Interview: Human Serpent (2021)

There’s no need for any kind of grandiose introduction. Human Serpent is a great band from Greece that every black metal maniac should check out, especially if you’re looking for something that is more than just mere music. Human Serpent has deeper symbolism as opposed to the usual “Hail Satan” platitudes so common in the genre.

 
Morbid hails! To get this interview underway, can you please tell us what the band is all about and the core philosophy behind it?

Human Serpent is the physical, tangible manifestation of that side of our expression that derives from the deepest depths of our insanity. The way we have chosen to live our lives has reached that point of inner maturity where we are really, in absolute Practice, Ourselves! Not just another shell of the same old and molded ideals of the herds and their recycled "ethics". We choose to embody Denial in its utter and undivided totality.. We would much rather live in pain, than "live" the perpetual preservation of the slow decay... We are just like a huge piece of glass... There may be a day on which we break into a thousand pieces and nothing is left of us but pieces of broken glass, still we are never going to bend. Glass is never going to bend! Not for anyone! Not for anything! Human Serpent is the core of chaos immersed into the heart of our indivisibility of our being.

What is the connotation behind the name of your band?

Man is just another animal among the billions that have inhabited this planet, however it must be the only one that never understood its worth in the tightly-linked chain of life. Man can level everything to the ground just as easily as he can create something out of almost nothing. The name Human Serpent is the simplest way which we can express the "mindset" of everything that made Man an organic waste that is constantly flirting with self-destruction. An animal, a life form with the venom and the habits of a serpent.

You have a song called “Fuck Normality” – can you please elaborate on the theme and tell us what the song is all about? What is normality by your definition and what is detestable about it?

The main idea behind Fuck Normality is the head-on-collision course that we have chosen to take against the ever-decaying carcass of society and its rules...
As well as, that our individuality, both in terms of our physical essence and our imperious existential idea, will never become a temple of need-worshiping, but rather a beast whose thirst of creation can never be fully quenched... Because creation is the only thing that remains bottomless even when cast into the void of Time... And creation, in the form that we perceive and feel it, is never going to recognize rules, nor gods, nor kings, nor masters, nor castes, nor norms. Those are for those who seek "quietness" and "calmness"... The sheep before their slaughter are quiet and calm... And as things have been shaped in such a way both as a whole for humanity and in our personal lives, we have reached the point that one can be either calm or free.

How would you describe your sound to those who haven’t heard it before? What are your biggest inspirations?

Our biggest inspiration is life itself and behind that word every notion of the raw rage and intact sadness that we feel is present in our sound, shines through. The sound that is the most direct and immediate thing behind all our feelings... And what I have understood through a lot of personal experiences is that, the one loyal to a certain sound, or a certain album has delved deep into the labyrinth of personal and inner "search" and stimuli, with music being their only company... So, I wouldn't want to urge anyone-who may very well never had heard of us before-to do so based on a "label" or anything of that kind.. Everything has become so easily served in our individual golden platter, that by pressing some buttons on any keyboard, any and every one can find our music and then be the sole judge on if they find any sort of interest in our music or not...

How has the response been so far for your latest album, “Heirlooms Eternal”? Are you content with the reactions? Have people understood the essence of your art?

We are proud of Heirlooms Eternal and there is not even the slightest thing that we would have changed. We create music so that we can externalize all the shit that floods our souls... Each time that we go through the process of creating a full-length, we do so for us first. And each of our releases has a unique story behind it, because even if it's something done subconsciously, everything about what we are is experiential. This is something that almost instinctively influences everything and mostly the overall perception of how we are going to tread in regards with the composition and sound of that particular time period that a Human Serpent release is given shape. One of the biggest examples that we can give you is that we wanted Heirlooms Eternal to be our most "too filthy" album so far and many were displeased with that. A complete opposite of our most "too clean" album, For I, The Misanthropist... No matter how hard you might try there is no chance that everyone is going to like what you will come up with and this is something we really don't care about. As I said before, everything that we do, we do firstly and ultimately for ourselves. Yet, one thing that we understood by the release of Heirlooms Eternal is that those who were able to truly "feel" it, who were able to really experience it in its wholeness, chose to leave themselves be drifted into the deep, ravenous emptiness of its abyss.. And that was exactly what we were aiming for... We created an album with essence, with a beginning, a middle and an end, not just individual tracks to be uploaded in a playlist somewhere on Spotify.. Also, it was the album with the fastest, in practice, support by those still loyal towards the actual physical formats... Already the Tape format has been sold-out and we are currently in the process of printing the second press edition of our Digipack format which will include a bonus track..

Can you tell us a little about your image and the gas-masks? Do you associate yourselves with the whole bestial/war metal scene?

No, there is absolutely no association with the bestial/war metal scene. There are many reasons for why we choose to wear gas masks... But in one simple sentence, we can say that it reflects an allegorical side of humanity... Take, for example, the photo session of Heirlooms Eternal, one of us doesn't wear a gas mask, but rather, a black shroud covering his face. The reason for that is once again allegorical, it expresses the untameable of our souls.. Our souls that are without any kind of limitations.. And when one finds themselves choosing to jump into their personal abyss, one can transcend any and all limitations... There are no limitations in the vast seas of Chaos! There, one can only find the true Redemption! Without a glimpse on the other side, there can be no Redemption! With taking into consideration and embracing the human limitations and the rules of society, there can be no Redemption! Redemption is a personal and unique, in its true essence, journey for each and one of us.. Something similar to our Birth and Death...

Your thoughts on sentiments like “metal is one big brotherhood”?

Things are never absolute, there are many sides and many faces that one can see...

Do you think things like war, genocide, famine, disease, serial killers, etc., are a necessary sort of Darwinism to curb the ever growing population?

Darwin's law is a law which applies to all forms of life on our planet, yet, I strongly believe that it doesn't have much to do with regulating the population of each species, but rather, it has everything to do with the evolution and progress of said species. Me, personally, I believe that we, as a species, have reached that certain point where there can be no law-be that in physics or any other field of science-that can lead us out of the shit-that we dug ourselves in – and into any form of positive evolution... The process of our self-destruction has begun for many centuries now and the point of no return has already escaped our sight..

What’s some killer bands and albums that you’ve been listening to lately?

There are endless lists of albums and bands-from a huge variety of music genres-that I would like to mention, that I could go on forever...
Still, at this moment, I am currently listening to Swordwielder – System Overlord, a 2019 LP. Swordwielder is a killer Amebix/Axegrinder worshiping crust/punk band from Sweden that I find myself listening to very regularly since the first time I came across their music. I really believe that, beyond their more than obvious influences, their music has something that sounds both unique and fresh to my ears.

Do you draw any inspiration from cinema? What are some of your favourite films?

Subconsciously, there is no doubt that we are being influenced by all forms of art and, certainly, by cinema.. There are too many movies that we love! So many that it would be impossible to list here. Still, I would like to mention 4 movies I saw this past year that I feel have that "something" special to offer and surely, a great amount of food for thought..

They live (1988)

Her (2013)

Birdman or (The Unexpected Virtue of Ignorance) (2014)

El hoyo (2019)

What do you think of humanist ideals in black metal? Are they relevant or do you consider them an abomination?

The only thing that I feel is an abomination in black metal, in music and in any form of art, in general, is those who embrace any and all kinds of authoritarian political ideals and practices. Also, abominations are all kinds of herds inside black metal.. Lastly, we would like to use this opportunity to say a huge FUCK YOU to all those who have assumed the role of Depositary of the "ethics" of black metal...

For the end, tell us how you foresee the future of humanity taking into account all the bullshit that's happened lately. Will we ever be truly free or is this the beginning of a new dark age? Thanks for your time!

Taking a look back, in history, constant recycling can be seen... No matter the time period, mankind has always been living in "trenches", yet there are those "intervals", like the one that we are currently living, when mankind really shows its true and ugliest face... It would be extremely funny to me if mankind felt "free" 10, 20 or 50 years ago... When was mankind, in total, really and actually free? It is completely subjective, how each and every one of us perceives the notion of freedom.. Me? I just keep on reminding myself of something that I mentioned above also, You can either be Calm or Free...

Album review: Beyond Man - Beyond Man (2021)

Beyond Man - Beyond Man

Norway

The Sinister Flame

Beyond Man returns after more than 10 years of inactivity. First with the single, "Art Beyond Man" in 2020, and now with their flawless self-titled debut album recently released by The Sinister Flame.

If you are ready to enter the depths of the abyss, then join me as we seek the knowledge that is... BEYOND MAN!

Our journey begins with “Introduction: descending” and here I must emphasize my fondness in how the band gives supreme meaning to the intro by enhancing the whole experience. This album is like a fever-dream and trip into another world. I endured this trip by falling into a pit of profound suffering, as the darkness that is beyond man penetrates the very essence of my being. You are already dead, but you can still hear the noise of your body as it shatters to the ground, which is the beginning of the song, "Helel Ben Sahar," where amorphous creatures from spectral dimensions take what is left of your soul and dissolve it into infinity. The song begins quickly and then starts the occult ceremony with a percussion that seems to utter the words of ancient demons. The vocalist "W" appears to be in many bands (including Behexen). Vocals are switched from cleans to high-pitched gutturals that rip into your ears like sharp claws. The song "Art Beyond Man" begins with a riff that reminds us of the legendary Morgoth. It even sounds like death metal, and when you least expect it "W" screams in a way that seems inhuman! Like an echo in a cavern. The production is perfect, including the fact that there seems to be a touch of old Rotting Christ in their sound. The drum work is impeccable. Just listen to my favourite song, "World Without End," and tell me it doesn't inspire you with evilness. Everything is really audible and well-balanced, as the supreme precision transmits pure vitriolic fury. The album closer, "The World Encircler," is a true and authentic work of art, which features a lot dissonance executed in a creative mid-tempo.

All in all, Beyond Man’s debut album is a remarkable and highly original work, featuring an array of talent that is not to be overlooked. It would be an understatement to say I enjoyed this album. Highly recommended. (Catacombs Walker)

Interview: Perversity (2021)

 
PERVERSITY is one of slovakia‘s longest running and most consistent Death Metal bands boasting a considerably lengthy discography replete with solid material. A band absolutely worth checking out if you‘re a fan of dark and brutal Death Metal. Kazateľ (vocalist) was kind enough to answer some questions for Death By Hammer.

Hails! How’s everything going in Prešov? Lets begin this interview with a biography of your band & some info about the current line-up.

Kazateľ: Hail, Jim. We are doing well. Thanks for asking. The Covid-19 pandemic and lockdowns put some obstacles in our way, but we've managed to overcome them successfully. Anyway, this is our history:

The band was formed in October 1995 by Martin Marinčák (vocals) and Jozef “Ďodi“ Košč (guitars). The first two demos (The Embarrassed (1997), Personal (1999)) have opened the gates to the underground scene. After some personal changes, in January 2001, the new line-up was formed: Martin (vocals), Ďodi (guitars), Marek Stašák (drums), Dano Kochaník (guitars) and Martin Kukoľ (bass). These five guys managed to record two albums. At the beginning of 2003 the debut album “In The Garment Of Lust” was released by the French label Perennial Quest Records. The material contains 8 new songs and 1 song “Disillusioned” (re-recorded) from the first demo. It is a brutal death metal stuff and it helped Perversity to get to the world UG scene. In November 2004 the second album “Words Like Poison” was released by the Slovak label Forensick Music. The CD contains 33 minutes of brutal technical death metal. The new vocalist Juraj “Kazatel“ Handzuš joined the band in September 2003. In May 2004 the band has a new drummer Martin “Myštik“ Horgoš and the new era of unholy death metal has started. The band managed to support death metal legends Suffocation and Vital Remains. The new guitarist Robert Vanya joined the band in July 2005. The line-up working on the next album was: Jozef Košč (guitars), Martin Kukoľ (bass), Juraj Handzuš (vocals), Martin Horgoš (drums) and Robert Vanya (guitars). Meanwhile the CDr “Demos & Rarities Collection“ was created in April 2006. It contains remastered demos and a couple of live tracks. The third album “Beyond The Reach Of Heaven” was recorded in February and March 2007. It contains 9 tracks, 35 minutes of pure death metal music with message from Immolation or Incantation. The CD was released by the Czech label Grodhaisn Production at the beginning of 2008. In September 2007 the new bassist Slavomir “Sly“ Kovaľ joined the band. In April 2009 the next personal change occured. Marian “Elvis“ Petrik became the new guitarist. He had been the vocalist in the Slovak death metal legends Insepultus, between the years 2000-2002. At that time the line-up was: Kazateľ (vocals), Ďodi (guitars and backing vocals), Elvis (guitars), Sly (bass) and Myštik (drums). The 15th anniversary of the band was celebrated at the concert in Prešov on September 25, 2010. At the end of March 2011 Perversity recorded their 4th album entitled “Ablaze“, in the studio Klakson in Slovakia. The hot news was the new Czech label Lavadome Productions. The official release date of the CD (limited to 1300 copies) and T-shirts with “Ablaze” theme was set to August 31st 2011. Lavadome made a great promotion and distribution of the CD all around the world´s underground scene. The material contains 10 tracks and is 34 minutes long. It is more demonic and orthodox death metal material in the discography of Perversity. In June 2012 there is a change in the post of the drummer. The new member is Peter “Necrocyklo” Jakubík who played in the bands liker Wayd, Demonoid Virtue, Khadaver and Symetria. His music knowledge and contribution to the development of the band seems to be very important. In summer 2012 the guitarist Elvis leaves the band. The new concert setlist is made as well as material for the new EP. At the end of 2013 the band enters Klakson Studio where the hot material is recorded. It contains 5 new songs and final piano outro. The Ep is called Infamy Divine and is released again by Lavadome Productions on January 7th 2014. The new material is more worked out with the best sound so far than “Ablaze“. Together with the cover art made by Mr. Jon Zig (Suffocation, Sinister, Deeds Of Flesh at etc.), the new Perversity guarantees dark old school death metal with the message of veterans like Immolation and Deicide. In December 2013 the first gigs with a new guitarist Martin “Fetus“ Calko were played. He was in the bands like Amnesist, Angelic Embrace in the Nest of Death and Impeccant. The years 2014 and 2015 were marked with the gigs and making the new material. In autumn 2015 the new bass guitarist Peter “Oči“ Očipa (Killerface, ex-Grinding Jesus Brothers) has joined the band. Line-up was as followed: Kazateľ, Ďodi, Peter, Fetus and Oči. The guys had a fertile year of 2016. Between April and June of the same year, they recorded a new album “Idolatry“ and played at Slovak summer festivals: Gothoom, Flesh Party and Ynfest. The new album contains 10 tracks of pure death metal with certain amount of dark progress. It lasts 35 minutes. In February 2017 the album was released by the Slovak label Metal Age Productions which exists for many years. At the end of 2017 another line-up changes occured. Oči (bass) has left the band and Samuel Trón came to the band as a new bass player. This new line-up has managed to support death metal legends Suffocation and Benediction. In December of 2019 they have entered the Martin Barla studio in Poprad to re-record an old song called The Worms Among Us, from the Embarassed demo. It will appear as a bonus track for the 17th anniversary re-release of their debut album In The Garment of Lust. Which was re-released by Metal Age Productions again, in August 28th 2020. In December 2019 another line-up changes occured. Samo has decided to leave the band and some days later the new bass player was found and his name is Radoslav Smrek. So the new line-up is as followed: Juraj “Kazateľ“ Handzuš (vocals), Jozef “Dodi“ Košč (guitars), Martin “Fetus“ Calko (guitars), Radoslav Smrek (bass) and Peter “Necrocyklo“ Jakubík (drums).

My first introduction to Perversity was the “Ablaze” CD, which is a really killer slab of blasphemous, brutal death fucking metal that eats babies for breakfast. What I've noticed about this album is that you were very experimental with tempos and the riffs were even quite technical. What can you tell us about this album? Has your sound and influences changed much since the beginning days?

Kazateľ: I'm glad that you like it. Well, when we composed the material for the “Ablaze“ album, we did what we could and knew best at that time. We put a lot of our time and energy into that album. We were (and still are) extremely satisfied, both with the songs and with the resulting sound. It's dark and brutal, and that's what we wanted. The whole process of composing and then recording in the studio is the best and most beautiful thing in the activity of the band. We also moved a step forward with the band, with the help of Jan from Lavadome Productions. You must listen to this album very carefully. And I'm glad that you found those details there. That's what we wanted when we composed the riffs. But of course for some people there will be no “tralala lala tempos” and such shit. We love when the bass is a balanced instrument for the guitars. In my opinion, it is almost a tragedy when someone puts the bass guitar completely in the background and you can barely hear it. That’s why we tried to do it both more technical and simple, but with darker lines. There is also this touch of old school death metal that comes straight from our hearts. We will not do anything to change that, because this is how we feel it.

Let’s talk a bit about your last album “Idolatry.” So far I've only managed to listen to it online, but there seems to be some changes compared to the previous album, especially with the production. Can you tell us a bit more about the kind of sound you were going for?

Kazateľ: You're right. There are some changes in “Idolatry“ material, both with the sound and production as well. Previous albums like “Ablaze“ or “Infamy Divine“ were recorded at the Klakson studio in Košice. As mentioned before, we did what we could and knew best at that time. We put a lot of time and energy, including our souls into these records. We are still very satisfied with the results. But when we started to write and compose the new material for the “Idolatry” album, we decided to do it more professionally this time around.

This album took us a long time to finish, as we worked really hard on the sound and process of each song. The progressive recording process was really helpful for us. Everything was done by Mr. Martin Barla (a drummer from Astarot), who has his own home studio. The basic mixing and mastering was done by all of us. We are glad that the final sound of the guitars is readable and very deep. We wanted to have this real death metal sound, nothing clear but also modern at the same time. We are very satisfied with it.

What does the process entail when composing your blasphemous hymns and what inspires you?

Kazateľ: Usually it all happens spontaneously in our rehearsal room. Ďodi and Fetus bring the basic lines and the songs' structures. Meanwhile, I will bring the complete lyrics. Other ideas for drums, bass and new guitar riffs are contributed by all of us. Then we work together until it is done. When we are really satisfied with the power and darkness of each song, then it is the best feeling you can have.

How has the response been towards your music (both locally and abroad)?

Kazateľ: After all these years in this “business“, I must tell you, that there were both good and bad times. And that includes also some reviews, responses, etc.. But, if we will talk about our last album, then all the reviews were and still are very good from all sides and we feel that there is a higher interest in our band now. This album took us a long time to finish and we worked really hard on the sound and process of each song. We believe that “Idolatry” will be known as a good album in the metal archives of the local scene.

What can you tell us about the scene there? Are there many maniacs that support your band & who are into this kind of music?

Kazateľ: Slovak underground metal scene is big, filled with bands playing various styles of metal. But it is not as big as it was in the 90's, when the scene reached its peak. Those were very good times for the underground. At that time there were a lot of good bands in Slovakia, some of which, unfortunately, didn't survive the adversity of fate or changed their stylistic direction, which, however, led to their later demise. But, some of them have survived and are still active these days. Nowsdays, there are some new bands or individual artists that are carrying the torch, and are working hard on their music. There are also some new zines, webzines and festivals. So, when it comes to the fans and maniacs (if you like), they are buying records, merchandise or going to the concerts, festivals to support their favorite band or bands. Personally for me, it is very satisfying to see that. If you know what I mean.

In 2017, you were nominated for best Slovak metal album by Radio Heads Awards for the Hard & Heavy category. What can you tell us about that?

Kazateľ: Radio Head Awards is a Slovak music award of the popular Rádio FM. It was created in 2008 as a counterpoise to the Slávik and Aurel award, which presented mainly mainstream music. Rádio FM has set up a survey to enable the presentation of an alternative music scene in Slovakia. To be eligible for nomination, an individual artist or music group must publish their recording in the same year of nomination. A newcomer of the year can be an artist or a music group that has not released any official studio album or released their first album by the end of the year, and this prize can only be won once. Simply to say, you can compare it with the other types of awards, like MTV Music Awards, Grammy, Norwegian Spellemannprisen or something like that. But, it is not so “magnificent or pompous” like the others. So, when our “Idolatry” album came out, all the reviews and reactions were very good from all sides and we felt that there is a higher interest in our band. But we had no idea that it could be nominated for this type of an award. It was a shock and surprise at the same time. It was a very good feeling, because we knew that we did a really good job on this record. There were four other bands with us in the Hard and Heavy category. In the end, we didn't won it but who cares. It was and still is a very huge step in our history.

What kind of atmosphere and feeling do you try to capture with your music?

Kazateľ: Like I said it before. When we prepare the material for the album. Every step that we take is very important for us. We try to capture both musically and lyrically, all the negativity of fear, darkness and blasphemy. Everything that is bad and wrong, hidden deep in the hearts and minds of men. Basically, you can simply say that our main focus is to capture the essence of primal evil, the nature of sin, madness and darkness. These are the topics that people have been afraid of for more than two thousand years.

How essential is performing live for the band, and have you ever played outside of Slovakia? Which bands have you shared the stage with?

Kazateľ: For every musician (both for the individual or the band) it is very important to play live and bring their music to the masses. And it doesn't matter if you play in the small venues, the bigger ones or if you play the huge festivals. You must love what you're doing and you must do it right. So, when you hear the people talking about you after a show, or when they want to have a talk with you and you hear these words, how they admire and appreciate every moment. Only then can you feel this essence of success and satisfaction. That's why I appreciate every single minute of it. We have played many shows outside of Slovakia, mainly in Czechia (or Czech Republic if you will) and for once we were playing in Austria. It was a small venue in Vienna (Escape-Metal Corner now known as Escape Metal Bar-Live Club) and we shared the stage with Destination Void (ex-members from Austrian legends Miasma). When it comes to the other bands we shared the stage with. There are a lot of them, but I will pick some famous ones: Vital Remains, Suffocation, Benediction, Krabathor, Death Strike, Decapitated.

What do you think of death metal bands that infuse clean vocals and gothic influences into their sound? Can outsider elements add more depth to the music?

Kazateľ: There are a lot of well known bands that have done this fusion in the past. Of course it wasn't pure death metal, rather, it was doom metal or death/doom metal. I mean, these kinds of bands that use this “Beauty and the Beast” style of vocals. Oh, man, how I hate these so called “labels” for genres. But there were some bands that played death metal with some “gothic flavor” like Scum (Finland), Swedish bands like Cemetery (middle period), Tiamat (The Astral Sleep, Clouds era) or Crematory (on their first albums) from Germany. For these kinds of bands it has worked well. So, maybe, it can add some depth to the music. But that depends entirely on the artists, how they feel and of course on the fans as listeners.

Can you give us a list of some of your favourite metal albums ever that have made a lasting impact on you?

Kazateľ: Oh, man. This is a hard question for me. Cause, I have a lot of favorite bands and albums. But, if I must pick some of them it would be these bands and records: Slayer – Show no Mercy, Sodom – Obsessed by Cruelty, Possessed – Seven Churches, Beherit – Drawing Down the Moon, Darkthrone – Soulside Journey, Darkthrone – Under a Funeral Moon, Blasphemy – Fallen Angel of Doom, Deicide – Legion, King Diamond – Conspiracy. These records are my all time favorites. They've formed my taste in metal music and made me who I am today.

Lastly, what does the future hold for the band and when can we expect a new album? Cheers!

Kazateľ: As I've already mentioned before, the Covid-19 pandemic and lockdowns put some obstacles in our way. But we've managed to overcome them. It was a very difficult time for us. So right now we are focusing and working slowly on our next material. Some songs are already complete and some need to be finished.

I can't tell you now when it will be out, but I can promise you that it will tear your soul apart. Thank you for the interview and for showing interest in our band. Take care and good luck with your webzine. Cheers!

Album review: Diabolizer – Khalkedonian Death (2021)

 

Diabolizer – Khalkedonian Death

Turkey

Everlasting Spew Records / Me Saco Un Ojo Records / Desiccated Productions / Dark Desires Records

I’ve always had an affinity for Turkish Black/Death Metal ever since I discovered bands like Malefic Order, Impuration, Godslaying Hellblast and Sarinvomit some years ago. The band in question, Diabolizer, hail from the city of Kadıköy and play some truly menacing death metal informed by bands such as Deicide, Vader, Krisiun, etc., though it must be noted that the references does not necessarily suggest a similar sound, but more certain elements that are comparable. Diabolizer is a much more brutal machine and does not spare a single second from assaulting the listener with their absolutely visceral attack of diabolical death metal, which is absolutely profane in its essence.

I like pretty much everything about this release, but my favourite must be the vocals – the vocalist belches out a fiercely intimidating growl that strikes a middle-ground between a vicious bestial grunt and more Glen Benton-esque type growling. Absolutely magnificent! There’s something about Turkish bands that’s just next level in terms of how utterly relentless they are. I personally think the environment plays a contributing factor. Whatever the case, these Turks are PISSED!

I’ve noticed some really cool and more progressive parts in Diabolizer’s sound, where the bassist shows off some juicy jazz licks, which adds a heightened sense of composition, all the while still keeping the music tight and straight-forward. There’s no doubt to the fact that the musicians are very adept at playing their instruments. You’ll hear anything from precise and rampant blasting to razor-sharp guitar solos. This whole thing is a mammoth beast of brutalizing death metal infused with an eminently malicious edge. The need to artistic expression knows no barriers of country or state, as the devilish fires of hell reign supreme in Turkey. “Khalkedonian Death” gets my utmost and highest recommendation. Favourite track: Sulphurous Vengeance (HT)

Album review: Cancerbero - Reconquering The Throne of Death (2019)

Cancerbero - Reconquering The Throne of Death

Chile

Veins Full of Wrath Productions / Headsplit Records

Chile is a country that is revered for producing some of the best extreme metal the underground has to offer, and bands like Cancerbero is 100% proof of that. They’re one of those cult bands that go back to the ‘80s when they released their first demo in 1988 (“Guardian of Hell”) and their second demo in 1991 (“Perpetual Agony”). It must be noted though that the singer, Peter Claramunt, is the only remaining member from the original line-up, including the fact that the band has had many line-up changes over the years, however they've been resurrected from the grave and reanimated, to bring DEATH to the world once more.

It’s quite hilarious when I see flowery positive language and empathetic phrases with words such as “so nice” and “wonderful” being used in reviews for death metal bands. It’s counteractive to the very nature of the music, and quite frankly, just plain moronic. I’d be insulted if I played dark, violent and abstract death metal and some moron referred to it as “lovely” and “wonderful” or whatever tremendously pathetic hippie buzzwords are popular amongst this new breed of metalheads nowadays – and believe me when I tell you – Cancerbero certainly needs none of that, but I digress. Onto the music...

“Reconquering The Throne of Death” is the band’s second full-length and an absolutely sick release. It was one of the best albums from 2019. Any idiot that disagrees can go self-abort by drinking hydrochloric acid for all I care. This whole album is characterized by a profoundly morbid aura, featuring an array of filthy riffs that render to the blasphemous sound, combined with the totally vile vocals, which I must confess, is perfect for this style. I really like the drums on this. Nothing flashy, yet perfectly arranged and integrated into the mix, featuring a variety of caveman beats that keep it interesting. Believe me when I say there is no shortage of depth to this release – the whole thing radiates filthy charnel vibes that will make you feel like you have just awakened some subterranean creature in a pit drenched in the vile, howling stench of death. Does that sound “nice” and “wonderful” to you? I didn’t think so.

The album has that perfect middle-ground between raw but audible that gives the music its charm. I’d rather listen to this kind of material than most of the cleanly produced vomit that’s called metal nowadays made by pimple-faced geeks that take up space in their mother's basement masturbating to porn. These Chilean warriors are the pure essence of death metal and “Reconquering The Throne of Death" is a must for maniacs into the style. For fans of: Sarcofago, Grave Desecrator, Blaspherian. Favourite track: Evil Incarnate. (HT)

EP review: Pime - Avanemine (2020)

Pime - Avanemine

Estonia

Self-released (bandcamp)

Pime is yet another solid entry from Estonia – this time a quartet featuring members from black/death squadron, Süngehel. The EP in question, “Avanemine,” was self-released by the band and is basically a re-recording of their first demo from 2010.

Now I haven’t heard that demo, but I guess the band deemed it necessary to revitalize the material (maybe as a promo?) All I can say is their sound is quite antithetical compared to the other bands the members play in. It’s a familiar style of melodic black metal that brings to mind bands such as Taake, The Stone, and MGLA, but not in a shamelessly rip-off sense. The music is certainly quite refined, yet rich in atmosphere, and features a plethora of razor-sharp, epic riffs that will make you envision standing on a mountain somewhere enraptured by the elements of nature. Scandinavian sensibilities are all too prevalent, but elements of uniqueness do shine through. I’m particularly fond of the more sombre segments, which blend in well with the atmosphere. There’s no doubt about the quality of this output – the execution is tight, well-produced, dark, melancholic, and emphatically merciless.

Overall, I find the band to be an interesting prospect, even though there’s much room for improvement, as this is merely a demo that’s been re-recorded and invigorated with honed musicianship. A solid representation of some well-played dark metal madness from Estonia. Favourite track: Olen Jääs (HT)

EP review: Mortuary Spawn – Spawned From The Mortuary (2021)

Mortuary Spawn – Spawned From The Mortuary

England, UK

Brutal Cave Productions / Chamber of Emesis / Sewer Rot Records

Mortuary Spawn is one of those bands that encapsulate everything I fucking love about Death Metal – and “Spawned From The Mortuary” is one of the best EPs I’ve heard lately. I’m quite surprised over the fact that the band is from England, since I haven't heard a killer death metal band from over there since... well... Garden of Eyes (a few months ago!) This whole EP is utterly savage, dark and crushing.

If you like your death metal sounding like it was created by members under the possession of some otherworldly entity whose sole purpose is to bring nothing but pain and suffering into this world, then the music of Mortuary Spawn is definitely for you. This EP is fairly short (clocking in at 15 minutes), but what it lacks in its duration it sure as hell makes up for in terms of brain-mangling brutality, as the band gets straight down to the meat and do not fuck around.

The vocalist emits a perfect guttural growl, which I can only describe as very abrasive. The guitars are heavy as hell and pair well with the heavy low-end. The drums have a nice raw sound to it, which is suitable for the gritty production on this release. It’s actually refreshing to hear a new death metal band that doesn’t opt for a clean sound on their first release. It’s a band that has a good understanding of the genre’s ethos (mainly because they’re not posers). Look at the artwork! That’s cult as fuck. This is raw and straight to the point death metal that brings to mind the heavier parts of Suffocation infused with some melodic segments. It’s good shit and anyone who loves death metal should check it out. Killer EP through and through! Favourite track: Odious, The Charnel Miasma. (HT)