendiary riffs and blast beats are offered to our ears in Thermonuclear Protection, with Tony roaring and barking like there’s no tomorrow.

A jammin’ first half morphs into sheer adrenaline and violence in Blood Vessel / Boat Jail, where their Crossover vein pulses stronger than ever, whereas Crank the Heat is the perfect example of how Thrash Metal should be, which is fast, furious and absolutely fun, with Tony’s raspy screams being flawlessly supported by his bandmates’ backing vocals. Then putting the pedal to the metal it’s time to crush our skulls into the circle pit in Restless and Wicked, showcasing another amazing job done by Ryan and Nick on the guitars, while Ten Cent Beer Night makes me wonder where I could find beer that cheap. Anyway, musically speaking it’s more of their ass-kicking Thrash Metal with all backing vocals adding a Punk Rock-ish vibe to the overall result; and enhancing their animosity and speed the quintet offers us all Barreled Rage, with Landphil’s rumbling bass punching us hard in the head. In Putting on Errors the band needs less than two minutes to demolish everything and everyone that crosses their path, sounding bestial and infernal from start to finish in the name of Thrash Metal, and last but not least, be prepared for one final thrashing attack by Municipal Waste titled Paranormal Janitor, with Ryan and Nick being on fire with their wicked riffs and solos.

Having said all that, what are you waiting for to join Municipal Waste in their quest for Thrash Metal? You can start following them on Facebook and on Instagram for news, tour dates and other nice-to-know details about the band, subscribe to their YouTube channel for more of their rebellious music, and of course purchase your copy of the excellent Electrified Brain (which is by the way available for a full listen anytime you want on Spotify) by visiting the band’s own webstore or by clicking HERE. Your  metallic brain will certainly melt to the sound of the new album by those American rebels, and I’m saying that in the best way possible because, as you know, we’re all born to thrash until we drop dead, and the music by Municipal Waste is an awesome, more-than recommended soundtrack for that.

Best moments of the album: The Bite, High Speed Steel, Crank the Heat and Restless and Wicked.

Worst moments of the album: Blood Vessel / Boat Jail.

Released in 2022 Nuclear Blast

Track listing
1. Electrified Brain 2:45
2. Demoralizer 2:55
3. Last Crawl 2:28
4. Grave Dive 2:31
5. The Bite 1:37
6. High Speed Steel 2:31
7. Thermonuclear Protection 3:02
8. Blood Vessel / Boat Jail 1:55
9. Crank the Heat 2:42
10. Restless and Wicked 2:24
11. Ten Cent Beer Night 2:15
12. Barreled Rage 2:22
13. Putting on Errors 1:30
14. Paranormal Janitor 2:55

Band members
Tony Foresta – vocals
Ryan Waste – guitars, backing vocals
Nick Poulos – guitars
Landphil – bass, backing vocals
Dave Witte – drums

Guest musician
Blaine Cook – additional vocals on “The Bite”

Album Review – Ratos de Porão / Necropolítica (2022)

The iconic João Gordo and his crew show no mercy for the absolute disaster that’s the current Brazilian government, bringing to us all a true masterpiece of Punk Rock and Hardcore.

If you take a quick look at the current political, economic and environmental situation in Brazil, you’ll notice things are not going well. Quite the contrary, the whole situation is Brazil is beyond delicate and catastrophic, and that’s the main reason as to why São Paulo, Brazil-based Hardcore/Punk Rock veterans Ratos de Porão have just released the fantastic Necropolítica, or “necropolitics” in English, their thirteenth studio album and their first since the 2014 album Século Sinistro. Known for their rebelliousness and acid lyrics since their inception in the distant year of 1981, vocalist João Gordo, guitarist Jão, bassist Juninho and drummer Boka show absolutely no mercy for the nasty, disastrous government of Brazilian president Jair Bolsonaro throughout the entire album, dealing with topics such as the rising far-right movement in the country, the countless deaths during the Covid-19 pandemic, and the strong negative impact of the influence of the country’s evangelical church in all of the decisions taken by Bolsonaro and his horde of ignorants, all wrapped up by a sinister artwork designed by Rafael Gabrio, who intentionally made it very similar to Black Sabbath’s cult cover for Sabbath Bloody Sabbath, as personally requested by João Gordo himself.

The sound of a dying patient using a mechanical ventilator kick off the absolutely vicious Alerta Antifascista (“anti-fascist alert”), where Boka smashes his drums ruthlessly offering João Gordo exactly what he needs to vociferate the song’s austere lyrics, whereas Aglomeração (“agglomeration”) is a freakin’ awesome Punk Rock and Hardcore creation by the quartet where Jão is on absolute fire with his demented riffs, or in other words, simply slam into the circle pit and “pray for Jesus” to protect you in there (without a mask, of course). More melodic and dancing than its predecessors, Passa Pano Pra Elite (“cover up for the elite”) is an excellent option for their live performances where the bass jabs by Juninho complement Jão’s solos flawlessly, followed by the title-track Necropolítica (“necropolitics”), a fast and furious extravaganza that matches perfectly with the current actions of the Brazilian government, with João Gordo blasting his trademark roars nonstop. It’s almost like a new “national anthem” for the country, which can also be said about Guilhotinado em Cristo (“guillotined in Christ”), offering us all another round of their old school Punk Rock and Hardcore with Thrash and Death Metal elements while Boka once again hammers his drums like a beast.

The band once again adds hints of Rockabilly to their core sonority (and the final result is brilliant) in O Vira-Lata (“the mutt”), with Jão and Juninho being yet again in absolute sync with their stringed weapons while João Gordo sends all his “love” to Bolsonaro and his hideous family. G.D.O. actually means “gado”, the Portuguese word for “cattle” which is how the followers of Bolsonaro are called, and the music gets back to a more frantic, demented sonority while João Gordo talks about how harmful all fake news spread by those idiots can be to the society; followed by Bostanágua, or “bosta na água” (“shit in the water”), a play word with Bolsonaro’s name, a straightforward, in-your-face Hardcore tune where João Gordo keeps barking rabidly while Boka dictates the song’s electrifying pace. Entubado (“intubated”) is a song about the horrible situation that happened in the city of Manaus, in the middle of the Amazon, where due to a total lack of support from the government several people sadly died without oxygen during the peak of the Covid-19 pandemic, and the music is not only brutal but perfectly depicts all that despair; and lastly, Neonazi Gratiluz, with “gratiluz” being the combination of the words “gratitude” and “luz”, or “gratitude” and “light”, is a way to refer to the Brazilian white supremacist elite who believes they’re better than everyone else and who keep sending “good vibes” to everyone (when in fact they’re not). Needless to say, Jão slashes his guitar in great fashion accompanied by the classic beats by Boka throughout the entire song, culminating in the perfect conclusion to such meaningful album.

It doesn’t matter if you don’t understand a single word in Portuguese, Necropolítica is a must-listen for any fan of heavy music, and you can enjoy the album in full on Spotify, as well as show your total support to Ratos de Porão by following them on Facebook and on Instagram, and by purchasing their newborn beast from their own webstore or by clicking HERE. To be honest, based on the endless crimes committed by Bolsonaro and his henchmen and all the garbage he vomits everyday to the press, I think Ratos de Porão might need to record parts II, III, IV, and so on of Necropolítica, which despite being really sad news for Brazil as a country, it’s a good thing for the world of Punk Rock, Hardcore and Heavy Metal. Hopefully the evil Bolsonaro won’t be re-elected this year and Ratos de Porão can get back to their less obscure lyrics in their future albums, but we must all admit Necropolítica is a masterpiece of Brazilian rock music that will always remind us of the dark times Brazil is living right now.

Best moments of the album: Aglomeração, Necropolítica, O Vira-Lata and Neonazi Gratiluz.

Worst moments of the album: Absolutely none.

Released in 2022 Shinigami Records

Track listing
1. Alerta Antifascista 3:31
2. Aglomeração 2:29
3. Passa Pano Pra Elite 3:42
4. Necropolítica 2:32
5. Guilhotinado em Cristo 3:09
6. O Vira-Lata 3:39
7. G.D.O. 2:08
8. Bostanágua 2:08
9. Entubado 4:10
10. Neonazi Gratiluz 4:06

Band members
João Gordo – vocals
Jão – guitars
Juninho – bass
Boka – drums

Album Review – Anachronistic / 700 And 19 Ways Of Decay (2022)

Have fun with the Blackened Hardcore blasted by two ex-pats, centering around the vocalist’s life experiences and incorporating elements from his job into their sonic madness.

The product of two ex-pats, those being American vocalist and lyricist Matt Ramarge (currently living in South Korea) and Ukrainian multi-instrumentalist Umarlak (currently residing in Poland), joining forces to create something truly unique, a heavy Black Metal sound overlaid with Hardcore vocals, or Blackened Hardcore if you prefer, Anachronistic have just unleashed upon humanity their debut effort, entitled 700 And 19 Ways Of Decay, the first installment of a metal trilogy in the works by the duo. Produced by Anachronistic themselves, mixed by Umarlak, mastered by Andreas “Jonsson” Westholm at Dark Prod Studios, and displaying a gory artwork by Indonesian artist Adi Dechristianize, the album centers a lot around Matt’s life experiences and incorporates elements from his job (by the way, 700-19 is the actual contract paperwork for working in Korea as a US contractor), being recommended for fans of Blood For Blood, Hatebreed and Behemoth, just to name a few.

Thunders cracking work as an intro to Recall, a metallic Black Metal storm led by the violent beats by Umarlak who also delivers sheer hatred from his riffage while Matt growls and barks in the name of Hardcore; whereas Time To Drink is more rhythmic and deranged than the opening tune, with Umarlak doing a great job armed with his unstoppable guitar and low-tuned bass, therefore living up to the legacy of Black Metal and Hardcore and inviting us all to slam into the pit manically. The duo is on fire from the very first second in the massive, extreme music feast entitled Late Night Fundraising, where Matt’s inebriate, deep vocals add an extra layer of insanity to the overall result, and if you think they will slow down or soften their sound at a given point in the album you’re absolutely wrong, as Matt’s raw screams and the Black Metal avalanche crafted by Umarlak will decimate you in Festering Stench.

Let’s slam into the circle pit like there’s no tomorrow with Going To The Ball, a beyond truculent Black Metal tune infused with the most electrifying elements from Hardcore where Umarlak’s instrumental feels like a nuclear bomb so heavy and sharp it sounds, while in Eruption Of A Hork Filled Gut we face another round of their unfriendly sounds presenting hints of the Rock N’ Roll played by Motörhead, with Umarlak creating a puissant wall of sounds with his riffs and beats, supporting Matt and his enraged roars. Follow The Rules Or Die is just as noisy and dense as its predecessors with Matt doing a great job once again with his deep roars; the song loses its grip after a while, but it’s still very enjoyable if Blackened Hardcore is your cup of tea. And it’s time for one final Extreme Metal explosion in the form of Hatred For Work Causes Gout, with both Matt and Umarlak sounding possessed by a demonic entity, consequently enhancing the song’s impact and putting a visceral conclusion to the album.

“We tried to encapsulate a dark and raw merging of genres with this band. The vison behind Anachronistic initial trilogy LP release is to get people hooked on the concept and leave fans waiting for the next chapter to come out. Sonically and emotionally this album is really fun to listen to from a ‘bird’s eye viewpoint’. Once fans dig deeper into the song lyrics and album cover they will realize this is a true, hilarious story that will continue through two more releases, getting darker, heavier, nastier with each release. Even as a standalone release, 700 and 19 Ways of Decay will stand strong amongst fans of Black Metal and Hardcore,” commented the band about their newborn beast, which is by the way available for a full listen on YouTube and on Spotify. In addition, don’t forget to give the duo a shout on Instagram, and of course to purchase 700 And 19 Ways Of Decay from the band’s own BandCamp page, banging your head nonstop until the second chapter of the adventures of Matt Ramarge see the light of day in a not-so-distant future.

Best moments of the album: Time To Drink, Going To The Ball and Eruption Of A Hork Filled Gut.

Worst moments of the album: Follow The Rules Or Die.

Released in 2022 Independent

Track listing
1. Recall 4:48
2. Time To Drink 3:59
3. Late Night Fundraising 3:11
4. Festering Stench 4:20
5. Going To The Ball 3:33
6. Eruption Of A Hork Filled Gut 3:02
7. Follow The Rules Or Die 4:55
8. Hatred For Work Causes Gout 3:38

Band members
Matt Ramarge – vocals
Umarlak – all instruments

Album Review – Demiricous / III: Chaotic Lethal (2022)

An epic collection of tracks exploring a dark narrative of the barbaric and grotesque, marking the return into the battlefield by an old school Death and Thrash Metal horde from Indianapolis.

Rising from the depths of the abyss in Indianapolis, the state capital and most-populous city of the US state of Indiana, Death/Thrash Metal horde Demiricous is unleashing upon humanity their most monstrous record yet, entitled III: Chaotic Lethal, following an extended hiatus of 15 years since the release of their last album, Two (Poverty). An epic collection of tracks exploring a dark narrative of the barbaric and grotesque, the album presents to the listener a revived and restored sound by Nate Olp on vocals and bass, Ben Parrish and Scott Wilson on the guitars, and Dustin Boltjes on drums, as the band have evolved into their next chapter, delving into heavier instrumentation and sinister moods while releasing a plethora of hard-hitting sounds for the delight of admirers of extreme music.

The gates of the underworld are open wide in the opening tune Unconditional Hate, with Dustin smashing his drums with endless violence while Nate roars manically from start to finish in a lecture in modern-day Thrash Metal; and it’s time to slam into the circle pit to the blazing riffs by Ben and Scott in Terminal Future, living up to the legacy of Bay Area Thrash while its backing vocals provide a spot-on support to the visceral screams by Nate, all spiced up by Ben’s devilish solo. In Smoke Chaser we face nonstop adrenaline and action in the form of Thrash Metal where once again Dustin steals the spotlight with his classic, unstoppable beats, accompanied by the incendiary riffs by his bandmates, whereas The Follow is a hybrid of old school Thrash Metal with Crossover Thrash and Hardcore that will please all fans of speed and violence, with Ben and Scott setting fire to the atmosphere armed with their guitars.

There’s no time to breathe as the quartet keeps hammering our heads with their aggressiveness and rage in Fuck The Fire, perfect for breaking your neck headbanging while growling together with Nate, followed by the title-track Chaotic Lethal, bringing to our avid ears a dark and sinister atmosphere led by the doomed beats by Dustin, and that heaviness and obscurity goes on until the very last second. Then a cryptic intro morphs into the high-octane, demolishing Merciless Slut Cult, a no-shenanigans, in-your-face Thrash Metal onrush spearheaded by the visceral riffage by Ben and Scott, blending the best elements found in the music by Slayer, Anthrax and Suicidal Tendencies; while Choke is another rumbling creation by Demiricous presenting their trademark violence amidst tons of melody and dexterity, with Nate bursting his lungs roaring. And the band generates a somber ambience one last time in Faith Crime, evolving into a nine-minute thrashing behemoth where Dustin shows no mercy for his drums, not to mention how hellish and demented the growling by Nate sounds and feels.

Like a phoenix arising from the ashes, Demiricous are back in action with the fulminating III: Chaotic Lethal, highly recommended for thrash metallers from all over this doomed world who enjoy a balanced fusion of the past and present (and even future) of the genre. Hence, let’s show our support to the guys from Demiricous by following the band on Facebook and on Instagram, by streaming more of their pulverizing music on Spotify, and by purchasing a copy of their newborn beast from their own BandCamp page, as well as from the POST. Recordings’ webstore in CD or LP format, or from Apple Music. “It’s been 15 years since we’ve released a record. We are so unbelievably proud of this one, and this is the Demiricous record we’ve always wanted to make. Prepare yourselves. It’s a fucking monster,” commented the band, who won’t hopefully go into another hiatus in the nearby future, continuing to smash our senses with their Thrash Metal for many years to come.

Best moments of the album: Terminal Future, Merciless Slut Cult and Faith Crime.

Worst moments of the album: Chaotic Lethal.

Released in 2022 POST. Recordings

Track listing
1. Unconditional Hate 5:07
2. Terminal Future 3:50
3. Smoke Chaser 5:10
4. The Follow 4:05
5. Fuck The Fire 4:54
6. Chaotic Lethal 5:57
7. Merciless Slut Cult 3:36
8. Choke 3:59
9. Faith Crime 9:19

Band members
Nate Olp – vocals, bass
Ben Parrish – lead guitars
Scott Wilson – rhythm guitars
Dustin Boltjes – drums

Album Review – Rotten Casket / First Nail in the Casket EP (2022)

After a long time in peace and silence, this Dutch horde is ready to kill once again armed with a brand new EP of pulverizing Death Metal.

After a long time in peace and silence, the Dutch Death Metal collective that goes by the name of Rotten Casket is lifting the coffin lid and crawling back onto this planet to shed earthy rotten tunes onto mankind with their brand new EP First Nail in the Casket, following up on their 2015 EP’s Simply Rotten Death and Consumed by Filth. Recorded, mixed and mastered by Tom Meier, and displaying a raw, old school artwork by Roberto Toderico, First Nail in the Casket is not only a harbinger for the first full-length album by vocalist Martin van Drunen (Asphyx), guitarists Frank Bergesson and Yorck Segatz (Sodom), bassist Patrick van der Beek (Disabuse, Born Infected), and drummer Stefan “Husky” Hüskens (Asphyx), but also a statement that Rotten Casket are back on track again and ready to kill, paving a pulverizing path ahead of the band.

A demented roar by Martin ignites the Hardcore-infused Death Metal attack entitled Covid-119, with Frank and Yorck showing no mercy four our damned souls with their infernal riffs while Patrick and Stefan keep the atmosphere as dense and obscure as possible with their wicked kitchen. Then adding elements of D-Beast Crust to their already chaotic sonority it’s time for the quintet to pulverize us all in Caskets on Wheels, with their guitars breathing fire while Patrick continues to hammer his bass mercilessly, whereas Bonetomb Residents is another headbanger that will inspire you to slam into the pit while holding a cold beer in a display of traditional Death Metal with an European twist. Not only that, Martin’s raspy, anguished growls add an extra touch of insanity to the overall result for our vulgar delectation. Lastly, get ready for one final explosion of dementia and rage in the form of Death Metal in Coffin Birth, with Martin’s vociferations being in total sync with Frank and Yorck’s evil guitars, sounding evil and dirty from start to finish.

It’s extremely easy to enjoy First Nail in the Casket in its entirety and to show your support to the band by purchasing a copy of the album. Simply go to YouTube and to Spotify for a full stream of the EP, and grab a copy of it from the band’s own BandCamp page, from Lycanthropic Chants as an LP or as a cassette, from Supreme Chaos Records as a CD or as an LP, from Apple Music, or click HERE for multiple ways you can buy the album. Also, let’s show our admiration for Rotten Casket by following them on Facebook and on Instagram, getting to know more about the band, their tour dates and plans for the future. First Nail in the Casket might not exactly be their first nail in the casket, but it’s not their last either, proving those Dutch metallers still have a lot of fuel to burn armed with their undisputed Death Metal.

Best moments of the album: Covid-119 and Caskets on Wheels.

Worst moments of the album: None.

Released in 2022 Lycanthropic Chants/Supreme Chaos Records

Track listing
1. Covid-119 6:06
2. Caskets on Wheels 3:54
3. Bonetomb Residents 3:59
4. Coffin Birth 4:24

Band members
Martin van Drunen – vocals
Frank Bergesson – guitars
Yorck Segatz – guitars
Patrick van der Beek – bass
Stefan “Husky” Hüskens – drums