Split review: Churchacide / Plaque Swarm – Eschatological Retaliation (2021)

 

Churchacide / Plaque Swarm – Eschatological Retaliation

Texas / USA

Antichriconoclast Productions

I had a chance to listen to this killer split a few times over the weekend (whether I was running errands or just listening to music) and I just want to say right off the bat that this is one murderous fucking split from start to finish. The split will be released by members of Churchacide’s own label called Antichriconoclast Productions (good luck pronouncing that!) which specialises in releasing material related to the members’ respective outputs.

Both bands hail from Texas, and first up on this split is Churchacide, presenting us with a total of 7 tracks containing feral, crude old-school death metal with raspy vocals reminiscent of Pete Helmkamp. The music is predominantly mid-paced with faster sections interspersed throughout. The production is clear and sharp, which gives the music extra bite. Guitars are frenetic and well-executed, consisting of first-rate riffs and solos sharp enough to split your brain in two, while the drums are also good, but retains a kind of sloppiness that adds to the charm of the music. The bass is heavy and noticeable in the mix, which is nice. Overall, the performance from Churchacide is fucking solid. Favourite track: Imammolation

Plaque Swarm dominates the next half of the split and offers up a clangorous whirl of evil and hypnotic black/death metal, with a sound redolent of bands like Dead Congregation, Death Worship, and Perdition Temple. The atmosphere is massive and filthy, which hovers over the listener like a cloud of destructive darkness. The ambiance is decidedly dark and full of sinister cadences due to the droning wall of sound created by the guitars and ridiculously fast drums. The vocals are very fitting for this style: crude, deep and menacing. The skull-fucking sonic assault of Plaque Swarm is definitely not for sissies and will appeal only to real maniacs, and perhaps even serial killers. Favourite track: Spectre of Doom

You really have to be in the mood for this kind of heavy, merciless black/death, because the brutality of this split will knock you flat. Both bands come highly recommended to maniacs into proper metal. (HT)

Interview: Lingua Mortis Artwork (2021)

 

I had the honour to do an interview with the notorious Gilbert Miranda: a talented Costa Rican maniac renowned for his artwork and involvement in killer bands like Paganus Doctrina and Insepulto. Enjoy the interview. 

Greetings, Gilbert! Firstly, can you give us an update on the current status of your two bands, Paganus Doctrina and Insepulto, including a brief description of each output's sound and aesthetics? 

Hi Jim! Thanks for the interview, mate.

Paganus Doctrina is on hold since 2015. I have no time nor will to write new music at the moment since I founded Lingua Mortis Artwork back in 2016. All my efforts are totally oriented to strengthen LM as much as possible since it is my passion and my job at this very moment in my life. Paganus Doctrina is extreme Black/Death Metal. Perhaps somewhere in the future I might pick the guitar up and write some new tunes, but that’s not in schedule at the moment.

In regards of Insepulto: I’m not part of it since 2018. So, I have nothing to say about it anymore.

What can you tell us about Lingua Mortis Artwork and how it all started? Are you able to make a living from it?

Lingua Mortis Artwork is the brand I founded in 2016 to develop myself as an artist within the metal scene. It came out spontaneously and with no plans or expectations at all. I was unemployed back then and had no income at all nor any chance to get a new job on the Construction/ Architecture field because of the economic crisis back then. Then all of a sudden, Morbid Funeral, a friend's band, contacted me to do a layout for the reissue of their album "The Occult" on tape format. I suggested them to do a custom made artwork for the cover instead of a digital collage. They agreed and I started working on pen in an amateurish drawing that became the cover. I thought to myself that if I would invest more time into practice and lots of discipline things might become better and bigger. So that is how I started practicing drawing every day until the present day, looking to improve my skills, explore new techniques, everything by prove and mistake. I started posting my drawings on Facebook and people seemed to like it. Then, INVOCATION SPELLS from Chile knocked on my door and purchased my first drawing to adorn the front cover for their second album released via Hells headbangers, and that was quite a surprise and huge incentive to actually pursue on getting better in the art fields. They took an amateur practice drawing for it and HH released it! Fuck! That was the moment I realized a youth dream could actually become something serious. And that is how I started Lingua Mortis Artwork, my passion and my current job. I love it! It is a demanding job but it never feels like you are actually working. Perhaps I won’t become a millionaire but it certainty makes feel alive and I’m able to pay the bills. And that my friend, is quite an achievement if you ask me. I took the name Lingua Mortis after a song by the Chilean black metal band, FORCE OF DARKNESS. Since the semantic of my art deals with the darker aspects of death and the occult, I think the name fits perfectly to my aims.

What are some of your biggest artistic inspirations, and what does your process entail when working on a new piece?

My inspiration comes from many sources. Visual artists in the metal scene have always inspired me a lot: Mark Riddick, Christopher Moyen, Juanjo Castellano, Ed Repka, Dereck Riggs, Dan Sea Grave, Necrolord, Daniel Corcuera, and lots more. Also, music plays an important role as well as literature. I’m constantly reading and watching in order to improve and get inspiration.

The process of my work is not that different from the one I applied when being involved in architecture. The client comes over and asks me to do a logo or artwork, I inform them on my rates and different alternatives I offer. Once we agreed to work together I start to discuss ideas that comes from both sides in order to fit and surpass the expectations of my client. Once the concept is set I start a series of drafts and sketches that I bring to the band with the aim to set a definitive composition to work with. During the process I bring advances for them to get a sneak peek on how everything is devolving. Once the artwork is done, it is delivered when it is totally paid. I don’t request money advances. I haven’t had the need for that so far. I have the luck that the band’s I’ve work with are serious and honest. I’m so thankful for this! I know cases of other designers that are really sad when it comes to irresponsible and blatant “clients”… Basically, that is the way it works.

I specialize on both: black/white drawing handmade by pen and ink, and full colored acrylic paintings. I tend to color black/white pieces with Prismacolor markers and the result is quite appealing. Recently I’ve been doing a lot of these on my board. Logos are handmade too, although I do an alternative version on vectors (digital) since band’s need that format too when it comes to print larger banners and show backgrounds.

What's happening with your 'zine "Call To The Infernal Hordes"? Is it still active? How many issues have you put out?

CTTIH is dead since 2015. I put only 9 issues out of which the first three were written in Spanish while the rest were published in English. CTTIH represented my second endeavor as a 'zine editor, I had a former one published in the '90s called UNHOLY. There are no plans to come up with a 'zine anymore, have no time nor will to do it. I respect so much 'zine editors because it demands a hell of work and devotion. I love doing artwork for printed fanzines. I would like to have more commissions in that department.

What are you currently listening to? Discover any good bands lately? How's the scene in Costa Rica these days?

At this very moment I’m listening to Iron Maiden’s “Matter of Life and Death” album because of my woman’s recommendation. It happens that it represents her favorite Maiden album and I haven't had the chance to actually listen to it. And I loved it! I’m more of a classical Iron Maiden era fan, you know. But I ended up loving this record. I need to purchase it sometime this year.

I’m not discovering that many bands as I used to do in the past. In any case, I’ve been recently possessed by the works of these bands while working: ARCTROS, AND OCEANS, SATANIKA, SLAUGHTER MESSIAH, SLAUGHTBBATH, LIK, ASPHYX, GOD DETHRONED, INVINCIBLE FORCE, VULTURE, COBRA SPELL, MIDNIGHT PRIEST, IRON SAVIOR, ONSLAUGHT, GRAVE DIGGER,SKULL FIST, DARK FORTRESS, TESTAMENT, SODOM… and lots more.

I’m not that updated on the current status of the Costa Rican scene. I have managed to know some bands mainly because they approached me for an artwork commission. I can recommend HERESY, PAGANIST, EXECUTOR, TROBEROTH and TEDIO. Certainly there are many more but don’t recall any at this moment.

Paganus Doctrina's 1995 demo "Natural Inbio de paganismo" is a cult gem in every conceivable way. How old were you guys when you recorded the material, and do you have any anecdotes to share from those days? If I'm not mistaken, you also had contact with Euronymous?

I was 18 years old when recorded the vocals for the demo. Anecdote is that I had terrible throat infection because of a heavy flu. I was barely recovering and I had to do the vocals anyway. I think you can hear that in several vocal parts. The demo is going to be reissued on CD format somewhere this year by an Uruguayan label I’m friends with and which will include some bonus material. I will make a painting based on the original demo cover to serve as front cover. Yeah, I had contact with Euronymous in 1993, we exchanged a couple of letters before he got killed. Not much to say about it actually.

When you guys recorded “Omnipotence Aeternae Diabolous” – were there any pressure to make a record that would withstand the test of time? Are you satisfied with the result? Furthermore, what can you tell us about the themes explored on that record?

There was no pressure in that regard. We just needed to expel all this black energy into sonic chaos and that is what we accomplished to do with OAD. I’m still satisfied with it. I wouldn’t change anything. It represents us the way we felt back then and it is black and corrosive as we wanted to be. Venomous, chaotic…with mistakes and everything. Love it!

Lyric-wise, it is a complete compendium devoted to the archetype of Lucifer, the philosophy behind Satanism and the occult. It’s up to the listener to create a landscape of reflection while getting a listening or just enjoy the poisonous chaos. Both choices are fine by me.

What’s your stance on social media and the myriad of clowns that pollute these platforms? What’s the pros and cons in your opinion?

I don’t care about people in social media anymore. If they want to make a fool of themselves it’s up to them. I use Social Media only to promote my projects, and more importantly LINGUA MORTIS ARTWORK. If you want to check my portfolio and follow my development/ improvement here’s where you can find me:

www.instagram.com/lingua_mortis_artwork

www.facebook.com/linguamortiscr

Email: u.xerxes.h@gmail.com

10 albums you can’t live without.

It’s hard for me to choose only 10 albums. Here are some of the most important records in my life: Iron Maiden (Seventh Son of A Seventh Son), King Diamond (Fatal Portrait), Def Leppard (Hysteria), Death (Scream Bloody Gore), Sarcofago (INRI), Mayhem (De Mysteriis Dom Sathanas), Slayer (Show No Mercy), Kreator (Endless Pain), Testament (New Order) and Metallica (And Justice For All).

Do you think mankind should be self-governed, and if so, do you think we are capable of that, or are we too stupid and ignorant?

History shows we are useless as a mass. And the current pandemic situation shows it. No matter how much knowledge advances deep inside there is a complete lack of common sense. There is actual fear to life by the constant menace of death, and many just enslave themselves and stop actually living. Instead, they bet their existence locked inside their houses, like a bird into a cage and governments promote it as being “save”. At least the bird is there against its will and nature brought it more common sense than us, if you open the door it will fly away. We will close the door and embrace being locked. Death should be a reminder that we MUST LIVE without fear, because no matter how healthy or sick you are, you will be GONE someday, by a virus or by anything else. So yes, I think we are too stupid and ignorant.

Lastly, what does the future hold for your endeavors and how can people get in touch? Thanks for your time!

Thank you for the space in your site, Jim. It was quite an honor. Currently I’m in the process to find a new brand for my artwork endeavors oriented to the tattoo business. It might happen sooner or later this year. I will release new t-shirts and goodies as well. Keeping myself busy with Lingua Mortis is my priority now, as well as spending time with the people I care about and love. you can contact me via the details mentioned somewhere above. Cheers!

EP review: Disembodiment - Mutated Chaos (2021)

 

Disimbodiment – Mutated Chaos

Canada

Everlasting Spew Records / Caligari Records 

Everlasting Spew Records has recently released this EP of Canada's Disembodiment called “Mutated Chaos” on Pro CD format, while Caligari Records released it on tape. The band may be new, but its members have played in bands like Oath Div. 666, Nilblorts, and They Were US.

Disembodiment from Quebec is a new juggernaut in death metal, playing a style that perfectly blends different elements of the genre into one astronomically heavy sound that infuses heavy grooves with sepulchral darkness. Each song is replete with hard riffs, dynamic drumming, putrid vocals and sick bass lines. The songwriting on this EP is absolutely supreme, which is further enhanced by a clear and crisp production, perfectly complimenting the excellent craftsmanship displayed by the band. You definitely need a pair of good earphones in order to fully digest the power and heaviness of these compositions. This EP isn't particularly lengthy, but that's also one of its strong points, since it gets the point across more thoroughly and leaves you wanting more. Highly recommended for fans of bands like Convulse, Suffocation and Incantation or death metal in general. (HT)

Album review: Slaughtbbath - Alchemical Warfare (2019)

Slaughtbbath – Alchemical Warfare (2019)

Chile

Hells Headbangers Records

Slaughtbbath, hailing from the depths of Chile have released numerous demos, splits, EPs, and a debut full-length with a pretty consistent output since their inception in 2002. Their second full-length is fittingly titled “Alchemical Warfare.”

Musically, their style is rooted in the bloody sounds of Blasphemy, Sarcofago, and Bestial Warlust. Having said that, you can expect nothing but a high-octane dosage of supreme darkness from this Chilean horde. The album is a tour de force from beginning to end, featuring 8 tracks and 34 minutes of infernal black/death steeped in vitrioloic poison, which is enough to satiate your need for all things morbid and chaos-driven. Each track is stacked to the brim with blasphemous riffs, savage vocals, hard-hitting drums, and heavy bass lines, including the fact that the whole thing is boosted with an excellent production (at least by black/death standards) which allows all the instruments to be heard and distinguished from one another. Listening to this album will plunge your soul into the very depths of Hell. “Alchemical Warfare” is a more than worthy follow-up to “Hail To Fire” and comes highly recommended to fans of well-executed bestial black/death. (HT)

Album review: Crimson Moon - Under the Serpentine Spell (2005)

 

Crimson Moon - Under the Serpentine Spell (2005)

USA

Total Holocaust Records

It wasn't until the first time I listened to Crimson Moon that I began to envision where the path I had been following for some time was leading me. It has remained one of the greatest influences on what I create. "Under the Serpentine Spell" is unlike any other black metal record. The ambience generated by the synths on this one is the element that really makes it stand out. While the production isn't particularly great, it's defnitely ideal for the compositions that make up this lengthy opus. The bass is prominent and has a tone that is suitable for the somewhat muddy sound of the tracks, just like the guitars. Even though the percussions are done with a programmed drum, every aspect of the recordings sounds incredibly good and there is hardly anything that could have been done better. If you listened to other releases of Crimson Moon, you know what to expect from Scorpios' vocals; aggressive, unorthodox and bestial rasps. He also does spoken word vocals in several parts of the record as well as some chants.

The first full-length "To Embrace the Vampyric Blood" is no less impressive and has a more consistent sound throughout its duration, but its successor has had a tremendous impact on underground black metal as well. The guitars are at times more or less buried by the other instruments, but it isn't an issue because the bass is supposed to be just as important in the songs and the riffs could be considered as part of the overall atmosphere. There is so much detail within the recordings that it's easy to remain captivated by it for hours at a time. Everything about it is chaotic yet refined and at times it gets quite eerie and oppressive. The guitars are different from what other bands in the genre have delivered, creating alongside the bass an elaborate and fierce sonic onslaught. Although not so loud, the percussions are powerful and precise, reinforcing the relatively dense soundscape that the other elements culminate into. The intro and outro are magnificent synth compositions that sound both sinister and phantasmagoric, and complement very well the substantial and evocative tracks of this ambitious output.

For me this is a truly marvelous album without any real flaw. Hipsters stay away from this. (Nahas)

Highlights:

The Blood that is Eternal

Amidst the Labyrinths of Depression

Under the Serpentine Spell

Bloodstained Dreams of the Dragon

EP review: Antt - Esoteric Misanthropy (2021)

 

Antt – Esoteric Misanthropy

India

Independent

Annt is a black metal duo hailing from the infernal depths of Assam, India, and “Esoteric Misanthropy” is their debut EP.

The title feels appropriate for this release, as this whole thing radiates pure darkness from start to finish, with a sound firmly fixed between the second and third wave. The music is relatively straight-forward and well-executed for its duration. The band employs melody in a clever way, without compromising any hostility. Musically, their sound is characterized by harsh, croaky vocals, apocalyptic riffs and fast, hard-hitting drums, as well as incorporating a good dose of melody into the mix. Vocalist Telal Xul’s harrowing groan brings to mind Hoath Torog from Sargeist/Behexen fame, while the guitars are pretty much par excellent and replete with sombre textures. The material is quite strong and further enhanced by a verily excellent production. 

Their sound is something of a mix between Sargeist, Thunderbolt and Babtism. That being said, I don’t ever recall hearing a black metal band of this magnitude and quality from India. The band display a level of professionalism and craftsmanship that most bands are unable to pull off so early in their career. All in all, “Esoteric Misanthropy” is a stellar EP through and through. Recommended. (HT)

Interview: Devouring Void (2021)

DEVOURING VOID is a promising up and coming Black Metal trio hailing from the blackest depths of Canada whose music is synonymous with misanthropy and darkness. The following interview was done with vocalist/guitarist A.R.  

Greetings A.R.! Tell us a little bit about the formation of Devouring Void and how its evil seed came into being.

AR: It began as a brain child of mine in mid 2015. I was in another band (which I won't name) and knew it wasn't going to last so I decided to start planning a new band out. I was writing riffs for this project as early as 2013-2014 before I had the name, "Devouring Void", which came to me in 2015. As much as I did write many riffs for this band years and years ago (which will be on upcoming releases), it was always kept on the backburner because I was too busy with other projects. Then in 2019, I teamed up with KB one day. KB had always been a good friend of mine for years, and listened to all the right stuff to be in a project like Devouring Void. One day we decided to do something productive when we hung out and perhaps jam riff ideas together. It ended up turning into us working on full songs within that first little meet up. In the summer of 2019, our soon to be drummer K.H. was doing a big move, ended up moving into the downstairs of the house I lived in at the time. This guy like KB, had all the right tastes and influences when it came to black metal, and knew his shit completely when writing his own drum parts. Having K.H compelete this black metal trio made this entity go from a project to a legitamate and productive band. We are three guys who get along perfectly, have all the right aligning tastes and influences and have prior experience in being in a band.

What are your main influences and how would you describe your sound?

AR: We are three dudes who play black metal in the vein of Darkthrone, Beastcraft, Katharsis, with a little bit of Australian black thrash sprinkled in. We also worship 80's speed and all the first wave bands. Our main priority as a band is the quality of riffs, hooks and overall songwriting. We love to playing at ripping fast tempos but every so often, switching shit up to a mid paced gallop, like the ones that can be heard on the "Blood Fire Death" album by Bathory.

Do you see playing this type of music as an outlet that prevents you from going on a killing spree?

AR: Yes that, or some sort of self destruction. It's what keeps us sane. All three of us are lifers in what we do in terms of playing music, having gotten into true metal at very young ages.

Tell us about your debut EP ‘’Septic Fluid Dripping From the Open Wounds of Gaia’’ and what inspired the title? Is it based on a concept? Also, how long were you working on the material?

AR: Many bands think of ways they can blasphemize a certain deity as a form of lyrical themes. We as Devouring Void decided not to touch religion at all, so for this title, I Just wanted to have something over the top, but attacking something very real. Gaia, whos is the greek goddess of the Earth felt natural to go after. This band is all about total negativity, and ending of all life. The earth is what gives us life on a collective basis. Consider the general themes of this band as self destruction, and then destruction of all, simultaneously. Desecration of the collective consciousness.

The first track on the EP opens with an audio sample from the Jonestown massacre. Why did you include this particular sample? Also, what’s your stance on the whole incident and cult leaders like Jim Jones?

AR: Because it's vile, horrific and 100% real. You very much are hearing approximately 900 people kill themselves, or being forced into suicide, also as a bonus... royalty free! What better way to open a misanthropic black metal EP, than to hear the sound of 900 dying? My stance on the situation? It's an event of human atrocity like any other. A man corrupted by his own paranoias and position of authority. If I'm not mistaken, Jones' paranoias of the US government was further amplified by his abuse of prescription medications.

What are some of your interests outside of playing music?

AR: Horror games, martial arts, weird history, animals, nature.

Are there any labels in particular that you would like to work with in the future?

AR: preferably a good mid-tier label. Definitely could not see this project working with any major label.

What are 10 albums in the realm of Black and Death Metal you can’t live without?

AR:

Darkthrone- under a funeral moon

Katharsis- 666

Possessed- 7 churches

Excoriate- On Pestilent Winds

Beastcraft- Baptized In Blood And Goatsemen

Bathory- The Return

Merciless- The Awakening

Bestial Warlust- Blood & Valor

Sarcofago- INRI

Autopsy- Severed Survival

How do you see your sound progress on future recordings? What can we expect?

AR: a way more evolved Devouring Void, but consistent with the original sound and concept of the band. Same old school vein riffs, just executed with more hooks, more interesting song structure, and more dynamics.

If your music was a weapon, what would it resemble?

AR: A giant portal in the sky that swallowing and crushing all life as a whole.

What are some of your favourite albums from 2019-2021?

AR: That Hexorcist demo that came out this year blew my head off. Also Diabolic Night's debut full length is fantastic. Amazing to hear those songs with real drums. Cannot wait for Hexorcist's debut album. 

Also Terrestrial Hospice's "Indian Summer Brought Mushroom Clouds" is masterfully executed second wave worship black metal. Oath of Cruelty's debut album most certainly deserves a mention as well, amazing guitar work and guitar tone.

Your thoughts on the current state of the underground?

AR: It's fantastic if you're looking in all the right places?

Lastly, what are your future plans for Devouring Void and when can we expect new material? Thanks for your time.

AR: We're in the process of tightening up the new songs for our upcoming full length. We are hoping to have something out by the end of this year or early 2022.

Thank you for this interview, have an excellent day!

Album review: Abhorrot – Abysmal Echoes (2019)

Abhorrot – Abysmal Echoes (2019)

Austria

Morbid Chapel Records

Formed in Vienna, the Austrian black/death duo released their debut full-length “Abysmal Echoes” back in 2019 via Morbid Chapel Records. 

The sound that pervades this debut is exceedingly cavernous and gives the impression that the music was recorded in some underground cave somewhere, although that was probably the idea. Musically, it’s probably somewhere between Irkallian Oracle and Embrace of Thorns, with extra emphasis on rusty-cage raw production. An indecipherable array of grim vocals are belched out atop a hypnotic discharge of distorted, heavy guitars, while pounding drums propel the chaos. Indeed, those with a penchant for murky, chaos-driven, low-fi black/death metal will certainly indulge in the miasmic darkness of Abhorrot. 

The only flaw is perhaps the production, since a better sounding recording would’ve given the music a bit more life and amounted to a more powerful sound overall. Nevertheless, it’s still good for what it is. “Abysmal Echoes” straddles the line between cavernous and bestial, but with a noxious atmosphere all its own. The album features 8 songs in total, clocking at 37 minutes. (HT)

EP review: Penny Coffin - Τεφρα (2021)

Penny Coffin - Τεφρα

Scotland

Self-released

The debut EP by Scottish trio, Penny Coffin, offers three tracks of unholy, knuckle-dragging Death Metal that leaves more than just a few dead hippies in its wake. The music is reasonably well-recorded, with a production job that allows everything to be heard and stand out. The band employs blood-curdling vocals with meaty, galloping riffs that is nothing short of devastating. The guitars sometimes venture into more technical territory, with riffs sharp enough to cut through bone. This whole release induces a menacing atmosphere augmented by an array of sludgy rhythms and heavy low-end. The drums are mixed well and consists of various tempos that compliment the music. I didn’t hear any solos in the mix, although, the songs does not seem to lack any depth without them and are well executed regardless. If you’re looking for something slightly different, yet still totally heavy as fuck, then check it out. “Τεφρα” is an auspicious first offering and a hint of what the future holds for the band. For fans of: Cruciamentum, Cerebral Rot, Diabolizer.  (HT) 

Album review: Homicide - Minotaur Unleashed (2020)

Homicide – Minotaur Unleashed (2020)

Bangladesh

Vrykoblast Productions

Homicide is a Death Metal band from Dhaka, Bangladesh, and “Minotaur Unleashed” is their debut full-length released by Vrykoblast Productions on pro CD format. 

The sound of Homicide is very much in the traditional vein, striking a balance between melody and more technical arrangements. It definitely borders on Tech-death, but not in an overwhelming way. All songs are memorable and can easily be distinguished, as well as the fact that the music is exceptionally well-played. One can hear trace elements from bands such as Suffocation, Krisiun, and Monstrosity, so that basically tells me that the band is strongly influenced by classic Death Metal, but with a slightly modern production. There are some really killer songs on this album like ‘Whipped, Chained, Burned’ and ‘Repatriate’ but overall it’s hard to pinpoint favourites since the entire album is super solid. 

It’s important to note that the band is from Bangladesh, which isn’t exactly a country that is particularly famous for its metal scene; however, make no mistake, there’s certainly more than a handful of worthy acts hailing from that part of the world and Homicide is definitely one of them. “Minotaur Unleashed” is all around a solid album and I can definitely recommend it to fans of good Death Metal. (HT)

Split review: Nameless Tomb / Sadomortuary - Nameless Mortuary (2020)

 

Nameless Tomb / Sadomortuary – Nameless Mortuary

Germany / Italy

Goatmarch Distro

The aptly titled “Nameless Mortuary” is a split release between Nameless Tomb (Ger) and Sadomortuary (Ita) released under Goatmarch Distro from Greece. Both of these bands embody the true essence of the underground and transmit a veritably evil atmosphere that many bands lack nowadays.

Inaugurating the madness is Nameless Tomb from Berlin, Germany, offering five tracks of vicious and vociferous Black/Death Metal that could potentially drive your neighbours insane. Their side of the split starts with an audio sample of Armin Meiwes, which is quite fitting considering the band is from Germany. The music is characterized by sinister and buzzy guitars, unintelligible growls, primitive, yet well-executed drums, and an unabashedly raw production. Their style conforms to the formula of old-school, raw and bestial Black/Death Metal that gives nods to bands like Corpse Molestation, Havohej and Abhorer. In other words, this is some killer fucking shit. 

The next attack comes from Sadomortuary from Mantua, Italy – and just like Nameless Tomb – they offer more or less the same palette of aural sickness, albeit even more primitive, with a sound sonically on par with bands like Beherit, Weregoat, and Sadomator. The music is – as mentioned above – utterly primitive, ugly and raucous. Their songs aren’t particularly short either and succeed in inducing a profoundly devilish atmosphere, pulling you into the darkest corridors of the bottomless pit with their brand of ritualistic Black/Death. 

All in all, both bands deliver. In fact, this is one of my favourite split releases of late. I definitely recommend it to those into the more bestial and crude sounding stuff. (HT)