Interview: Goatsmegma (2021)

GOATSMEGMA is the first of many Estonian bands to be interviewed for this webzine. Their music is the personification of pure and utter bestial FILTH, with a sound redolent of bands like MORBOSIDAD, BLASPHEMY, and BLACK WITCHERY.

Blasphemous hails! To begin this interview, can you tell us about the formation of Goatsmegma, and what the band is all about?

Wroth Desecrator: Goatsmegma is a nuclear goat kommando from Estonia. Total annihilation against humanity. Blasphemous hellblasting attacks, low-tuned cave-sounding guitars and vicious vocals, bestial vomits. We (the band) formed because we wanted to make this beast that was missing from our local scene.

Goathanger666: Goatsmegma is all about violent perversions.

Goatsmegma’s sound is crude, barbaric, and full of hatred. What is the inspiration behind conjuring such a violent sound, and what are some of your biggest influences?

Wroth Desecrator: For me it's themes of endless hate, sexual perversions, vengeance... These primal filthy monsterous fantasies and urges. Biggest influences come from Revenge, Black Witchery, Proclamation, Morbosidad, Blasphemy, Antichrist, Abysmal Lord.

Goathanger666: I'd personally say my biggest inspiration in life is the russian harsh noise wall scene and Muammar Gaddafi.

Your music gets categorized as War Metal – do you consider it as an actual genre, and in your opinion, which albums do you regard as some of the best examples of this style?

Wroth Desecrator: Actually we call our style Violent Black/Death Metal or Bestial Black Metal and sometimes Militant Goat Metal. You can call it what you want.

Best examples for me are: Nether Tombs of Abaddon by Proclamation, Fallen Angel of Doom by Blasphemy, Cojete A Dios Por El Culo by Morbosidad, Vengeance War Till Death by Bestial Warlust, Victory.Intolerance.Mastery by Revenge and ofcourse War Cult Supremacy by Conqueror.

Goathanger666: War Metal is something that takes speed and primitiveness from Black Metal and the raw brutality from Death Metal.

What can you tell us about some of your other bands such as Baalsebub and Sungehel? Are those your priority bands or is every musical endeavour equally important?

Wroth Desecrator: Süngehel was formed in 2012 as a Black/Death Metal band. Me and Sadistic Hellblast Impaler (ex-Süngehel) played together in Süngehel for 7 years. I'm still active in Süngehel, as an original member and writing all the riffs and lyrical material with them. For me both bands are equally important. Baalsebub was formed in 2013 and they are still active, with a new album coming this year.

Do you consider Goatsmegma and Sungehel as the first War Metal bands from Estonia, or were there any bands with similar aesthetics before you?

Wroth Desecrator: Süngehel was a War Metal influenced band from Estonia first, but Goatsmegma is a straight up War Metal band here.

Goathanger666: I'd say Süngehel is a multi-layered form of evil. Yes in some terms we are similar but Goatsmegma is just a primitive force.

The production on your debut album is very raw and unpolished. What kind of sound were you going for exactly, and are you satisfied with the result?

Wroth Desecrator: Yeah, we are fucking satisfied with the result. Raw, old school, brutal cave sound, nasty harsh bestial production.

Goathanger666: Yes, Definitely! This sound is supposed to be really abrasive and claustrophobic at times. I think that was the sound that we wanted at the time... Yes now i think that we could have tweaked some things but its our first strong pillar to build upon.

“Demonic Goat Smegma Eating Ritual” clocks in at 20 minutes. Do you consider it as an actual full-length? Most releases of such duration are considered an EP.

Wroth Desecrator: Demonic Goat Smegma Eating Ritual is full-length, but yes it's only 21 minutes. It feels like a full-length, the actual time is irrelevant.

Goathanger666: Yes, it's a full-length.

What can you tell us about the split with the Canadian desecrators Antichrist and how it came about?

Wroth Desecrator: Like I said before that Antichrist is also one of our influences. Their drummer happened to be in Tallinn one time and from then we started talking about doing a split maybe. Everybody (from both bands) approved the idea and soon we started working on it.

The artwork for “Demonic Goat Smegma Eating Ritual” is totally profane and sick in the truest underground sense. What prompted such an artwork, and have you encountered any issues with censorship yet?

Wroth Desecrator: We wanted that album cover artwork to be total fucking sickness and cruel perversions. Yes, some labels have censored the art on their websites. It was drawn by Hella (HLAdarkart).

Goathanger666: I'm really happy with how the artwork turned out. The idea was put forward by our drummer and the artwork was done by our vocalist's fiance who is an incredible artist. Definitely an eye catching piece of art.

What albums have you been into lately?

Wroth Desecrator: Eggs of Gomorrh - Outpregnate (EP), Revenge - Strike.Smother.Dehumanize, Abysmal Lord - Exaltation of the Infernal Cabal, Caveman Cult - Blood and Extinction, Gravesend - Methods of Human Disposal, Diocletian - Amongst the Flames of a Bvrning God.

Goathanger666: Hank III - Rising Outlaw, GG Allin's country album, earlier Abruptum and Rubber Witch - Masturbations Malveillantes.

Thank you for answering my questions. Please feel free to launch verbal weapons here as an afterthought.

Goathanger666: We are working on a new album and merch so keep an eye on our propaganda pages.

Wroth Desecrator: Thanks for the interview! Eternal hails and respect to maniacs who have been supporting Goatsmegma. Underground filth will exterminate all!

EP review: Oppressive Descent – The Watcher’s Tower (2021)

Oppressive Descent – The Watcher’s Tower

USA

Self-released

This is a one-man project from Portland, Oregon, that was formed in 2008. He has 2 full-lengths under his belt as well as numerous EPs and splits. The sole member of this project has also played in a myriad of other projects, but most notably black/doom band, Death Fetishist.

Raw, melancholic, channeling total negativity at the listener, Oppressive Descent's recent EP, "The Watcher's Tower" clocks in at around 16 minutes. The EP has three tracks, with track 2 being a dark ambient segment that ties the first and third tracks together. There is definitely some depressive elements present, though they are overshadowed by a very sinister and malevolent atmosphere. The production is an ideal level of raw, maintaining both atmosphere and clarity. There is a good contrast of mid-paced and scissor blast passages. The former being more aligned with classic second wave, and the latter delving into the realms of depressive and atmospheric black metal. The entire album has a very droning and numbing effect on the listener, as if you're feeling exactly what the artist was feeling when they were writing the music.

Overall, a very short and to the point release, definitely better than most black metal that delves into the "depressive/suicidal" territory of sub-genres, since it's more on the scornful side of things. (AR) 

Album review: Skulmagot - Kill and Die (2021)

Skulmagot - Kill and Die

Finland

Headsplit Records

When you look at the cover of this album you might get the impression that the band plays black/thrash, but that's definitely not the case here. If you want a good idea of what Skulmaggot sounds like, then just imagine a mix between bands like (old) Cannibal Corpse, Incantation, and Six Feet Under (Undead era).

In recent times, I’ve come across a lot of bands that sound like poor copycats of Cannibal Corpse, which seems to be a trend nowadays. That being said, the influence is undeniable here, but at least it’s not some uninspired carbon-copy of said band. It’s not a simple mortuary mantle that covers this decomposing corpse, but rather one already corroded with noxious fluids and worms that feed on the deceased. There’s a whole damn aura that surrounds their influences, which is stylistically more in the vein of Cannibal Corpse than Incantation, especially on the first track, "Coffin Relocation," which begins with a rotten riff and melody spawned straight from the darkest fringes of human thought. From that point on, everything spirals out of control and picks up speed. The vocals are surprisingly similar to Chris Barnes, and as the album progresses, one can easily make sense of why I referenced those three bands in the beginning of the review. All in all, it’s a killer and fun little release, despite its short duration of 20 minutes. These maniacs come highly recommended! (Catacombs Walker)

Album review: Gravewurm - Funeral Rites (2020)

 

Gravewurm – Funeral Rites

USA

Funeral Empire Records Ltd.

Gravewurm is an American black/death metal band formed in 1992, in the city of Clarion, Pennsylvania. In the span of 21 years they have released a whopping 17 full lengths, not including EPs, demos, or other releases. So it means they are no amateurs to their craft and it very much shows on their 16th full length, 'Funeral Rites', released at the beginning of last year.

Overall, this release is a well executed black/doom full-length. The delivery is menacing, focusing on a more midpaced, riff-oriented approach to black metal. Though the vocals don't have much dynamic to them, they are consistent, suit the music and are evil in delivery.

The guitar tone is appropriately bright and high gain to compliment the disgusting riffs excreting out, giving the listener a sample of how a chainsaw in their ear drums would feel. A solid balance of catchniness and depravity can be heard within the 10 songs on this album. The fluidity of how each song shifts into one another makes this album cohesive, keeping the listener captivated.

Funeral Rites almost sounds like a more black n' roll Craft or Carpathian Forest, whilst putting more emphasis on the "black" part of black n' roll. On top of all this, there are mid-paced thrashy riffs thrown into the mix as the cherry on top. Near the end, the album begins to sound mildly stagnant, however, I only felt this for the final song, which is a good thing. Funeral Rites ends up being exactly as long as it needs to be. This is an album I would recommend it to anyone who laments that black metal does not have enough real riffs these days. (AR)

Album review: From The Abyss - Chaos Supremacy (2021)

 

From The Abyss – Chaos Supremacy

Cuba

Vrykoblast Productions

From The Abyss is the fourth Cuban band reviewed for this webzine, and I must admit that I am thoroughly impressed with the Cuban scene, despite the fact that it remains a communist state today. “Chaos Supremacy” is the band’s third full-length album and was released by Vrykoblast Productions from Singapore.

Musically, their sound falls somewhere between old-school and modern death metal informed by bands such as Morbid Angel and Bloodbath. (Yes, I’m wholly aware of the fact that other reviewers have also cited these bands, but the comparisons are undeniable!) The album maintains a very firm mid-tempo for the most part, which gives way to some slower passages. The vocals are very well balanced in the mix, including the fact that they are quite comprehensible. A top performance for sure! There are some interesting clean vocal parts that add variety, although they might not be for everyone. Fortunately, I don’t mind them, since they sound more like doom vocals than anything else, and doom is cool. What to say about the riffs? Well, for starters, these guys are very (and I mean VERY) adept at crafting awesome bona fide death metal riffs taken straight from the Covenant era textbook, BUT from a slightly different angle, and moulded into their very own brand of unholy Death Metal. Of course, the production gives the whole thing a very modern feel, although there’s almost never a shortage of depth, which makes “Chaos Supremacy” enjoyable to listen to. Added to that the totally sick artwork that adorns the cover. Definitely check them out if you enjoy bands like Necros Christos, Charon, Morbid Angel, and so on. Darkness prevails in Cuba and From The Abyss is proof of that! (HT)

Interview: Speed Command (2021)

The following correspondence took place between Catacombs Walker and German Mulc (vocalist/bassist) of SPEED COMMAND – a killer Thrash Metal band from Argentina that had just recently put out their debut album called "Vestiges Of Peace" through Carnal Beast from Japan.

Hello German! How are you in the middle of all this disaster that we are currently experiencing?

Greetings friend. You could say we are resisting everything, because it is not only this plandemic, but to live with the loneliness of not being able to be so close and often with the people that one appreciates, dealing with the country's economy, the new modalities that society adopts and affects you, etc.

Tell us a little about the beginning stages of the band. Under what influences did you begin to raise the Thrash flag? Did you undergo any member changes? I understand you are currently looking to recruit another guitarist?

The band started sometime before 2011, but this year was the beginning as an established band. We started from the beginning wanting to play old school thrash metal, at that time with influences from Exodus, Slayer, Destruction, Kreator, Sepultura. We have always undergone changes in the position of bass player, so I decided to take that position and give the position of rhythm guitar to someone else, so at this moment we are in the cross-hairs of a possible member.

"Vestiges Of Peace" left us surprised in all aspects, the sound is brutal, the skill with which you execute the instruments keep us headbanging throughout and the production is excellent. How was it received by the audience and the press, and how did they contact the label or, on the contrary, was it the label who contacted you?

I'm glad you liked the album, the truth was that it was very well received, I think that the people who follow us have been waiting for this album for a long time and the press is giving us very good reviews all over the world.
When we had the album almost ready I came across this label on the internet, and decided to write to him, automatically the interest in our album grew, so we kept in touch and sent him the audio of how the album was turning out. So Akira Sugiuchi wanted to release the album as soon as it was ready, because despite a raw and not very modern sound unlike other bands, he liked the authentic and old school way of sound and the style that we created.

How was the overall composition process? Did each member contribute or was their someone in charge? How long did it take you to compose and record everything? Are you satisfied with the final result?

The album took us a little over a year and a half to record, since we did pre-production and it was all in the middle of the pandemic. If we are satisfied with the result, it was a stage to close after such a long time, but perhaps I would have liked another mastering, but we know that in the future we can improve many aspects.

In the midst of all this pandemic chaos, things have gotten more difficult. Did this affect the release of the album or, on the contrary, was it also inspiration to carry it forward? What can you tell me about the direction the planet is taking?

Yes, the pandemic delayed the recording a bit but it was not an obstacle to continue working on the album, it cost but it finally came out. The course of the world is reflected all on our cover, there are reflected the mundialistic pigs, what was once the civilization of nations, and what they are today all converted into a single world nation. There the cover will be up to your interpretation, and we were not wrong on the cover of our first demo, it seems like it was today.

Tell me about the lyrics and the title of the album. What inspired you when writing and what message do you intend to shout to the world?

The lyrics were always compromised, sincerely I am not interested in singing about Satan. I am interested in talking about the reality of our days, about pesticides and food manipulation, the world synarchy and its power, false freedom, the struggle of man in a world in ruins (wolf division), etc., and the passion for heavy metal are some of our themes. My inspiration was always the search before so much injustice and how miserable the man who is corrupted can be, that is my message for those who are asleep.

I believe that Speed Command is one of the best bands that have emerged from Argentina in recent years. What do you think of our current scene? What bands have surprised you?

Thank you for considering us among those bands. I am not much into scenes. I think that each band does their thing out of passion and that’s the important thing, later there will be others that will be part of the scene but they are made of plastic. There are good bands, especially in the rest of the country that come out of the Buenos Aires bands, mainly because they have achieved a more raw and perhaps real sound for those of us who like the old school. I have been impressed by Sinners Path, Thrasher, Ultimo Vomito, Municion, Speed onslaught, Caustic, Stake Impalement.

I know you are also part of the struggle to release material with your Metal Squad Records label. How do you see the future of it and what projects would you like to complete?

In the last few years the label has grown a lot, after 11 years I am going to release the first pro CD. The idea is to continue growing and a project that I would like would be to launch a 12” vinyl.

Personally, who or what was it that motivated you the most to start your path in music as a fan, an artist, and a producer?

From the first moment that I discovered some radio programs where I recorded some songs on a virgin cassette that I bought, it was the impulse to continue discovering that path, after the magazines that at the time came out, etc. The idea of starting a band came up in high school with a partner, because there were no bands that played the style we liked, and we had decided to do it ourselves, that's where it all started. After going to record stores to rent CDs to record them on cassettes, it made me fall in love with labels, the charm of record stores and think that at some point I should find one, and that's how it was. Since I discovered all that art of music I knew that I should be involved, that it was my passion and I could not leave it.

What plans do you have as a band once the live shows are enabled again? Do you think things will really go back to the way they were before or will we live a life haunted by restrictions?

The idea is to be able to present the album live and to be able to make something filmic perhaps, and I sincerely believe that nothing will ever be the way it was, for me live music has to have that mystique, ritual that is a heavy metal recital, the live heavy metal cannot be otherwise, but it is like going to the court and they prohibit you from singing, jumping, etc.

Thank you very much for your time, German! To close the interview, leave a greeting to the readers. I hope to see you soon on the stage! Cheers!

Thanks to you Guido for the interview, it has been a pleasure. Stay real and don't be moulded, heavy metal is not for soft conformists.

Album review: Putrid - Antichrist Above (2020)

 

Putrid – Antichrist Above

Peruvian

Godz of War Productions

This is my first introduction to Putrid from Peru and by the sounds of it, these guys are all about glorifying the Devil and the supreme reign of the Antichrist. The music contained herein sounds like a hellish mix of bands like Angelcorpse, Impiety and Altars era Morbid Angel. It’s a totally blasphemous and chaotic sound that will penetrate your skull from beginning to end. Riffs are sharp and acute with solos in abundance, coupled with the over-the-top maniacal screams of the vocalist and the war-like percussion that sounds like bullets being fired.

How the fuck can you go wrong when the music sounds this possessed? Putrid sums up everything black/death is all about by delivering a high-octane dose of audio violence that will make the beast nod his head in approval. The band creates an atmosphere that is both captivating and wholly apocalyptic, which conjures images of a world in flames. Everything about this release is put together pretty well, even the production is decent in the sense that it perfectly straddles the line between raw and comprehensible. I can definitely hear a bit of that idiomatic Peruvian bestial sound reminiscent of bands like Anal Vomit and Goat Semen. These guys rip and their music speaks for itself. If you’re looking for some truly hard-hitting, merciless, and morbid black/death imbued with the wrath of Satan, then look no further. (HT)

EP review: Kruor Noctis - Craven Whispers (2019)

Kruor Noctis – Craven Whispers

New Zealand

Skaventhrone

Harrowing, bleak and utterly raw black metal is the name of the game for these Kiwis. Featuring former members of respected New Zealand bands like Exordium Mors and Barshasketh, these guys already have a wealth of experience tucked under their belts.

This little release from 2019 called “Craven Whispers” is a monstrous 2-track EP composed of some truly savage black metal entwined with passages of lengthy ambience. The ambient parts are quite dark and are able to induce a trance-like state before the chaos and cathartic darkness totally obliterates the senses. The vocals are profoundly harsh and well-done, which goes hand in hand with the raw production. I’ve been interested in the New Zealand scene for a while now, so it’s always interesting to hear bands like Kruor Noctis and what they have to offer, and with this release, they certainly offer us something truly morose and dark. Kruor Noctis’ music radiates obscurity and cult black metal in every conceivable way, and seem to take a bit after Vassafor, but add their own twisted ingredients, which allows them to stand out a bit from their peers. I like how the title track takes about three minutes to build up tension then floors you with a malicious assault of venomous vocals backed by a wall of guitar distortion and morbid melodies. As mentioned before, the songs have pretty lengthy ambient passages, which are nicely mixed with the metallic elements without it actually being “ambient/black metal.” They’re more like bridges or moments of introspection if you will. This is the type of music you’d want to keep away from someone suffering from chronic depression, because the fate of such a person subjected to this kind of audio terror would only end in what I can imagine as their brains scattered all over the fucking place. (But maybe that’s a good thing!) 

This is a solid EP, but obviously the band is still in their development phase, so I imagine something truly wicked this way comes with future releases. Fuck, I would love to hear a full-length from these guys. “Craven Whispers” is a 39 minute ride into the blackest depths of despair. Hail New Zealand black metal! (HT)
 

Album review: Crypta – Echoes Of The Soul (2021)

 

Crypta – Echoes Of The Soul

Brazil / The Netherlands

Napalm Records

Last year, Fernanda Lira (bass, vocals) and Luna Dametto (Drums) decided to leave Nervosa and pull out a new project called Crypta. It has the participation of Taina Bergamaschi (Ex-Hagbard) and Sonia Annubis (Ex-Burning Witches, Cobra Spell) on guitars.

Since its announcement the band has generated quite a fuss, and now that they’ve recently released their debut album, let's take a walk through the slimy and gloomy corridors of CRYPTA!

I advise you to put on your headphones, because the intro to this album, "Awakening," reflects perfectly the album cover and will transport us at once beyond the mortal realm and towards the concept proposed by the group. The tombstone is opened wide, and from it arises an onslaught of pure soul-crushing brutality, like feral beasts emerging (as if Pandora's box were being opened). Fernanda's screams (a little deeper than usual) emanate deep from within the grave, as demonstrated on the first track, "Starvation," which is self-explanatory in how it talks about death due to lack of food. Admittedly, I’m quite fond of the structure and theme, which gives the impression that it was barfed out by some hideous creature. The vocals are profoundly aggressive, high-pitched, and pleasant to listen to. Fast riffs and drums slam into your ears like a hail of bullets. References like Morbid Angel and Sinister comes to mind in terms of the precision and speed they play their instruments. All this is supported by a rather stellar production. It’s forceful and fierce like the infernal shadow of death! I will point this out though, as a fan of classic death metal (the most repulsive kind) this album does sound a bit modern (and by this I mean that the melodic parts are clearly more modern than the moments of sick fury) but maybe that’s a good thing for the genre – to bring something fresh for all the death-maniacs to sink their teeth into. (Catacombs Walker)

EP review: Woundcult - Through Pain And Sorrow (2021)

Woundcult – Through Pain And Sorrow

Greece

Born For Burning Productions

Woundcult from Greece offers six tracks of raw and unhinged black metal on their latest release, “Through Pain And Sorrow,” a compilation featuring the “Pathway To Distinction” EP and the tracks taken from the split with Zigota.

Woundcult is above your standard black metal act, and manages to exude a verily harsh sound shrouded in an aura of mystery and darkness. The focal point of this release is without a doubt the riffs, which are well-played and constantly drive the music forward. It induces a verily cold and otherworldly atmosphere, coupled with their penchant for dark melodies that will be stuck in your head for a while after you’ve listened to this. Vocals are high-pitched and hateful shrieks, which are well-done, but can sound slightly quirky at times. Definitely a facet the band can improve on. On the other hand, the band has the perfect production for raw black metal. Each song is totally drenched in distortion, which gives it a bit of an old Darkthrone vibe. This is raw and primitive black metal based on total hatred for the human scum!

My opinion is that this is a decent compilation from an underground black metal band that is yet to reach their full potential, and which will be enjoyed by maniacs who just can’t get enough of this style. Nothing ground-breaking, but enjoyable nonetheless. (HT)