Album review: Battlestorm - Summon Decimation (2022)

  Battlestorm - Summon Decimation

Singapore

Trauma Records

 

"Summon Decimation" is the second album from Singapore's Battlestorm and their first proper full-length since 2010's "Demonic Incursion." Although it took the band a while to record a new album, Hades has been busy with a number of other projects, such as Nocturnized, Lycanthropic, Devouror and more recently, Tartarean Vengeance.
 
From the get-go, the music violently erupts with nine tracks of incendiary death/thrash that never lets up. The songs on this album show serious compositional depth, as each track features a series of stabbing riffs, bellowing vocals and a barrage of offensive drums that incessantly pummel the listener with unrelenting fury. The hulky riffs give the songs an intense feel, while the drums are comparable to a machine gun, firing continuously for forty minutes straight.
 
Battlestorm draws some similarities to compatriots Infernal Execrator, but while the former is stylistically closer to black metal, Battlestorm leans more towards death/thrash. References to be made include ‘80s Sepultura, Angelcorpse and of course the mighty Impiety. Essentially, they play a militant mix of black, death and thrash that’s more lethal than mustard gas. They also incorporate melodies which emphasize the hellish feel of the music, including razor-sharp leads that add significant depth to the compositions. I believe the artwork by Jenglot Hitam perfectly captures the essence of the music and gives an excellent visual representation of what to expect from this album.
 
In addition to the explosion of speedy drums and scorching guitar riffs, the music sporadically switches to thrashy mid-tempo parts before the intensity kicks into full gear again. There are enough tempo variations in the songs to keep things interesting, as each transition feels natural and masterfully executed. In my opinion, the production is a little thin, although it does manage to give the guitars a sharp, biting sound. I think with a more powerful production and a better mix, the band could be destined for greatness. The whole release is brutal as hell, and I think the influence of fellow countrymen Abhorer and Impiety shows. I’m starting to think that maybe there’s an extremity contest in Singapore and that to play softer would be considered an act of treason among their peers. Ha!
 
Overall, “Summon Decimation” is a solid piece of work that slaps just as hard as anything the band has done in the past, and I simply can't recommend it enough if you’re a fan of the Southeast Asian scene with bands like Infernal Execrator, Impiety, Zygoatsis and the like. Stand-out tracks: “Exaltation of the Fallen”, “Qhagan”, “Subterranean Titan: The Cataclysmic Abhorer" (Jim)

Album review: Infernal Execrator - Obsolete Ordinance (2018)

Infernal Execrator - Obsolete Ordinance 

Singapore

Pulverised Records (CD/LP) / InCoffin Productions (Cassette)

 

Infernal Execrator is a band that lives up to its name, because their music is certainly infernal in the truest sense of the word. “Obsolete Ordinance” is their second album and the follow-up to 2014’s killer “Ad Infinitum Satanic Adherent.” It took the band four years to record a new album and they clearly did not disappoint, as the whole release is total war from start to finish. The band has kept the same style employed on the previous album, playing militant black metal with a dash of melody.
 
There is no other band that sounds like Infernal Execrator, as they have a style all their own, even though the influence of bands like Immortal, Marduk and Impiety can clearly be heard in their music. The riffing is wild, frenetic tremolo pickings, intensified by hard-hitting drumming that ranges from blazing blasts to muscular thrash beats, but mostly fast, as the drummer unleashes hell on the kit. Seriously, the drummer is fucking good and super capable. The eponymous opener “Infernal Execrator (True Blasphemous Conquest)" opens this record with furious intensity, while the follow-up track “Incinerate Halakhah Theorem” only adds insult to injury with a series of surgical riffs and machine-gun drumming. I swear the band has some of the coolest song titles. They really go out of their way to outdo every other band in terms of extremity, and I’m all for it, but I digress.
 
Many people would use adjectives like “brutal” and “extreme” when describing a band like Infernal Execrator, and while that's certainly true, there's definitely more to their arsenal than simply being heavy. The musicians in the band can play their instruments exceptionally well and it's obvious that the arrangements are well thought out, especially the way the riffs are played, which I have to say is one of the album’s high points. Every fiery riff and guitar part is spot on, backed by vicious shrieks reminiscent of Abbath from Immortal. The vocals are delivered with maximum ferocity on every track throughout the album. In addition, the guitar solos on this album will melt your face off with its power and brutal execution.
 
It’s amazing how the melody on this album offsets the brutality and yet the music never lets up in intensity. A good visual depiction of their sound is to imagine a grenade exploding in your face, followed by a scene of being mauled by a horde of demons as you enter hell. Infernal Execrator is a top-notch act from Singapore and this album solidifies their position as one of the best black metal bands from Southeast Asia. Stand-out tracks: “Incinerate Halakhah Theorem”, “Northern Superiority”, "Obsolete Ordinance" (Jim) 

Album review: Muert - Ye Canariae Abezan (2017)

 

Muert - Ye Canariae Abezan

Italy

Hammerheart Records

 

“Ye Canariae Abezan” is the third album by Canarian warmongers Muert and was released in 2017 by Hammerheart Records on both CD and 12" vinyl. For those who don’t know, the Canary Islands is an autonomous region of Spain (politically, not geographically) near the coast of northwest Africa, with the easternmost island (Lanzarote) being only 80 kilometres from Morocco and the closest part to Spain being 2000 kilometres. Apparently, the artwork of this album is a historical reference and depicts the battle of La Matanza de Acentejo, in which the indigenous people repelled the Spanish troops in 1494.
 
One of the pros of this album is that the music is anything but formulaic, as each song offers a different listening experience with various tempos and arrangements that keep the listener interested until the last note. In fact, I was constantly curious as to what the band would pull out of the bag next. That being said, try not to misconstrue what I said by thinking that this is some kind of weird “prog” album. On the contrary, this is bestial black/death conceived in the murky landscapes of its environment, adding their own unique flavour to the subgenre with indigenous elements and influences. The title, for example, translates to "The Canarian Darkness," with "Abezan" meaning "darkness" in the language of the Canarian natives.
 
The band mixes it up nicely, as can be heard in the track “Acentejo 1494”, which perfectly alternates between a face-stomping thrash riff to a morbid black metal riff with absolute finesse. The thrash influence in the compositions is undeniable and a testament to their old-school roots. On tracks like “Crueldad desde islas Canarias,” the band clearly shows their penchant for traditional metal, as the song begins with a lead that oozes epic heavy metal and lasts only a few seconds before being obliterated by the cryptic onslaught of death. There are plenty of headbanging moments on this album, even bordering on “fun” (depending on how you look at it), but make no mistake, this is dark and aggressive music of the highest calibre, made by maniacs for maniacs. I mean, you have songs like “Of Corpses, Evil & Drinks...” which is an obvious ode to metal and may even have been inspired by the great Sarcofago (“Sex, Drinks and Metal”). Apparently, the song is about a night at the graveyard that involves profanation, alcohol, and vice. It doesn’t get more black metal than that if you ask me.
 
The umbrella term “war metal” refers to bands that play filthy and bestial metal rooted in bands like Sepultura, Holocausto, Sarcofago, etc. That being said, I can definitely see it applying to the sound of Muert, especially in the way the vocals are performed and in the general antagonism behind the music. The vocalist definitely does one helluva job, as his deep yowls are full of hate, pain and violence, unleashing his cursed lines in every track. The guitar sound also has a slight Swedish undercurrent, reminiscent of early Carnage and Entombed, which once again shows how varied and nuanced the whole album is. On “Ye Canariae Abezan” the band have delivered the perfect blend of black, death and thrash, or “Guanche Black/Death” as they call their music. I highly recommend this masterpiece to fans of bands like Teitanblood, Ascended Dead, and Black Curse. Stand-out tracks: “Of Corpses, Evil & Drinks...”, “and 1.000 momias ”, “Leprocity” (Jim) 

Album review: Maleficarum - Across the Heavens (1995)

 Maleficarum - Across the Heavens

Italy

Defiled Records

 

Maleficarum is a death metal quartet from Molise (southern Italy) that was founded in 1993. After releasing a well-received demo (“Unblessed”) the same year, the band followed it with their excellent debut “Across the Heavens” two years later. Any self-proclaimed death metal enthusiast with a penchant for cult and obscure gems should give this album a listen, as it is absolutely worth your time and has a high replay value. The band also featured former members of Excidium, who are also worth checking out.
 
Apparently, the drum sound on this album is universally maligned by production snobs, however, I personally have no major qualms with it. The drums have a certain crispness that makes them stand out that gives this album a unique quality. They are by no means too extravagant, but rather rhythmically varied and switch between various tempos with relative ease and skill. By alternating between tempos, the band creates an atmosphere that slowly builds through the constant repetition of melodic riffs. The lead work that accompanies this oeuvre evokes a somber mood and is cleverly interspersed throughout, showing their flair for neoclassical ideas. The vocals, while not terribly varied, are masterfully integrated (throaty growls reminiscent of Ross Dolan) and are in cadence with the rest of the instruments. The bass presence is quite noticeable and well-played, adding the necessary lower frequencies to each track and synchronizing perfectly.
 
The guitars have a huge impact playing into the emotion of Maleficarum’s sound, enriching the music with morbid melodies, and dispensing a salvo of chromatic riffs, along with the energetic and tightly played drums. This isn’t quite Atheist-level tech-death, but there’s no denying the methodical approach and detail that went into each song. A more simplified version of Immolation, but with a flavor of melody that borrows from the likes of Sentenced and At the Gates. “Across The Heavens” is like the Italian cousin of “Dawn of Possession”, infused with European melodicism. And while these two albums may be musically aligned, their moods are disparate. While the former conjures images of fire and brimstone, the latter has a kind of gothic undercurrent that paints a picture of a morose and autumnal landscape. 
 
This isn’t exactly boundary-pushing, but it encapsulates all the qualities of the genre into a collective of eleven tracks and forty-three minutes, as “Across the Heavens” is a straight-up death metal banger that I have revisited continuously over the years. Italy has produced a number of noteworthy gems throughout the ‘90s and you can certainly count this masterpiece among them. Stand-out tracks: “Season of Black”, “Time I Am”, “Spirit Magnified” (Jim)

Album review: Vicissitude - Neolithic Necrocannibals (2022)

 

Vicissitude - Neolithic Necrocannibals

New Zealand

Gutter Prince Cabal 

 

The debut album by New Zealand’s Vicissitude flew under many people’s radar when it came out in 2022. That’s a resounding shame, because the album in question packs a serious punch and should be right up the alley for anyone with an affinity for the bestial and extreme, as this is some unequivocally barbaric black/death reminiscent of bands like Pseudogod, Archgoat and Heresiarch.

One of the things that instantly stood out for me about Vicissitude is their usage of abrasive dual vocals and how heavily amplified they are. The amalgamation of hateful snarls with deep, cavernous growls is on full display in every track, giving the music an utterly inhuman feel, coupled with a series of lacerating riffs that often border on black metal. A truly dark atmosphere permeates this recording, largely due to the dense production and evil-sounding guitars that recall bands like Demoncy and Incantation.

From beginning to end, there is no respite from the visceral violence that Vicissitude offers. The eight tracks and forty-eight minutes that encompasses this disc feels complete and satisfying, as each track is comprised of gut-wrenching vocals, pulverizing drums, and stygian riffs. The length may be exhausting for some due to the continuous onslaught; however, I personally enjoyed every second of it. A good visual depiction would be to imagine a clan of ravenous, bloodthirsty cannibals in a cave, feasting on raw human flesh, hungrily ripping the skin and meat from the bones with their crooked teeth. I also believe the band took inspiration from Caveman Cult in the way the themes and aesthetics are presented; however, Vicissitude is stylistically a little different, but still belongs to the same pantheon of bestial metal.

I will not analyze each track in explicit detail, but I will point out that there is enough tempo variation in the songs to prevent the music from being formulaic, as opposed to mindless blasting all the time. I like the slower sections and how the belligerent vocals never let up, even during the more doomy parts. The album gets even better with repeated spins, as the overwhelmingly brutish nature of the music leaves you wanting more. The music definitely manages to evoke a sense of dread in the listener.

In retrospect, “Neolithic Necrocannibals” is a decidedly enjoyable debut album from these Kiwis, offering a satisfying listening experience for any fan of cacophonous and cavernous black/death metal à la Corpse Molestation, Caveman Cult, Antichrist Siege Machine, etc. Vicissitude is a promising prospect from New Zealand that I would like to hear more of in the future. (Jim) 

Interview: Evil Damn (Peru)

We talk with Erick Neyra, the vocalist for Peruvian death metal band, EVIL DAMN.

1. Bestial hails!!! How’s everything going and what albums have you been spinning lately?

Erick: Hi brother, sorry for the long delay in getting back with the answers. It has been hellish busy here, composing with Evil Damn and Goat Semen and doing tons of work around that. Lately, some Bestial Warlust, Perversion’s last album is killer and tons of old classics...

2. Evil Damn formed in 2003, so you’ve already been around for over 20 years, yet there are still maniacs out there who haven’t heard of you. Can you tell us a little what Evil Damn is all about? What are your influences?

Erick: I was summoned to sing in Evil Damn by Romanet at a bar back in 2004. He mentioned the band was formed by Ordep and Zemog of old Disinter, and Romanet plays in Psicorragia. They all come from old Death Metal school and told me they wanted to make something brutal and obscure... I was also reading a lot of Lovecraft back then (as I do always) and the usual topics of death and violence is something that is a permanent inspiration for me so I was immediately interested. The result is a brutal monstrosity of Lovecraftian horror!

When it comes to EVIL DAMN, this is inspired in old School Death Metal style and furious old ‘80s Thrash, but we try to create a more obscure and macabre aura when composing the songs.

3. a lot of bands go thru a dozen member changes over a time span of 20 years, yet you have managed to keep a pretty consistent line-up. How do you manage this?

Erick: We are all good friends since years and all like the same old bands, and have similar devotion to METAL! So I think this is a key to keep this entity as grotesque as possible like in the beginning.

4. Your 2021 album “Necronomicon” was fucking killer man and I can’t wait for your new album. Can you tell us a bit about the whole recording process and the thought process that went into it? Are you satisfied with the final outcome?

Erick: I think the album had a big impact on the bangers who like the old ways. We really liked the final result, and an album like Necronomicon with its length is something we are very proud of! Unfortunately, we took our time with the recordings and the rest of the studio work as the band members have to work a lot. Ordep works out of Lima and only comes here every two weeks for 3 or 4 days, and finally we were able to finish all the studio work during the pest year. In the end it was a process of about 3 years! But the result is what we expected.

5. The first time I heard you guys was on the “Blasphemy, Mayhem & War” split with Toxic Holocaust and Chainsaw Killer (awesome split by the way!) Toxic Holocaust became pretty popular, while Chainsaw killer released a decent album in 2012. What are your thoughts on this split and what do you think of the other bands on it?

Erick: Long ago I had email correspondence with Joel Grind, and it is great to see the success Toxic Holocaust has now. I keep on thinking the demo and first album are killers! I met the guys of Chainsaw Killer personally when I traveled through Colombia some years ago, cool guys. I think each tape or split has helped to build the band. We would like more exposure though hehe.

6. Your name Evil Damn sounds Evil Dead-inspired. Are you a fan of horror movies? What are some of your favorites? Also what do you think of modern horror movies?

Erick: I’m not really the type of person who likes to sit in front of the TV for too long. I watched most of the classics as a child. I remember watching "The Monster Club" when I was about 7 years old! Or The Exorcist or The Omen when I was around 10 years old. I think those movies prepared me to not to be shocked later when other killer movies came along like Friday the 13th, Nightmare in Elm Street, etc. Evil Dead and Creepshow were great! I like them more than something that just spills blood senselessly... I prefer an obscure and morbid argument better than a traumatized maniac who kills for no reason at all. Most modern "horror" is crap. The Witch is the last good movie I saw.

7. Can you tell us a little bit about Peru and which places a metalhead should go see if they ever decide to visit your country? Does Peru have its own distinct culture compared to other South American countries?

Erick: My country is a great, vast land with soooo much to see and too much history... and you will surely gain weight here. Peruvian food has become very popular worldwide lately, but we Peruvians usually eat like kings and have very demanding tastes haha. Where to go and what to visit... Machu Pichu is mandatory, but also Caral, Nazca. The great north of Peru and its bloody historical pyramids of the ancient Moche and Chimu lords… realms of human sacrifices... I am obsessed with Peruvian and pre- Colombian history, and there were real human sacrifices here... just recently the largest number of infant sacrifices in the world was found in the north... you really do not know if you are walking over a cemetery of some old sacrifice or a ruin buried by time and dust (as the classic Mayhem song goes) when you walk around in the deserts or mountains of Peru! My country is the only one that can compete with Egypt in terms of archaeology, and that too is a great inspiration, for me at least... our ancients had another perception of death and cosmos...

8. What would you cite as 5 essential Peruvian Metal albums that every metal maniac should be familiar with?

Erick:

HADEZ “Aquelarre”

MORTEM “Demon Tales”

CURRICULUM MORTIS “Sentencia de Muerte” demo

MORTUORIO “Camara de Torturas” demo

NECROPSYA “Slave of the Magic” demo

I prefer to recommend these last three demos as they are really savage and brutal.

I have to mention SATANAS “Blasfemia” demo, too. 

9. I think it’s great that you guys managed to put out an album thru Hells Headbangers and get some exposure, as “Necronomicon” was hands down one of the sickest albums of 2021. What’s next for Evil Damn? Thank you for your time!

Erick: Yes, we are happy with the exposure through Hells Headbangers. It’s a great label that we have supported a lot! Thanks for your words and support, we have by now finished the recordings of the "Aeons of Horror" EP and need to complete the mix and Mastering. Later we will have a Split 12" with another great South American Death Metal band and plan to finish the year with the recording of the second album.

Thanks to you for your support and the chance, once again sorry for the delay in getting back! Soon we will spread more bestial abominations... watch out!

Album review: Kill - Horned Holocaust (2004)

Kill – Horned Holocaust

Sweden

Worship Him Records (LP) / Invictus Productions  (CD) / Death Propaganda Records (Cassette)

 
 
Gothenburg’s Kill emerged in the late ‘90s as a raw black metal act that quickly cemented a name for themselves within the underground with various demos leading up to their debut album, “Horned Holocaust”. The style employed on this album is very much a product of its time with its demonic vocals, primitive riffs and old-school approach, and yet there is so much charm behind these songs that it is simply hard to resist if you’re a diehard fan of the genre.
 
With a running time of 29 minutes, the band succeeds in delivering a straightforward, sinister black metal album seething with evil that takes us back in time to the glory days of bands like Darkthrone, Gorgoroth and Bathory, and while those influences are quite evident, there is certainly more to the band’s arsenal than simply “worshipping” their influences.
 
There is a certain element of chaos emanating from these compositions that is a trademark of the band and inextricably woven into their sound. You can put on any album by Kill and instantly recognize their sound. It’s that simple.
 
The energetic riffs often emit a sort of “groove” (albeit in the most hellish way imaginable) that brings to mind classic bands like Discharge and Celtic Frost. The whole sound consists of bass, guitar, drums and vocals. It’s a simple approach, but extremely well-executed and effective. The music is far from technically proficient, but when it comes to old-school black metal, the most important aspect is the intensity behind the execution, and in this case, there is no single instrument that stands out more than the other, as the performance is about as flawless as it gets for this style.
 
The rhythmic interplay of drums, bass and guitars is absolutely excellent and bolstered by the scathing vocals of Carl Warslaughter. Drummer Getaz pounds the kit like a drunken hillbilly beating his mistress on a Saturday night, while guitarist Black Curse metes out some truly disgusting riffs that would make even Jeffrey Dahmer vomit. The bass is audible and has been a staple of their sound since their formation. There are certainly some punk sensibilities interweaved into their sound, whether it was intentional or not, the energetic and simplistic nature of the music draws parallels to hardcore punk.
 
Every song on this album kills (pun intended), but some personal favorites include “Virgin Sacrificed”, “The Devil” and “Fields of Devastation”, as these tracks give off an eerie atmosphere that elevates them above the other tracks. The band would go on to release more excellent albums, evolving their sound and taking a slightly different approach with each album, but always staying within the framework of their crude sound. (Jim)

Album review: Deconsekrated - Ascension in the Altar of Condemned (2024)

 

Deconsekrated - Ascension in the Altar of Condemned

Chile

Iron, Blood and Death Corporation (CD) / Alkolik Holocaust Records (CD) / Ancient Sounds of Madness Productions (Cassette)

 

“Ascension in the Altar of Condemned” is an absolutely scorching debut by Deconsekrated, a quartet from Chile playing blasphemous death metal. The band has been active since 2020, and previously released an impressive two-track demo, the material of which was later re-released as a three-way split, including a stand-alone single. “Ascension…” is their strongest material to date by all means, as the members gained a wealth of experience playing in other black/death/thrash bands, such as Cryptic, Abhorior, and Profanación Sepulcral, among others. All of this experience contributed to the quality of their latest outing.
 
The strong, but detailed production on this release adds a layer of venomous potency to the music and makes all the parts shine forth, without each overpowering the other. Musically, there are some similarities to bands like Morbid Angel, Dead Congregation, Mortem; and even though the style is somewhat familiar, Deconsekrated does a good job at elevating the experience with a display of utmost ferocity and well-crafted arrangements.
 
The brute force of the compositions pounds you like a sledgehammer to the skull, as each track is executed with vigor. Songs like “Ancestral Voice” and “Spectral Rites” are instant bangers, and convey a feeling of absolute darkness by beating the listener into submission. The aggressive vocals are perfectly employed, and are backed by intense drumming and hellish riffs that leaves the listener gasping for air by the end of the record. Everything is well-orchestrated and delivered with conviction. And even though some of the songs are quite lengthy, the music maintains depth and engages the listener.
 
Their style is relatively straight-forward, but the dense production gives the whole experience a very crushing and heavy sound. The drums were given particular attention during the mixing process and is certainly a highlight of the album; ranging from rapid blast-beats, to galloping, mid-tempo beats, they give this album a strong backbone. The precision of the double-bass ties the drumming and all of the instrumentation together.
 
Overall, this is a solid offering from the Chileans that I found myself going back to over and over again. The only minor gripe I have with this release is its length. With today’s storage technology, an “album” of 28 minutes in length is almost inexcusable; however, it is better to produce a quality short album than a mediocre album with filler songs. Aside from this one minor complaint, there are no real flaws to speak of. Deconsekrated is a promising up-and-comer that I look forward to hearing more from in the future. Fans of dark and heavy-hitting death metal should check it out. (Jim)

Interview: Blinder (Cuba)

 

The following interview was conducted with Eric Domenech, frontman and vocalist of the Cuban Death Metal band, BLINDER.  

1. Hails! Can you tell us something about the formation of BLINDER and which bands influenced your sound?

BLINDER is a Melodic Death Thrash Metal band originally from the city of Santa Clara, Cuba, it was formed in 1998 after the disintegration of Medium, one of the most prestigious and energetic Cuban metal bands in those years. In reality, we have been influenced by several bands and different genres, not to mention that each of us has our own references that have benefited us when creating, although we always try to be ourselves.

2. How's the scene in your city Santa Clara? Do you feel like it’s hard to get noticed as a band due to being from Cuba?

Santa Clara is known as the metal city of Cuba for its relevant history within national rock, especially within metal. It is also known for organizing the oldest and most important rock festival in the country called Ciudad Metal, of which I was the organizer for 15 years. It has been quite difficult for Cuban bands to make ourselves known both outside and inside the country and more due to the limitations and obstacles of the system we have, however we are persevering and have made discrete progress.

3. How would you describe the sound of Blinder to those who have never heard you before?

We are a band with 25 years of existence with a sound characterized essentially by a Death Metal base and over time we have been incorporating influences from Melodeath, thrash and technicalism as well as elements of Afro-Cuban folk in search of a certain identity.

4. I listened to your album "Syncretic" from 2016 “and I really enjoyed it. I feel like this album has a unique sound and the underproduced sound gives it an organic feel. What can you tell us about the recording of this album and looking back on it now, are you happy with the result?

In reality, the sound achieved was not intentional, our aspirations were to obtain a high-level product but we did not have a decent recording studio or an experienced producer, so we had to make do with the few resources available, but the most important thing was show our music and in my opinion the objective was more than achieved despite everything.

5. Can you tell us about your lyrics and what kind of topics you explore?

I am quite open when it comes to composing lyrics as long as it identifies with the music we make, Cuba is a quite atypical country and it serves as a source of inspiration for me without fall into social or political issues.

6. How is life for the average metalhead in Cuba? Would you consider music as a form of escapism? I have noticed that people in Cuba are really passionate about music and very supportive of local bands, regardless of the restrictions in your country.

The desire to release and perform the music that we feel and that runs strongly through our veins plus the support that we have constantly had from the public that has always been and will be a great source of inspiration, all of this revitalizes you and gives you energy to face the future and it encourages you to continue composing more songs, make recordings and continue playing as long as we can.

7. What are 10 albums you can't live without?

There are many albums that have marked my life, they are:

Led Zeppelin - Led Zeppelin IV

Van Halen - Van Halen I

Mercyful Fate - Don't break the Oath

Slayer - Reign in Blood

Metallica - Master of Puppets

Metallica - Ride the lightning

Death - Spiritual Healing

Entombed- Left hand Path

Morbid Angel - Altar of Madness

Dream Theater - Images and Words

There are many more but remember these have been the most important.

8. I like the cover art for Syncretic! It has an underground aesthetic and appeal. What was the idea behind it and who did the artwork?

I am a graduate of the professional art school so I am in charge of all the design and graphic concept of the band, I had made the cover some time ago as part of a series of drawings that I made and we were given the opportunity to edit the album spontaneously and it seemed like the right one to reflect the idea we were looking for with the album.

9. What albums have you been listening to lately? Do you have any favorite albums from 2023?

I listen to a lot of music and different genres of metal, I liked the latest ones from The Halo Effects, Aborted, In Flames, Orbit Culture, Cannibal Corpse..., and from 2023 one of the albums that impressed me the most was Cattle Decapitation – Terrasite.

10. Does the environment influence your outlook and inspire you to be creative as a musician?

Exactly as I mentioned before, my lyrics reflect the environment that surrounds me and the same thing happens with music in the creation process, Cuba is a very different country and what better reason to make brutal music, haha.

11. Do metal bands in Cuba support each other or is there a lot of competition in the scene?

The Cuban metal scene has always been united and there are no differences, you can see a show with metal, punk or grunge bands at the same time, this unity has allowed us to form a solid movement that is very necessary to confront the prejudices and obstacles we face subjected.

12. Thank you for your time! Before we end this interview, can you tell us something about your future plans and when you will record your next album?

At the moment we are immersed and working very hard on new songs with the idea of recording a new album by the end of the year, in fact we are already handling special guests and we come with a more technical, fresh and aggressive sound. I just have to thank you for the interview and for your great support.

Album review: Ancient Malignity - Dehumanization Dawn (2024)

 

Ancient Malignity - Dehumanization Dawn

 

USA

 

Inhuman Assault Productions (CD/Cassette/LP)

Reno-based militia Ancient Malignity is one of those exemplary bands that meet every little criteria in order to be labelled “war metal,” mastering the style down to the last detail. The group also features members of black/death acts like Ritual Genocide, Triumph and Blasphemous Creation, all of whom are respectable in their own right. “Dehumanization Dawn” is the trio’s second album since 2020’s self-titled and was released via Thailand's Inhuman Assault Productions.

When you listen to this band and look at their imagery, it’s not too hard to spot the Revenge influence, although I give the band credit for not being a complete carbon-copy and for crafting a style that sets them apart from the legion of Revenge-inspired bands. Aside from the all-too-obvious reference mentioned above, there are also trace elements of bands like Goatpenis and Abhorer, including a good dose of death metal influence running in their veins. This is a winning formula for the band, coupled with a raw production that only adds to the hellish feel of the music. The music is mainly mid-paced, although they do slow it down from time to time, with some gritty grind tempos in between.

Despite the relatively straight-forward nature of the music, the band's themes are decidedly thought-provoking and profound. A good example of this is the track “Indoctrination Terror Offense,” which is about the media terrorizing the populace with propaganda in order to indoctrinate them; and the aptly titled “Pedoswine Obsolescence” is self-explanatory of their stance regarding dicier transgressions.

The military-style drumming is on point and offers a variety of inventive fills and tempo changes, while the morbid vocals are venomously spewed over a series of slashing guitars and repulsive bass riffs. Despite all the instruments being comprehensible, there's a certain rawness to their sound that is all-too-fitting for this style, and honestly, I do not think an overly polished production would have had the same effect and taken away many of its qualities. This album succeeds in conveying an atmosphere of hate and blasphemy, and the more I listen to it, the more I like it, including the fact that the length of this release feels complete and satisfying at 36 minutes.

I recommend all maniacs who are into underground and blasphemous, bestial black/death to check this band out, as it has everything that you could possibly look for in this style. Stand-out tracks: “Indoctrination Terror Offense”, “Abomination Experiment, “Algorithmic Brainwash Entity” (Jim)