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Album Review – Yskelgroth / Bleeding of the Hideous (2023)

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After almost 15 years, this Spanish Black Metal horde is finally back in action and will summon all creatures of the underworld with their ruthless sophomore opus.

After a hiatus of 14 years, the devilish Spanish Black Metal horde Yskelgroth is back with a new and pulverizing album, titled Bleeding of the Hideous, the follow-up to their 2010 opus Unholy Primitive Nihilism. Although the band was formed back in 2000 with the aim of creating a ferocious and savage blend of Death and Black Metal, the project fell apart in 2007 when frontman Dave Rotten (Avulsed, Christ Denied, Decrapted, Holycide, Putrevore) moved to Germany, but they relaunched their evil beast in 2008 when Dave together with guitarist and bassist Vicente J. (Decrapted, Golgotha, Holycide, Unbounded Terror) teamed up to write songs for their debut album. Now in 2023, alongside Javier Fernández (aka Nexus 6) of bands like Harmpit, Nexus 6 and TodoMal on drums, synths and guitars, Yskelgroth will summon all creatures of the underworld with Bleeding of the Hideous, a ruthless metal attack comprised of nine sulfurous songs with an even more complex, twisted and intricate sound highly influenced by Myrkskog, Angelcorpse and Emperor, among other Black Metal giants, that will leave you craving more, all embraced by the infernal artwork by Venezuelan artist John Quevedo Janssens.

Infuriated and epic Black Metal flows from all instruments from the very first second in The Morbid Earth before Dave arises from the underworld with his demonic roars and screeches, being therefore highly recommended for fans of the iconic Immortal; whereas Javier is infernal behind his drums in Prone to Gobble Life while Vicente and Javier himself provide us with a technical yet blackened riff attack. Furthermore, Dave also delivers his more demonic guttural from Avulsed, making the whole song even heavier. Then the sinister, phantasmagorical keys by Javier walk hand in hand with his massive drumming in Omnicidal Ends, supported by the rumbling bass by Vicente; and investing in a pure Norwegian Black Metal sonority it’s time for the band to smash our senses with Aeons Empty, offering our ears three intense and sulfurous minutes led by Dave’s hellish gnarls. After such powerful tune, infinite aggressiveness and devilish roars are the main ingredients in Plagueridder, with Javier once again pounding his drums in the name of Black Metal.

Those Spanish metallers put the pedal to the metal in Spasmic Extinction, inspired by the most recent works by Immortal and Abbath, with the riffage by Vicente and Javier exhaling rage and obscurity for our total delight, and it’s quite interesting how the band added elements from their other Death and Thrash Metal projects to their music yet still sounding purely Black Metal, which is exactly what you’ll get in Primal Expulsion. Their second to last explosion of brutality and evil is titled Riddance of the Graves, a solid, in-your-face Black Metal extravaganza showcasing spine-chilling gnarls by Dave supported by the massive wall of sounds crafted by his bandmates, and Javier’s blackened keys give the last song of the album, the demolishing Path to Devourment, an even more Stygian vibe. In other words, the band’s return to action couldn’t have ended in a more demonic manner.

In the end, although it might have taken over a decade for the ruthless Yskelgroth to return from the pitch black pits of the underworld with a new slab of evil and sulfur, the wait was absolutely worth it based on the infernal music found in Bleeding of the Hideous, and if you want to show the talented Dave, Vicente and Javier your utmost support and admiration, you can succumb to their devilish powers by following them on Facebook, and of course by purchasing a copy of their newborn spawn from the Xtreem Music’s BandCamp page. As aforementioned, Bleeding of the Hideous is twisted, demonic and very detailed, inviting us all to worship our beloved darkness while listening to the first-class Black Metal blasted by a Spanish trio that hopefully won’t take another 15 years to release more of their unrelenting music.

Best moments of the album: The Morbid Earth, Aeons Empty, Spasmic Extinction and Riddance of the Graves.

Worst moments of the album: None.

Released in 2023 Xtreem Music

Track listing
1. The Morbid Earth 3:12
2. Prone to Gobble Life 3:46
3. Omnicidal Ends 4:17
4. Aeons Empty 2:58
5. Plagueridder 2:55
6. Spasmic Extinction 4:08
7. Primal Expulsion 3:57
8. Riddance of the Graves 3:51
9. Path to Devourment 3:30

Band members
Dave Rotten – vocals
Vicente J. – guitars, bass
Javier Fernández – drums, synths, guitars

Album Review – Imperial Execration / Commanding Satan’s Crusades (2022)

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A Colombian Death Metal horde based in the UK is inviting us all to join Satan’s crusades to the sound of their pustulent psalms of inverted sanctity.

At the spearhead of a new assault upon the bulwarks of civilization comes the barbaric Brutal Death Metal/Deathslam horde of Imperial Execration, armed with the rotting horror of their debut album Commanding Satan’s Crusades. Formed in 2019 by two Colombian musicians now relocated to the UK, drummer Ruben Jaramillio (Ataud, Engulfed In Abomination), and guitarist and bassist Eduardo Camargo (Ataud, Goreinhaled, Despondency), this putrid platoon of Satan’s soldiers is completed by the bestial bellows of the infamous Colombian vocalist Oscar “Mr. Oscarnivore T-666” Macias (of Carnivore Diprosopus), together creating six pustulent psalms of inverted sanctity and added to that grim order of service a cover song that exhales death and gore. Mixed and mastered by Tom Bradfield at Grindethic Records, and displaying a sick artwork by Venezuelan artist John Quevedo Janssens, Commanding Satan’s Crusades will leave no doubt about the future, as there is no light at the end of the tunnel, there is no redemption and absolutely no resurrection, being therefore recommended for lovers of the devastating music by Suffocation, Gorgasm, Devangelic and Disentomb, just to name a few.

Summoning of the Ancient Hordes sounds utterly putrid, gory and demolishing from the very first second, and it’s impressive how just three guys can make so much noise. Moreover, Oscar’s deep barks sound and feel inhumane throughout the entire song (and album), accompanied by the classic blast beats by Ruben. Commandments of the Age of Darkness is another onrush of first-class Brutal Death Metal that will decimate your damned soul during its three demented minutes, with Eduardo doing a fantastic job with both his riffs and bass lines, and those three Colombians are ready to pound our cranial skull to dust with the venomous Throne of Sadistic Abominations, a lecture in Brutal Death Metal that lives up to the legacy of the genre with Oscar vomiting the song’s dark words majestically.

In His Ominous Presence the band keeps the insanity and blasphemy of the album at an unimaginable level, with Ruben being absolutely bestial behind his drums in this ode to darkness, and he keeps hammering his drums in Lords of Tyrannical Perversion, with Eduardo’s evil riffage providing Oscar with exactly what he needs to bark nonstop. There’s still more fuel to burn to the sound of Victory of the Stygian Empire, with its cryptic intro evolving into a brutal assault of classic Death Metal led by the gruesome vociferations by Oscar. Put differently, it can’t get any heavier than this, flowing into their cover version for Dehumanizer’s classic tune Condemned (check the original version HERE, from their 1998 demo Prophecies Foretold). Needless to say, Imperial Execration’s version is just as demonic and obscure, with Eduardo kicking some serious ass with both his riffs and bass punches.

The malevolent, hellish Death Metal played by Imperial Excretion in Commanding Satan’s Crusades can be appreciated in all of its glory on YouTube and on Spotify, but of course let’s show those Colombian metallers our true support by purchasing their fulminating album from the band’s own BandCamp page, from the Comatose Music BandCamp page or webstore as a CD or as an amazing CD + shirt + sticker bundle, and from several other locations such as Discogs and Barnes & Noble. They are also eager to hear what you have to say about their newborn vile creations on Facebook and on Instagram, inviting us all to join Satan’s crusades to the sound of their thrilling, sulfurous Death Metal, and I’m sure we’ll have a very good time banging our heads manically with them.

Best moments of the album: Summoning of the Ancient Hordes, Throne of Sadistic Abominations and Victory of the Stygian Empire.

Worst moments of the album: None.

Released in 2022 Comatose Music

Track listing
1. Summoning of the Ancient Hordes 3:08
2. Commandments of the Age of Darkness 2:59
3. Throne of Sadistic Abominations 2:56
4. His Ominous Presence 2:57
5. Lords of Tyrannical Perversion 3:21
6. Victory of the Stygian Empire 3:41
7. Condemned (Dehumanized Cover) 2:55

Band members
Oscar “Mr. Oscarnivore T-666” Macias – vocals
Eduardo Camargo – guitars, bass
Ruben Jaramillio – drums

Album Review – Fleshtorture / Grotesca Doctrina De La Perversidad (2021)

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A fulminating display of Death Metal made in Nicaragua, dealing with the poisonous hypocrisy of faith in unseen gods and the structures of domination built around those abominable names.

3.5rating

fleshtorture-grotesca-doctrina-de-la-perversidad-2021Armed with riffs that no god could stand against and a vocal roar to cut through lies and debasement, León, Nicaragua-based Death Metal bulldozers Fleshtorture are back in action with the third and most powerful full-length album of their career, the devastating Grotesca Doctrina De La Perversidad, or “grotesque doctrine of perversity” in English. A consistently stunning display of real Death Metal from start to finish, dealing with the poisonous hypocrisy of faith in unseen gods and the structures of domination built around those abominable names, the album is highly recommended for fans of renowned Death Metal titans the likes of Cannibal Corpse, Deicide, Suffocation and Incantation, showcasing all the talent and violence of vocalist Xhugore, guitarists Lenin Galo and René Schock, bassist Hanry Cano and drummer Rudy Wolf. Add to that the visceral recording by Hector Cerrato at Zombie Records, the vile mixing and mastering by Chris Wisco, the sharp production by Joi Brute, and the demented artwork by John Quevedo Janssens, and there you have an essential  album that will certainly leave a permanent scar on the tortured visage of Death Metal.

In the insane Intro: Grotesca Doctrina de la Perversidad, gruesome, cryptic vociferations will warm us up for the bestial Canibalismo Eclesiástico (“ecclesiastical cannibalism”), where Xhugore’s roars together with the frantic drums by Rudy Wolf are a stunning invitation for all of us to slam into the pit like true maniacs, not to mention the awesome Cannibal Corpse-inspired riffs by the band’s guitar duo; and their Death Metal extravaganza goes on in the visceral tune Blasfemando en el Trono de Dios (“blaspheming on the throne of god”), showcasing another amazing job done by Lenin Galo and René Schock on the guitars accompanied by the menacing bass jabs by Hanry Cano. The band continues hammering their wicked instruments in Flagelando al Mesías (“flogging the messiah”), with Rudy Wolf dictating the song’s demonic pace while Xhugore barks the song’s Spanish lyrics with tons of hatred and darkness, followed by Tumba de Niños (“children’s tomb”), another ode to old school Death Metal with the band’s own twist. Furthermore, its backing vocals provide a very effective support to Xhugore, while the guitars keep piercing our souls mercilessly until the very last second.

Crucificado, Muerto y Sepultado (“crucified, dead and buried”) is undoubtedly one of the most violent compositions of the album, a circle pit-catalyst that will please all fans of classic Death Metal with Rudy Wolf once again taking the lead with his rhythmic and utterly aggressive beats and fills, whereas sinister sounds permeate the air in Aberracíon Maligna (“malignant aberration”), with the band offering a Doom Metal-ish side of their music evolving into another showcase of sheer brutality. Needless to say, Lenin Galo and René Schock are on fire with their riffs and solos, and more of their sulfurous and blasphemous sounds comes in the form of Morgue (“morgue”), again presenting wicked vociferations by Xhugore amidst a rumbling atmosphere crafted by Hanry Cano and Rudy Wolf. The band’s last breath of malignancy and depravation is offered to us in Crematorio (“crematorium”), less intense than its predecessors but still dark and heavy, with their guitars again penetrating deep inside your skin while also presenting Xhugore’s trademark guttural gnarls, flowing into a quick and phantasmagorical Outro to darkly conclude such hellish piece of music.

fleshtorture-2021If carnivorous and blasphemous Death Metal is your cup of tea (or maybe I should say “cup of blood”), then you should definitely take a full listen at the new album by Fleshtorture on YouTube or on Spotify, but of course in order to show those Nicaraguan metallers your true support you can purchase a copy of the album from their own BandCamp page, from the Brute! Productions’ Big Cartel, from the Sevared Records’ webstore, from Apple Music or from Amazon. In addition, don’t forget to also follow such distinguished Death Metal force on Facebook, keeping up to date with all things Fleshtorture and, above all that, inspiring them to continue their path of perversity and violence just like what they offered us all in the excellent Grotesca Doctrina De La Perversidad.

Best moments of the album: Canibalismo Eclesiástico, Flagelando al Mesías and Crucificado, Muerto y Sepultado.

Worst moments of the album: Crematorio.

Released in 2021 Brute! Productions

Track listing 
1. Intro: Grotesca Doctrina de la Perversidad 0:42
2. Canibalismo Eclesiástico 4:17
3. Blasfemando en el Trono de Dios 4:20
4. Flagelando al Mesías 4:30
5. Tumba de Niños 3:16
6. Crucificado, Muerto y Sepultado 5:20
7. Aberración Maligna 5:20
8. Morgue 3:58
9. Crematorio 4:59
10. Outro 0:18

Band members
Xhugore – vocals
Lenin Galo – guitars
René Schock – guitars
Hanry Cano – bass
Rudy Wolf – drums

Album Review – Theurgia / Transformation (2017)

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Descend into the crypts of Hades to the sound of the perturbing and dense Black Metal brought forth by this ruthless Venezuelan horde.

Forged in the scorching fires of Maracaibo, Venezuela in 2014 from the ashes of a band called Daemonhorn, but currently located in Colombia, old school Black Metal horde Theurgia are among us to blast pure hatred and violence with the release of their debut full-length album, titled Transformation. Recorded at Fenix Estudio in Barranquilla, Colombia, mixed and mastered at Dae Home Studio, and featuring an ominous album art created by John Quevedo Janssens (with the art in the digital edition being designed by the band’s own vocalist and guitarist Daemonae), Transformation brings all elements that make traditional Black Metal so compelling and menacing, helping the band carve their name in the history of underground South American extreme music.

The word “Theurgia” is the Lesser Key of Solomon (also known as Clavicula Salomonis Regis) called “Ars Theurgia Goetia”, the invocation of 31 demonic entities (those being emperors, dukes, kings and princes) with special characteristics. With such an imposing name, the music by Theurgia couldn’t sound more perturbing and dense than what they offer us in Transformation, with their lyrics talking about important topics such as general philosophy and war (in full gear). In the 40 minutes of visceral, disturbing music of the album, the band comprised of lead singer and guitarist Daemonae, guitarist Mortum P., bassist Teuterastus and drummer Hellbeats deliver an enraged message to the world, stating that darkness is upon us and there’s nothing we can do to avoid our grievous fate. In other words, if you’re searching for high-end raw old school extreme music or even the perfect soundtrack to the apocalypse, Transformation has exactly what you need to enfold your darkest and most villainous thoughts.

An intro directly from the pits of hell, titled The Torch ov Creation, announces devastation is about to break loose in ILV (The Verb of Waters), which begins in a doom-ish mode until Daemonae starts to fire his blackened growls while Hellbeats lives up to his own moniker on drums, with the music gradually evolving to raw and furious old school Black Metal. If that solid start is not heavy enough for you, the title-track Transformation presents the Venezuelan quartet on their most menacing beast mode, with Mortum P. delivering truly infernal riffs that effectively complement the demented drumming by Helbeats. Put differently, this full-bodied ode to darkness will offer your ears a chaotic havoc of Black Metal sounds led by the aggressive gnarls by Daemonae.

Transmutation (Of Synesthetic Formula) brings forward more of the band’s evil and obscure sounds, with Daemonae vociferating like a demonic entity while Teuterastus and Hellbeats threaten us all with their rumbling instruments, disturbing our senses until the songs climatic ending. Then we have My Oeneric Dreams, a short, ominous bridge to the visceral Procesio IV – Monotonous Chant, another song that begins in a Doom Metal fashion before exploding into a haunting feast of Black and Death Metal. This is a top-notch blackened aria where Hellbeats sets fire to the musicality with his drums, while Mortum P. distils his sulfuric riffs mercilessly. If you’re a fan of vile Blackened Death Metal, this song is simply tailored for your avid inner demon.

There’s no time to breathe with an onrush of crushing extreme music named Procesio V – Dolorvm, presenting an imposing sonority generated by the mesmerizing Black Metal riffs by Mortum P. and the unearthly bass by Teuterastus; followed by Procesio VI – Mea Spíritus in Opium (the creation of our souls before apparent orthodox existence), where the band gets to a truly demented level, delivering high dosages of putrid gnarls, devilish riffs and blast beats, resulting in a scathing descend into the crypts of Hades with Theurgia, therefore ending the album on a high note. And as a bonus track to the physical version of the album we have their cover version for Dissection’s Retribution – Storm of the Light’s Bane (check the original version HERE), taken from the tribute album “In Memory of Jon Nödtveidt – A Tribute to Dissection”, bringing all the fury of the original song by Dissection with Theurgia’s own perverse twist.

You can easily join the dark side of South American Extreme Metal by following Theurgia on Facebook and YouTube, and purchase your copy of Transformation, which you can listen in its entirety HERE, through the Throats Productions’ BandCamp, the Worship Tapes’ webstore, the Esfinge Records’ webstore or at Discogs. And after listening to Transformation, may your soul never be in peace again.

Best moments of the album: ILV (The Verb of Waters), Transformation and Procesio IV – Monotonous Chant.

Worst moments of the album: None.

Released in 2017 Throats Productions/Worship Tapes

Track listing
1. The Torch ov Creation (Instrumental) 0:54
2. ILV (The Verb of Waters) 5:56
3. Transformation 7:27
4. Transmutation (Of Synesthetic Formula) 6:20
5. My Oeneric Dreams (Instrumental) 0:41
6. Procesio IV – Monotonous Chant 7:39
7. Procesio V – Dolorvm 5:25
8. Procesio VI – Mea Spíritus in Opium 5:49

Physical Edition bonus track
9. Retribution – Storm of the Light’s Bane (Dissection cover) 5:19

Band members
Daemonae – vocals, lead guitars
Mortum P. – rhythm guitars
Teuterastus – bass, backing vocals
Hellbeats – drums