ALBUM REVIEW: Reverence to Paroxysm – Lux Morte (2023)

Reverence to Paroxysm – Lux Morte

Mexico

Dark Descent Records / Vomit Records / Me Saco Un Ojo Records

 

2023 continues to churn out endless ever-amazing ‘finds’, even though we are just past the first quarter of 2024. Reverence to Paroxysm comprises dudes also serving time in other Mexican extreme metal bands like Blood Reaping, Castleumbra, Hacavitz, Apocalipsis etc., and I am limiting the listing to bands that are still in! These days, I would hesitate to use the term ‘supergroup’ or ‘project’; RTP should be regarded instead as yet another facet of their musical identities. 

I admit I was immediately drawn to this album by way of, yes, the super cool band name and album cover (and without having heard a note). Like my friend Alden also noted, the artwork/design has a pretty black metal or DSBM feel and look about it. The music/performances therein could not be further from DSBM. This is monstrous, hulking yet exquisite death metal rooted in OSDM but with a very pronounced incorporation of doom and frosty black metal aesthetics. One review I read quite correctly referred to Lux Morte as “atmospheric death metal”. The atmosphere however, does not refer to anything misty mountainous and Cascadian; more a cold, dark, murky swamp or forest wetland with dense choking fog. From which, Swamp Thing-style beasts emerge to drag you under the waterlogged soil, decaying leaves and branches etc.,……….WWWUUUUUURRRRRRGGGGGHHHHHHH!!!!!!!

The drumming here really stands out; fluid almost-jazzy but metal through and through, just like how Bill Ward’s swing served as foil to the heavy-thick guitars on the first six Black Sabbath albums. And finally, the part that nails it for me is the sampled monologue (from a film or documentary) at the start of the sixth and final track, “Care Data Vermibus”:

“…...my mind is going; I can feel it………...
I can feel it……………There is no question about it.”

Hence, my friends, surrender yourselves unto the dark night of the wwwuuuuurrrrggghhh!!! (Unkle Superion) 

ALBUM REVIEW: Skrying Mirror - Omnimalevolence (2023)

Skrying Mirror - Omnimalevolence

USA

I, Voidhanger

When it comes to industrial metal, I can’t say that my knowledge extends beyond the more well-known acts like Godflesh, (early) Pitchshifter, The Amenta and (early) Fear Factory – all of whom have released some decidedly enjoyable works in the past. Skrying Mirror, on the other hand, take a much darker route, combining the haunting soundscapes of industrial with the viciousness of death metal to create something truly unique and terrifying.

The trio is made up of seasoned musicians, most notably Matron Thorn, who you may recognize from Ævangelist and Benighted in Sodom – and indeed you can hear his trademark touch in Skrying Mirror, as the project is steeped in darkness and a haunting atmosphere that suffocates you from start to finish.

The album was released by I, Voidhanger, a label known for putting out mainly avant-garde black and death metal releases that are usually of superior artistic quality. Skrying Mirror is no exception, as the nine compositions on “Omnimalevolence” are dynamic and exude an otherworldly and occult atmosphere that takes the listener on a nightmarish journey. The music is quite multi-layered, but also flows very coherently.

The vocals of Vardlokker (Nexwomb, Witchbones) are absolutely inhuman and pairs well with the backdrop of uncanny guitar rhythms and distorted bass riffs. The thick wall of noise creates a verily dense ambiance, which is further bolstered by visions of murder and a world in ruins, as the music begins to subliminally affect you like some kind of dark epiphany. Furthermore, the drumming by Manuel Garcia (Blattaria, Hex Arcana) is really well executed and adds an element of discordance to the mix.

The pitch-black and harrowing soundscapes may not be everyone's cup of tea, but if you have an affinity for bands like Autokrator, Ævangelist and Blut Aus Nord, then there’s no doubt in my mind that Skrying Mirror is right up your alley, as “Omnimalevolence” is nothing short of outstanding. Highlights include: “Fractals” “Yearn” “Lux” 

Album review: Acausal Intrusion - Panpsychism (2023)

Acausal Intrusion - Panpsychism

USA

I, Voidhanger

 

Acausal Intrusion is a death metal collective made up of musicians Nythroth (Feral Lord, Slog, etc.) and Cave Ritual (Irradiated Marrow, Ar'lyxkq'wr, etc.), and “Panpsychism” is their third full-length album since their formation in 2020.

Stylistically, this is experimental death metal with a kind of “freeform" approach reminiscent of bands like Ulcerate, Gorguts and even Morbid Angel. You never really know where the music is going to go next, as each song consists of intricate time-changes and complex rhythms, but at the same time there is also a lot of atmosphere.

Technical death metal gets a bad rap for being overproduced and lacking any sort of feeling, although that is certainly not the case with Acausal Intrusion; on the contrary, the production has a gritty and natural feel while still complementing the music with an audible mix. Think 90s tech-death like Atheist and Cryptopsy; those bands had all the technical chops without sounding like a mindless wankfest, and that’s exactly what Acausal Intrusion achieves with this release.

The tracks on this album range from four to eight minutes in length and feature dark soundscapes and head-twisting riffs that constantly keep you on your toes as the noose tightens around your neck. The drumming is on point and fits the overall structure perfectly, while the utterly barbaric vocals add a bestial element to the music.

I didn’t really know what to make of “Panpsychism” at first, though I knew I was being subjected to something special as every haunting layer and segment began to make sense. It's an album best listened to in its entirety in order fully appreciate its genius, though that doesn't mean you can’t pick out individual tracks. Highlights include: “Encoded Exagrams”, “Statical Universe” and “Molecular Entanglement”

All in all, “Panpsychism” is a solid oeuvre of well-crafted Death Metal with an experimental twist that’s also rough around the edges. Anyone who likes good death metal with an unconventional approach will thoroughly enjoy this album. 
 

Album review: Thunraz - Borderline (2023)

Thunraz - Borderline

Self-released

Estonia

Thunraz is a death metal project from Estonia (Northern Europe), consisting of Madis Jalakas, and “Borderline” is the third album (and the fifth release overall) under the project’s name.

It’s worth noting that Thunraz released two albums in 2023: “Revelation” and “Borderline” So how does “Borderline” compare to “Revelation”, you might ask? Well, “Borderline” hits every bit as hard as its predecessor. If anything, the album sounds heavier and more chaotic, with nine tracks of devastating and soul-crushing death metal that also incorporates influences from hardcore and doom.

The recording has a murky quality to it, yet everything sounds comparatively audible. On the previous album, Jared Moran (Acausal Intrusion, Psionic Madness, etc.) played drums, but on this recording Madis pretty much handled everything himself, from bass to guitars to vocals to drums, and did an excellent job.

The guitar rhythms are tighter than Rambo’s headband, with exceedingly heavy riffs that maul you like a spiked whip, coupled with flexible bass riffs and pugnacious vocals that range from martial growls to hellish screams. The inclusion of clean vocals makes the songs more interesting and even reminded me of Dax Riggs from Acid Bath. The sludge influence is obvious due to the slow-to-mid tempos, although it’s interesting how the songs manage to sound so discordant even during the slower segments.

The atmosphere on this release is exceptionally dark and melancholic, often bordering on black metal, although it’s not impossible to assume that there’s some black metal influence given the hopeless and negative texture of the music. If anything, I'd say Thunraz is in a class of their own as they combine an array of influences and yet miraculously make it work with relative ease as each composition is cohesive, succinct and straight-to-the-point.

Some bands that come to mind while listening to Thunraz include Immolation, Acid Bath, Soilent Green and Godflesh. These reference points should more or less give you an idea of what to expect. Every track on this album is killer, but some highlights include “Monument”, “Weight of Time” and “You and Me” (unarguably the apex of the album).

Thunraz is an underground extreme metal project that categorically puts out great releases for the style they play. This being said, “Borderline” is a solid offering from beginning to end, with 30 minutes of deranged Death Metal madness that will make all pretenders leave the hall, as the music on this release comes from a sincere and dark place.

Album review: Sammath - Grebbeberg (2023)

Sammath - Grebbeberg

The Netherlands

Hammerheart Records

Dutch barbarians Sammath are back with their seventh album, aptly titled “Grebbeberg”, released in June 2023 via Hammerheart Records.

The sound on “Grebbeberg” is no less ferocious than their outstanding previous album “Across the Rhine Is Only Death” from 2019. It's taken the band four years to record a new album, and it's obviously been worth the wait. From the very first note, the music categorically annihilates everything in its path with a barrage of heavy-hitting, warlike black metal that overlaps between ‘90s Scandinavian black metal and bestial war metal.

One noticeable change on the new recording is that the sound seems heavier and denser this time around, while at the same time sounding clear but not too polished. The guitar work is great as always, interweaving classic black metal riffs with high-octane thrash. As punishing as the music is, the band isn’t afraid to incorporate epic leads and melodies, adding a great deal of depth to their assault. Jan Kruitwagen’s vocals are suitably belligerent, as each vocal line is delivered with maximum hatred.

Drummer Wim van der Valk is an absolute beast behind the kit, with experience in prominent Dutch acts like Inquisitor and Centurian; he shows a knack for both simplicity and technical prowess with relative ease. Definitely an underrated drummer. The lower registers, while not super audible, add a layer of megaton heaviness to the chaos courtesy of Ruud Nillesen, who has been with the band since 2002.

Tracks like “Murderous Artillery” show the band at their most chaotic, which brings to mind bands like Sadistik Exekution, but with more melody added. Another highlight is “Crushed, Shattered and Destroyed” featuring some pretty incredible dynamics. In spite of its brutality, there’s never a lack of atmosphere, as Jan mete’s out a salvo of punishing riffs that’s both melodic and hypnotic. A high note is reached with closer “Stahl Und Feuer” which captures all the qualities of the band summed up in one single track.

Overall, “Grebbeberg” is just as great and relentless as everything else the band has done and shows their diehard conviction to extreme metal, even at their age. I can honestly say that this is one of the best albums of 2023, so if you haven't heard it yet, make sure you do so soon. 

Album review: Infernal Execrator - Diabolatry (2023)

Infernal Execrator - Diabolatry 

Singapore

Pulverised Records

 

The black metal tyrants from Singapore Infernal Execrator are back with their third album “Diabolatry”, which was released on CD and vinyl by Pulverised Records in December 2023.

From start to finish, “Diabolatry” hits harder than a spiked ballista bullet fired at you from a trebuchet straight out of hell. Every track on this album is ruthlessly executed, precise and showcases the band's superb craftsmanship. I was definitely impressed by the level of ferocity and high-octane aggression that this album exhibits.

Frenzied tremolo riffs are executed with relentless precision while the band maintains the pace and intensity as each drum beat mercilessly pummels the listener to dust like a hellish hammer causing multiple broken bones. The music runs you over like a tank, while Ashir’s martial vocals are spat into the mic like a demonic entity denouncing everything that is holy.

Tracks like “Infernal Storm of Oblivion” show a more mid-paced side to their sound, introducing various dynamics and haunting melodies, while “Marauders Prayers of Profanation” opens with a terrifying scream and simply obliterates everything in its path with all-out viciousness. The riffs are both catchy and blistering, but ultimately very well crafted, which also happens to be one of the focal points of this album. The music strikes a seamless balance between brutality and melody, the way it was always meant to sound, while the album’s excellent production brings out the best of the performance.

After several listens, I can confirm with absolute certainty that “Diabolatry” is the heaviest and best album the band has released to date and another excellent addition to their epic discography. The whole record is packed with incendiary songs that once again show why countries like Singapore, in spite of its small size, are no underdogs when it comes to producing quality extreme metal. Highly recommended. 

Album review: Blood Serpent - Bestial Extermination (2023)

Blood Serpent - Bestial Extermination

Vietnam

House of Ygra

 
 
Vietnamese warlords Blood Serpent have released their excellent debut album “Bestial Extermination,” which is a decidedly vicious assault on all fronts, delivering nine tracks of blackened war metal that strikes harder than the iron fist of Satan.

I can’t say I’ve heard many bands from Vietnam, so I was pleasantly surprised when I got to hear this nasty slab of caustic metal madness. The sound seems focused, with hateful vocals laid atop a wall of annihilating riffs and skull-hammering drums, making you feel like you’re being stabbed repeatedly by some malevolent, otherworldly force.

Musically, the songs are kept quite simple, but executed with rapid conviction as each track pummels the listener with homicidal intent. Those with a penchant for ruthless war metal like Diocletian, Revenge and Black Witchery will absolutely love this release. They even do a cover version of “Unholy Vengeance of War” that closes the album on a high note.

This whole album is masterfully performed, with the band delivering a no-holds-barred assault of hellish extreme metal dead set on making a statement. The production and sound are well mixed and add power to the entire performance, not to mention that each member handles their instrument incredibly well, even the bass can be heard.

Every track is deadly, but some paradigmatic examples include “Blood Defilement” with the transition to a more sinister doom passage later on, adequately mixing the faster parts with more mid-paced sections, while “Infernal Rites” features some emphatically sick guitar solo that make you go “AAAARRRRRRGGGHHHH!”

The vocals are absolutely visceral and one of the highlights of this release. It ranges from demented growls to hellish, paint-stripping shrieks that echo like a cannon in your skull.

Overall, it’s an absolute bomb of a release, and one of my personal favorites from 2023. Do yourself a favor and check these guys out, especially if you're a fan of the bands mentioned earlier.

Album review: Bombarder - Sa Dna Groba (2024)

Bombarder - Sa Dna Groba

Serbia 

Grom Records

Death & Thrash Metal Promotion

 

Legendary Speed Metal Titans Bombarder are back with their eighth album “Sa Dna Groba” (which translates to “From the bottom of the grave”) and deliver another album chock-full of banger tunes infused with punk sensibilities. This is emphatically old-school Speed/Thrash Metal, so you can expect to be bombarded (no pun intended) with an array of barbed-wire riffs that are both catchy and heavy as a Sunday hangover.

Per "Hellbutcher" Gustavsson (Nifelheim, Necrocurse, etc.) makes an appearance on ‘Bombarder III,’ which is an utterly savage track made even more savage with Hellbutcher’s vocal lines. Vocalist Nenad Kovačević, who has been with the band since its inception in 1986, belches out some verily maddened, hollering vocals in Serbian, giving the whole album a very personal touch. I have always felt that metal bands sound better when they perform in their mother tongue and “Sa Dna Groba” is a testament to that. It’s amazing how the singer, who is sixty-one years old, can still deliver such an energetic and passionate performance.

Each member contributes to the collective excellence of this album, as the whole performance is tighter than a camel's arse in a sandstorm and accentuated by a crystal clear production fitting to their sound. The riffs really hit the spot and are masterfully executed on every track, with tempos ranging from mid-paced to more rapid, neck-breaking sections, including some eminently adept guitar solos as heard on the eponymous title-track and “Bezubi Osmijeh” (Toothless Smile).

Every composition on this album kills, even “Na svoju vagu život stavi”, with its absolutely brilliant interplay of violin and sweltering guitar shreds. Furthermore, the rendition of Kreator’s "Flag of Hate” ends the album on a high note with the lyrics again performed in Serbian rather than English. As far as I know, the band relocated to Serbia sometime in the 90s during the Bosnian war. So I am certainly grateful for their longevity and tenacious metal spirit, because the band has endured a lot since its formation. You simply cannot get these dogs down!

Overall, Bombarder is a band that has stayed true to their old-school roots, as “Sa Dna Groba” is an absolute banger of an album that maniacs of true Speed/Thrash metal should not miss out on.

Album review: Vastum - Inward to Gethsemane (2023)

Vastum - Inward To Gethsemane

USA

20 Buck Spin

 

It's not like I listen to all sorts of death metal all the time, but I daresay Vastum is my favourite post-2010s modern death metal outfit.  Their unique propositions aren’t just the twin vocal attack of Leila Abdul-Rauf (throaty witch rasp) and Daniel Butler (roaring demon), but also in the way the music is made and sounds; foundation is clearly OSDM, but they have found a way to keep the melodies, riffs and rhythms both progressive and avant-garde without veering off a ‘pure’ death metal course. Aesthetically and thematically, their lyrics/titles and artwork touch upon what I would call the dark night of the soul; inner demons, twisted thoughts, spiritual torment and all that, but most importantly, it all ends in wwwuuuuurrrrgghhh and waaarrrrggghhhhh………….

Compared to 2019’s “Orificial Purge,” the latest album feels like they've toned down the groove n’ churn and instead put more emphasis on a pounding, almost droning approach. I guess there wasn't any sexy going on at Gethesemane; Jesus’ absolute mental agony, suffering and sweating blood at the knowledge of what was to come with his arrest. That's what this album does: it picks up on the anguish and incorporates it into the riffs and textures. I read a review that said this album was boring, and while I agree it certainly isn’t as ‘immediate’ as “Orificial Purge,” “Inward to Gethsemane” is nonetheless another excellent work from Vastum that reveals its treasures (and dark pleasures) with a few more spins. (Unkle Superion) 

Album review: Gosudar - Morbid Despotic Ritual (2021)

Gosudar - Morbid Despotic Ritual

Russia

Rotted Life Records

 

Gosudar released one of the best albums of 2021 with "Morbid Despotic Ritual", an opus of ghoulishly evil, dark death metal. As this murky oeuvre unfolds, the band show a knack for excellent songcraft – delivering a barrage of destructive darkness, with references to 90s era Incantation, as well as drawing parallels to more contemporary acts such as Cemetery Urn and Dead Congregation. In addition to the ferocious nature of the music, the title seems to imply something physically macabre, and that's exactly what Gosudar achieves with this release. The whole thing is remarkably well-crafted and exudes a level of songwriting that puts them above some of their peers. As far as Russian death metal goes, Gosudar ranks among the best. Highly recommended. Stand-out tracks: “Demented Visions of Infinite Power” “Awakening of the Realm” “Insurrection of Nephilim”

 

Album review: To the Dogs - Light the Fires (2022)

To The Dogs - Light the Fires

USA

Life After Death

 

Milwaukee-based To the Dogs is a trio founded in 2020 that has released a demo and a debut album called “Light the Fires” in 2022. 

Musically, they play crust-infused death metal inspired by bands like Celtic Frost, Anti-Cimex and Toxic Holocaust. The result is a vicious slab of mid-tempo death/crust that hits you right between the eyes. Their line-up is comprised of Nikki Jeremic (bass, vocals), Ian Olsen (drums) and Chris Morrow (guitar, vocals), who formerly played in the black/death band Black September. 

Their ability to mete out sharp riffs with hardcore sensibilities is quite striking, as the band effortlessly combines influences from both genres, although at its core the music is still death metal through and through and masterfully executed as such. 

Vocalist Nikki – who hails from Bosnia and Herzegovina – belts out a powerful, hate-filled roar, which is adequately delivered and backed by a wave of darkened crust riffs, energetic drum beats and audible bass that adds an extra layer of heaviness to the mix. Despite the lack of guitar solos, the music functions well enough without them, as this is pretty much a straight-ahead bluster of old-school death metal without any compromises. 

Overall, “Light the Fires” is an impressive debut album, boasting some serious chops that will compel you to run out and set the neighbourhood ablaze.

Album review: Evil Damn - Necronomicon (2021)

Evil Damn - Necronomicon

Peru

Hells Headbangers Records

 
Peruvian maniacs Evil Damn (comprised of members of Goat Semen and Disinter) released this beast of an album back in 2021, entitled “Necronomicon”. Musically, the band plays hellish and blasphemous black/death metal infused with thrash. From beginning to end, this album subjects you to a plethora of sweltering riffs and ripping guitar solos that are masterfully executed, paired with caustic screams and pounding, bestial drums, all back by an excellent production that provides clarity to the performance. Erick Neyra's vocals are top-notch. I loved his vocals in Goat Semen and I love his vocals here. The man sounds possessed, and those falsettos are insane. Every instrument is meticulously played and contributes to the performance. Hands down one of the best black/death albums from 2021. Recommended to fans of Sacrificio, Goat Semen and Sarcofago.

Album review: Blood Chalice - The Blasphemous Psalms of Cannibalism (2022)

 

Blood Chalice - The Blasphemous Psalms of Cannibalism

Finland

Werewolf Records  

 

“The Blasphemous Psalms of Cannibalism” is the second opus by Finnish maniacs Blood Chalice. It is essentially a continuation of their vicious black/death, although on this recording they seem to have honed their craft to a considerable degree, with the music sounding fiercer and sicker than before. The production is less polished this time around. There’s some good numbers on here, including a good deal of grind influence. In its essence, the album is utterly extreme, feral, and downright murderous. They also mix it up in terms of speed, ranging from blisteringly fast to robust mid-tempos, which adds a great deal of depth to their attack. In summary, “The Blasphemous Psalms of Cannibalism” is one of my favourite black/death albums from the last few years and radiates pure unhinged violence from beginning to end. Recommended to fans of bands like Black Witchery, Conqueror, and Anima Damnata. Stand-out tracks: “The Last Supper of Insects” “Celestial Destroyer” “Blood Worship”

Album review: Morkera - Aggravations (2023)

 

Morkera – Aggravations

Croatia

Unsigned/independent

Morkera is unequivocally the best band from Croatia I’ve heard (not that I know many bands from there), and their second album “Aggravations” is a truly outstanding work. The music sounds raw and unpolished, and while this is probably intentional, it gives the compositions a gritty and unique feel. The band has a knack for crafting remarkably punishing (and sometimes weird) riffs, with nuances of death and apocalypse emanating from their music. The riffs can be quite intricate at times and feature some excellent harmonies, while the vocals are categorically vicious and have a war metal feel to them. I definitely recommend them to fans of (early) Necrodeath, Rites of Thy Degringolade, Axis of Advance as well as Deathspell Omega for the eerie atmosphere. The fact that they don't have a label is one of the most puzzling mysteries of the 21st century, although they seem to be a DIY band. Stop whatever you’re doing and check this band out.

Album review: Cauchemar - Rosa Mystica (2022)

 

Cauchemar - Rosa Mystica

 

Canada

 

Temple of Mystery Records / Cursed Ritual 

 

 
Cauchemar are probably one of the best bands in modern heavy metal/doom, as every release I’ve heard from them are amazing. The music presented on Cauchemar’s latest album “Rosa Mystica” is nothing short of breathtaking, combining the best of traditional doom and heavy metal with a vibrant production that gives the whole thing a somewhat live essence. Ever since their debut EP, “La Vierge Noire”, Cauchemar has procured a niche for themselves within the underground, and their latest (and third) full-length further cements their consistency and reputation as a band. The French-sung vocals are an integral facet to Cauchemar’s sound, so I’m delighted to see they’ve stayed true to this approach. Stand-out tracks: “Rouge Sang” “Danger De Nuit” “Rosa Mystica” 

Album review: Vølus - Thrown to the Abyss (2022)

 

Vølus – Thrown to the Abyss

USA

Vargheist Records

Vølus’ second album “Thrown to the Abyss” is a respectable take on blackened death metal that fans of this style will enjoy. The atmosphere is so dreadfully dense, it's like some noxious aura covering you, as if some otherworldly force is feeding you subliminal messages through the music. Deep and vicious growls are belched atop a mountain of face-melting riffs, coupled with dynamic drumming and a production that can only be described as murky – and although the music often descends into chaos, the songs manage to maintain a sense of cohesion. The music eludes descriptors like ‘cavernous’ given the album’s fairly clear production, which is complementary to their style. There's some cool ideas here, especially those discordant riffs, which can sometimes rival the best of them in terms of intensity. Those into bands like Portal, Eskhaton and Morbid Angel should definitely give this band a listen. Stand-out tracks: “Traverse the Arkhanspire” “Black Flame Purification” “Temporal Pathways”

Album review: Wrok - De Dood Roept (2022)

Wrok - De Dood Roept

Netherlands

Heidens Hart Records

Dutch purveyors of filth Wrok are back with another full-length of decadent black metal that will push you over the edge once more. “De Dood Roept” (Dutch for “Death calls”) offers 45 minutes of raw, to the core, nightmarish black metal that takes cues from ancient hordes like Bestial Summoning, Samael and Barathrum and transforms those influences into their own brand of twisted, cult black metal. The nine tracks are characterized by primitive tempos and buzzlike riffs so disgusting that it will make your local priest possessed and barf black. Azaghus’ sinister howls complement the evil riffs and ritualistic drumming, creating an atmosphere that effectively conveys a mood of hopelessness. The drums have a nice and crisp sound that gives the music a rehearsal-like quality. Furthermore, the bass contributes to the unholy sound, and blends in seamlessly with everything else. This bears similarities to early Barathrum, where the bass is very noticeable and gives the music a menacing edge. Wrok probably won't appeal to those who favour more accessible metal, but if you like pure black metal that perfectly encapsulates the genre, check it out.

Album review: Thunraz - Revelation (2023)

Thunraz - Revelation

Estonia

Independent

Thunraz is the musical entity by sole mastermind Madis Jalakas, and “Revelation” is the second full-length (and fourth release if you include the two EPs) released under this wholesome project. I find it interesting that this is labelled as “Industrial death metal” since to my ears, it follows a distinctly traditional approach, although by no means cookie-cutter in any shape or form; in fact, Madis Jalakas seems to show a penchant for some extremely juicy hooks and ideas, something I don't typically hear in death metal, giving off the impression of outsider influences. I suppose the hint of industrial comes from the riffs, since the guitars have a knack to be overwhelmingly chaotic and dissonant at times. The compositions are drenched in nihilism and show a great deal of depth. A range of excellent vocals - from hoarse howls to savage growls - complements the music along with an organic production, a feature I always appreciate in metal. I’m actually dumbfounded as to why this project isn’t signed to a credible label, as it rightly should be. Overall, “Revelation” is a wholly enjoyable album with a myriad of interesting ideas. Highly recommended.

Album review: Misanthropy Apotheosis - Crush the Mask of Virtue (2023)

Misanthropy Apotheosis - Crush the Mask of Virtue 

Greece

Repulsive Echo Records 

Greek miscreants Misanthropy Apotheosis return with their second album “Crush the Mask of Virtue” and deliver a vicious display of brutish death metal informed by bands like Krisiun, Morbid Angel and Bolt Thrower. Each track is characterized by bestial vocals, hammering drums and sick tremolo riffs steeped in darkness. Guitar solos have a neo-classical feel and are executed with sheer precision, just like everything else. The band shows great skill at playing their instruments and the excellent musicianship is noticeable in every track. The compositions definitely have a blackened touch, although this is pure death metal to the marrow rooted in old-school traditions. Their sound also draws parallels to other Greek death metal bands like Dead Congregation and Resurgency, without actually sounding like any of these bands. The comparisons are based more on the darkness and emblematic Greek elements present in their music, just like how you can easily recognize a Swedish or Polish metal band. All in all, “Crush the Mask of Virtue” contains enough depth to warrant repeated spins and should not be overlooked if you’re looking for some hard-hitting, bestial and well-executed Metal of Death.

Album review: Church of Disgust - Weakest Is the Flesh (2022)

Church of Disgust - Weakest Is the Flesh

USA

Hells Headbangers Records

 

It’s become increasingly difficult to keep track with Church of Disgust considering the rate at which they bash out quality death metal albums, though it must be emphasized that this is not a band to take lightly. The new album, “Weakest is the Flesh,” hits on all cylinders, offering a malicious assault of chunky old-school filth, with bestial vocals atop tightly-arranged riffs that slaps you harder than a pair of gorilla hands. This is possibly their heaviest work yet, and it absolutely slays. Performance-wise, every instrument is exceptionally well-played and adds to the album’s disgusting odour, including being backed by a production that is (dare I say) perfect for death metal. Indeed, Church of Disgust have once again released a monstrosity of an album that will be a delight for those into grave-desecration, necrophilia, and murder. Stand-out tracks: “That Which Dwells in Gloom” “Humiliated Remains” “Weakest is the Flesh”