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)

Demo review: Sküllfükk SS - Uncut Speed (2021)

Sküllfükk SS – Uncut Speed (2021)

Estonia

Corrupted Flesh Records

The beer-cuzzling crew from Estonia called Sküllfükk SS unleash pure havoc on their latest demo (“Uncut Speed”) featuring 7 tracks of sleazy and offensive black/thrash/speed metal. 

The whole release is permeated with a raw and old-school production complimentary to their style. The music is catchy and infused with punk attitude. You can tell these guys had fun when they recorded the material. Their music will transport you back to the '80s, which is probably what the band intended, since their palette of influences include bands such as Venom, Mercyful Fate, Motorhead, etc. 

Those with an affinity for balls-to-the-wall metal punk, will no doubt enjoy this, as the music is full of killer riffs and incendiary vocal lines. Those looking for something more sophisticated, however, should stay away, as Sküllfükk SS is a band that embraces simplicity and old-school ethos with a healthy dose of punk injected in their veins. 

The overall output is quite impressive considering that “Uncut Speed” is only their second demo. There's something promising here, so hopefully we'll see another release at some point. If you’re a fan of bands like Bunker 66, Vomitor, Abigail, etc., then definitely check it out! (HT)

EP review: Devouring Void - Septic Fluid Dripping From the Open Wounds of Gaia (2020)

 

Devouring Void - Septic Fluid Dripping From the Open Wounds of Gaia (2020)

Canada

Independent

Canadians, Devouring Void, bring the evil with their debut EP titled, “Septic Fluid Dripping From the Open Wounds of Gaia, ” which offers five tracks of fierce Black Metal that’s a paean to all things cruel and malicious. 

Opener, "Infinite Abyss" inaugurates this disc with spoken samples from cult leader, Jim Jones, which sets the tone for the rest of the record. The music isn’t particularly raw, although the production isn’t overly clean either. Comparisons might be subjective, but they remind me a bit of Katechon from Norway. They also exude a verily cold and desolate atmosphere idiomatic to Canadian Black Metal a la Frozen Shadows and Godless North. 

The output in question is quite impressive considering that it’s the band’s first release and they seem to have a good grasp of the genre, as one is able to pinpoint several references while listening to this release. The music is thoroughly well-executed, with the band delivering a solid arsenal of riffs combined with hard-hitting drums and a vocalist that sounds like the personification of hatred. Black Metal fans rejoice. (HT)

Album review: Mefitis - Offscourings (2021)

 

Mefitis – Offscourings (2021)

USA

Hessian Firm

The second album from Mefitis sees the band expand on their characteristic “Dark Metal” sound and venture into even more experimental territory this time around, all the while maintaining a sense of artistic cohesion. These idiosyncratic elements can be characterized based on their penchant for classical melodies and intricate song structures, whilst also emphasizing melody as its main core. Consequently, the result is more or less a cauldron of various sub-genres merged into one, giving the music a rather experimental dynamic. The agonizing screams of the vocalist compliments the music very well and gives the whole thing a profoundly aggressive edge. The band shows great craftsmanship, particularly in how the riffs interplay with each other. This is music for those with an attention to detail, since the music reveals more and more about itself each time you listen to it. If you enjoyed their debut album, “Emberdawn,” then you will no doubt like their new record, as it offers a collection of well-crafted songs full of detailed textures and an atmosphere that draws you in. Call it dark metal, progressive, avant-garde, or whatever you like – it doesn’t matter – the only thing that matters is that you get this album as soon as possible. (HT)

Interview: The Incursion (2021)

 

Not only do they have a badass logo, but their music slays on all fronts. The following interview was conducted with US Black/Death aggressor, THE INCURSION.

Godhammering hails! Tell us about the formation of The Incursion and what the band is all about musically and lyrically.

The Incursion formed circa 2018 in San Jose CA. Alex and Nick were previously in the group Plague Phalanx, and coordinated with Gabe of Slege/Thangorodrim.

What kind of mental images do you wish to depict with your music?

In general, we tend to aim for imagery that embodies the feeling of impending death or ultimate triumph in battle. Things like the barrage of a Katyusha rocket onslaught, or the raining of artillery come to mind.

Do you feel like The Incursion has its own sound? What sets you apart? Can Black and Death Metal be reinvented or not?

I think The Incursion does execute a short list of elements shared by few others which do set us apart somewhat, but in my experience which I am sure is similar to most, all music is usually and unfortunately described by using other bands as an analogy. So with that in mind I would say our sound and energy is similar to that of Black Witchery or Caveman Cult, however we do get into more dissonant textures you would find more in a Death Metal/Black Metal atmosphere in the vein of Blut Aus Nord. As far as Death Metal/Black Metal being reinvented, I supposed that is subjective to each one’s perception. My short answer would be no, it can’t be reinvented, but we can all do our best effort to add newer and more evil sounding elements to it. What’s the need for all the melodic shit?

Are there any bands that you feel The Incursion share a musical kinship with? If so, who are they?

There are a bunch of bands that we feel a connection to in the form of shared influence and mutual understanding of the music itself. Especially out here on the west of the US we appreciate the shit out of Blood Omen from Santa Cruz, Ritual Genocide from Reno, and Putrid Temple from Seattle. That’s just to name a tiny handful, but those bands are all sick as fuck.

Have you ever had any trouble with rats in the underground who misunderstood your art or who tried to censor you in some form or another?

We have not faced any type of censorship with The Incursion, but we definitely had our fair share of it with our old band Plague Phalanx. People had some misconceptions about the imagery we used, etc., but it definitely hasn’t given us pause or made us not want to make this kind of music anymore.

Shine some background on your discography and what you've released so far. Do you have any merchandise available for maniacs to get hold of?

We released a self titled demo about two years ago, then a single called Trudging Through Artillery which also later featured on another EP called Pandemonium, which included all of our early material that we’d been playing at shows etc. The latest release, available via Nihilistic Noise Propaganda, is called STURMSIEGE. We also have logo shirts, pins, and patches which people can hit us up for on our social media as of now.

How has the reception been for your releases so far? Are you getting much support?

People like our shit as far as the demos and EPs, but we haven’t truly started to promote heavily yet. When we begin work on our full length we’ll make some more noise.

Personally, I've enjoyed everything I've heard from The Incursion. The music hits you like a MGM-51 Shillelagh Missile and destroys everything in its path. How important is the extremity factor in regards to the type of music you play?

The extremity factor in the music is the peak of importance. We mainly try to execute that through speed and choice of notes is extremely important in the string section. Overall our goal is to push ourselves with each album to find different avenues to achieve the same type of feeling but not producing the exact same material over and over.

I understand that some people seem to be under the deluded impression that your drums are programmed. Can you please clarify?

I perform, record and mix the drums, so here’s the deal. I use a Roland TD6 Module and trigger for the kick drum, the rest are acoustic drums, and not very many of them. I use a very small kit. Kick, Snare, Floor Tom, Hi Hat, Crash and Ride. Emphasis is always on the Snare. As far as the mix, I use compression and EQ to enhance and boost the frequencies. At this point there is little to no editing at all, virtually nonexistent except for the kick drum on some parts just to keep things consistent and together in the mix. I push myself very hard to get solid genuine takes when recording. Generally we play between 190-200BPM and 250-260BPM. For the next material I will be utilizing more lo fi and minimal techniques to give us more raw sound then the somewhat polished Death Metal type sound we have produced. 

How many times do you guys get together to rehearse? Do you practice a lot? Also, what are some of the most important aspects for you as far as being a musician? Do you ever look for inspiration outside the confines of metal?

We used to jam every week, but since the plague hit and our jam space got shut down we haven’t been able to. There’s been talk of us all moving in together so we can jam in a living room or something but hasn’t happened yet. So for now it’s all individual practicing to the new material and preparations for the next release.

What are 10 albums you can't live without? 

No particular order:

Black Witchery - Inferno of Sacred Destruction

Black Sabbath - Paranoid

Venom - Black Metal

Gorgoroth - Pentagram

Conqueror - War.Cult.Supremacy

Judas Priest - Sad Wings of Destiny

Diocletian - Doom Cult

Inquisition - Nepharious Dismal Orations

Cannibal Corpse - Vile

Celtic Frost - Morbid Tales

What's some of your favourite releases from 2020?

There’s a bunch of 2020 releases I really fuck with. Just to name a few the Totenwache album Kriegswesen, the Goathex/Goatcorpse (US) split Order of the Plutonium Trident, Hinterkaifeck’s (Australia) demo Kak, and Nirriti’s EP Asuryasparsha all made an impression.

What's your opinion about self-proclaimed metal maniacs who look like disco monkeys? Would you take such a person's opinion about metal seriously?

We don’t really care how people dress. What we don’t like is people who act as if they’ve been listening to this music since day one but don’t have the slightest appreciation or respect for the classic sound and its roots. Fuck that shit. 

Other than metal, are there any other activities that interest you? What about history, the occult, sports, movies, art, serial killers, literature, etc.?

I’m really into ancient and dark ages history, especially pagan Europe around the years 400-800 AD. That was a savage time. Occult practices and ancient religions are a massive interest too. I’m also very into philosophy, which I have a bachelor’s degree in and study on my own time

This bring an end to our interview. Tell us about your plans for The Incursion and when we can expect to hear a full-length. Lastly, do you have a message for your enemies?

We are currently working on more material which will be out in 2021, not sure if it will be an EP, split, or full length album. As far as our enemies, The Incursion is coming for your fucking skulls!

ALBUM REVIEW: Wargrinder - The Seal of Genocide (2012)

 

Wargrinder - The Seal of Genocide (2012)

Greece

Nykta Records

"The Seal of Genocide" is Wargrinder's debut album and offers 13 tracks of hard-hitting Black/Death Metal from lone-musician, Terry Eleftheriou. Released back in 2012, this is some decidedly enjoyable audio violence, with proud nods to Angelcorpse and Black Witchery. Whilst this album arguably does not quite reach the same level of intensity as the aforementioned hordes, it holds a worthy candle in terms of its unapologetic, raw and mayhemic overtones. The songs are refreshingly rhythmic, with the composer proving himself to be as proficient with riffs as he is with percussion. With an emphasis on catchy riffing, merciless percussion and gutteral vocal passages - this aural assault will irrevocably bombard your senses with its martial-esque tones and unbridled relentlessness. Musically, this record is relatively straight-forward and unashamedly militant, so don't expect to hear any mystical forest black metal. I can confidently say that this is pretty impressive stuff for a one-man project, and I was pleasantly surprised to hear the odd solo thrown in for good measure. The solos are well balanced and thoroughly chaotic in nature. There's much to sink your teeth into here. A well recommended listen. (HT)

ALBUM REVIEW: Paganfire - Wreaking Fear and Death (2013)

Paganfire - Wreaking Fear and Death (2013)

The Philippines

Anger of Metal Records / Bestial Invasion

A few dozen demos and splits later, these Quezon City-based maniacs finally release their debut album upon the filthy masses entitled, "Wreaking Fear and Death." The music can be described as Thrash Metal in the vein of early Sodom, Exodus and Sabbat. The Asian element is quite prominent, as some of their song titles and lyrics are in their native tongue. Often a lot of Thrash Metal bands end up sounding sterile and boring due to over-polished production, that's why Paganfire is a breathe of fresh air as they retain a considerably raw tone, yet all the instruments can be heard in the mix. I find the production rather appealing. There's some Black/Death elements lurking in their sound, like the Necrovore-ish riffs on opener, "Bakal sa Bakal, Laman sa Laman" coupled with the general Mayhem-esque (Deathcrush era) buzz-tone of the guitars. Paganfire's sound will certainly find its appeal among the true metal legions and comes recommended to fans of bands (most notably their early works) such as Demolition Hammer, Mayhem, Exodus, Order From Chaos, Sodom, Sepultura, etc. Paganfire is like the drunkin' offspring of the aforementioned bands. This is not sheltered pseudo thrash with songs about the local pizza scene. Nope. This is raw, violent and uncompromising Thrash Metal that will surely send the hippies packing. (HT)