Interview: Chaos Inception (2021)

 

Chaos Inception is a killer Death Metal band from Alabama worth supporting with a new album in the works. I got in touch with guitarist Matt to show my support and also get some details about the upcoming album. If you’re a fan of dark, abstract, and crushing death metal with tight musicianship, then you should definitely give them a listen. Chaos Inception is no lightweight, despite their under-the-radar status.

Hails! It's been a long time since Chaos Inception released an album. Can you please give us an update?

Hails, and thanks for the interview. It’s good to know someone cares about the band. We’ve been through hell and back trying to get this done and I can finally see the light at the end. Gary White and I are the band now, and that’s probably all there will be to it. We have been through so many changes in lineup and so much on a personal level, but I anticipate that a new album will be out on Lavadome Records by the end of 2021, or early next year.

Chaos Inception Members also play in various other bands such as Monstrosity, Diabolic, Quinta Essentia, etc. Are these other bands rather side bands or priority?

It’s hard to say what band is a side band or priority, mainly because it would piss off the other people in those bands. The priority for me is simply to play guitar in a band and to have someone hear it. So all I do is keep playing, keep writing, and when someone says let’s do an album I can say ok, here’s what I can contribute. At this stage of the game, and at the risk of pissing off some people, I’d say that the bands you mentioned are nobody’s ‘priority’ as far as their daily lives go, because it’s not their job or their family, with one exception that you might guess. Chaos Inception is my priority in a way, because I write everything. In other projects there is compromise, with other people changing my songs, but I’m proud of all of them. When it’s time to get it going the priorities shift to each one, but the constant is me sitting around playing a guitar. I’m much better at it now for being involved in those projects.

What led to the departure of Chris White and what does the new vocalist Jason Flippo bring to your sound?

As I mentioned, we’ve had a lot of changes. None of them were truly rancorous but to go over the reasons would be picking at scabs. Gary White is the vocalist for Chaos Inception now - you heard it here first!. He has done vocals before in spots with Chaos Inception and Convergence from Within, so it’s just easier and better for us to do it ourselves, together.

How will the direction of the new material differ compared to The Abrogation? What can we expect?

Expect something that’s a little more streamlined, without as many opposing guitar riffs. I mean I used to have one riff and then do another riff on top of it, and it sounded pretty cool, but I realized that often the reason for doing that is the first riff is not very good. It’s covering up for a crap riff, or what we call in the rehearsal room, ‘shizer’. That’s Alabaman for schiesse. Good riffs, not noise – that’s the goal. Just remember that the layers probably don’t make you a musical genius. Some death metal (ourselves included) use a blast beat as a cover for crap riffs. Put a blast on that and it sounds cool. Especially when the drummer is 10 times the musician as the guitar player, which is often the case. Well, we are blasting 90% of the time, so we try to avoid that. Besides all that, the new album runs more of the gamut – it goes from total defeat and despondency to triumph and overcoming. The latter is an absolute necessity for me, because if it’s not spiritually majestic and the singer is growling, you might as well be in Pantera – you’re making angry music, and I’m just not that angry. Now, there’s one song on it that almost makes me nauseous to think about, it’s so nasty. A bit of a departure. And as always, I have in mind the legacy of Floridian and South American death metal and we will always be happy to plant that flag through the eye socket of a poseur.

Which bands influenced the sound of Chaos Inception?

For me it’s everything, but mostly Floridian and South American bands. Sweat-panted and farmer tanned death metal from hell, as opposed to pale, cold death metal with neck beards and leather pants. The album Blessed Are the Sick. Any and all Sarcofago, not just INRI. Angel Corpse. Krisiun. Perdition Temple. Suffocation. Centurian. Sinister. Any kind of weird, dark metal. Necromantia. Striborg. Slayer should go without saying. Can’t forget Iron Maiden, Uli Roth, The Smiths, and Graham Parker. Just listen to what you like, or you will burn out your love of music. Use all your influences. I am not a huge fan of all death metal, such as mid-paced or slow stuff, or the stuff made by trained musicians who are slumming in the death metal world. I respect any band that has made a name for themselves doing this, and I’ve gone to their shows and bought their albums, but when it’s time for me to distill influences and create my thing, there’s none of that involved. And there’s always an element of horror involved, brought by a lifelong study of horror movies.

What are some newer bands that you like? Are there any albums that have left an impression on you recently?

That is a good question. I try. I really try. I think most everything sounds pretty good, with good but usually the same production values, but I just don’t have that goosebump feeling from anything new. And there are so many old things that I haven’t heard that sometimes it’s best to check out old bands that I missed. Like with horror movies – what’s the best new horror movie of 2021? I couldn’t tell you. But I don’t just sit around watching John Carpenter’s Halloween for the 127^th time. I’ll find out there was something I missed from back then with the same vibe. Or there is some band that the label Nuclear War Now found from the USSR or Haiti from way back that’s cool. There are lots of new bands that try to recapture the old magic, and I’m cool with them doing that too – like Gruesome. Some overzealous fans or critics sometimes piss me off when they say it’s even better than the original when it isn’t. I’m still looking for the heir to Azagthoth, Palubicki, and the rest. Where are the psychotic soloists? Anyways, if absolutely pressed to name a newer band I’d say Cemetery Lights, which is like a Greek black metal sounding thing on Nuclear War Now. If you asked Gary that question, he would definitely not drop the name Cemetery Lights, that I can tell you.

Can you tell us a little about the themes on The Abrogation, including some details about songs like "Pazazu Eternal" and "The Exterminati"?

Lyrical themes . . . For me, it’s nightmares, visions, and whatever happens in the rehearsal room. We name riffs and then those names make it back into the lyrics. We had a riff called the Pincer riff and that translated into a working title of 1000 Dead by Pincer. Now the challenge is what the hell does that mean? I can’t even remember why we called the riff ‘pincer’ now someone has to base lyrics to a song about that. I will admit that some of the things I put in my lyrics are meant to shock, but not in the usual sense. How can you shock someone who’s been listening to Cannibal Corpse for 25 years, or watching Evil Dead for 40? Well, you can put in something unexpected, maybe something that leaves them scratching their heads. Usually it’s because I’m scratching my head about it as well. You just know it’s right when you hear it spoken. Go with your instincts and don’t overthink it. Some people have accused us of being devil worshippers because of some lyrical content, but I can tell you that we don’t believe in devil worshippers. Anyone who wastes time seriously studying demonic rituals to put them into practice is a fool. But if you study them for historical interest, that’s something else. And if you have studied them and you think some of it sounds cool, like ‘man, that’s some heavy shit. What if that was a song lyric?’ Also cool. But copying directly from the text? Boring. Plagiarism. And obviously, the rituals don’t work in the intended way, or else all these underground metal bands would have wealth, fame, and there’d be a lot more women at their shows. So I use some artistic license and maybe write a lyric in the language of ritual but make it my own, knowing that it’s nonsense. You can be serious about your art and do that at the same time. No one can tell me I’m not serious, given the time and years I’ve put into this, with little to no reward. So I leave people wondering if it’s from an ancient scroll or a dreaded tome found at an archaeological site, or is it totally made up yet sounds like a cool death metal song? I try to be honest about what we’re doing here – making music for teenagers (in spirit, at the moments even a mature adult is enjoying this music), just like the teenagers we were when you got into it.

Will your collaboration with Lavadome Productions continue?

Yes. Lavadome is the best. The have the best roster of any newer label. Jan has treated us well and has not pressured us to hurry up and put out the album. We know it was too long between albums, but there was not much we could do about it. I don’t like getting involved with the business of music. I’m just too busy. I worry about making money at my day job. If I calculated how much money I make on music I’m probably paid a fraction of 1 cent per hour. If I made some phone calls and deals I could maybe bump that up to 1 whole cent per hour. I just leave it alone. Anything is a bonus. With Chaos Inception I only care about making good music that I like, and meeting my potential for creating magic through a musical performance. I have always felt that I failed to hit that mark. The songs for this 3^rd album are finished except for vocals and leads. This is where we might make it happen.

Thank you very much for your time. Looking forward to new material from Chaos Inception. The last words are yours.

Hang in there. We’re still around. Thanks for sticking with us. I think there will be a lot of happy folks out there once you put the needle down on the first track off this one. Yeah, you thought I was all nice in this interview but you didn’t realize that what I’m putting together is going to be a megaton blast of destructive madness pounding through your skull and it will torture your soul in the nether region past the Third Inferno in the wasteland of the desolator. Eaaaagghhhhh!!!!!

Album review: Idolatry - In Nomine Mortis (2019)

 

Idolatry – In Nomine Mortis

Canada

Humanity’s Plaque Productions

Hailing from the depths of Alberta, Canada, the black metal warriors known as Idolatry release their second album, entitled "In Nomine Mortis." The album was released in 2019, and I do not think I have seen much feedback for it. Idolatry’s music takes inspiration from various wings of black metal, as you can hear elements from both the second-wave and more contemporary acts. The album opens with a cold acoustic interlude that sets the tone before all hell breaks loose and the listener is assaulted with a series of unholy riffs and demonic shrieks that will make the hair on the back of your neck stand up. “In Nomine Mortis” is full of good songs that are impressive in terms of craftsmanship. The overall sound of this album has a very clear second-wave feel and atmosphere, which is especially evident in the riffs. The singer has a very sharp and piercing scream that fits well with their style. The production allows all the instruments to be heard, although I would have liked to hear a little more low-end. It sounds like music that was carefully and thoughtfully composed. All in all, this is a well-crafted black metal album and a solid entry from Canada. (HT)

EP review: Evocator - Chronicles of Pestilence (2021)

Evocator – Chronicles of Pestilence

Sweden

Self-released / Independent

Formed in 2007, Sweden's Evocator release their latest EP and follow-up to 2010's "Untitled" demo, which is a pretty big gap of inactivity. Nevertheless, they have decided to come back and present the world with three emphatically crushing tracks of gloomy death/doom clocking in at 30 minutes long.

There is a hefty bass presence in the tracks that adds to the heaviness of the music, along with a guitar rhythm that is nothing short of soul-crushing. Evocator are masters of mid-tempo death/doom and mostly stay within that range while repeatedly subjecting the listener to an overwhelming sonic assault reminiscent of vicious hammer blows to the face from start to finish. The vocals alternate from vicious growls to psychotic high-pitched screams and are perfectly executed. This is one of those death/doom bands that puts more emphasis on bludgeoning the listener's mind with pure aggression than impressing girls with sweet melodies, not to mention the atmosphere surrounding this album is purely dark and from another realm.

You might assume this is an atmospheric black metal band based on the greenish colour and forest on the cover, but that could be your biggest mistake – or did you not see the hooded figure staring at you from the mist? That hooded figure is Evocator and they have come to bring us death. All in all, a strong and devastating EP recommended to fans of quality death/doom. (HT)

PDF download: Resurrecting The Underground Zine Vol. 1 (2021)

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Album review: Kyy – Beyond Flesh – Beyond Matter – Beyond Death (Reissue 2020)

 Kyy – Beyond Flesh – Beyond Matter – Beyond Death

Finland

Morbid Chapel Records (tape) / Saturnal Records (CD) / The Clandestine Coven (Vinyl)

"Beyond Flesh - Beyond Matter - Beyond Death" marks the debut album from Finnish black metal institution Kyy and was unleashed in 2016. I am tasked with reviewing most promos that are sent to me (which are digital, in case you were wondering), and in this case, Morbid Chapel Records re-released this album in 2020 on cassette.

The music presented on Kyy's debut is definitely quite strong; each song is well-structured and features a number of infectious riffs, combined with the band's penchant for hateful nuances that induce a sense of dread. The production is well mixed throughout and has the perfect balance between harsh and clear. It's a good production without sounding plastic. The music evokes different tempos and seems to excel during the slower, more mid-paced parts before striking your skull with a fast, breakneck riff and drum beat. Everything sounds rather cohesive, including the fact that the music is easy to get into. Some of the riffs are mercilessly intense and the atmosphere unearthly dark, which is of course a good thing for any fan of black metal. The singer unleashes a piercing bark that is occasionally punctuated with some duelling vocals. The whole thing is downright aggressive. There are some really catchy moments, even sweeping melodies, although they don't linger for too long and are executed in a creative sense. In fact, the whole album is heavy as hell and exude a verily menacing atmosphere.

Kyy definitely deliver on their debut album, as it is a solid release through and through, coupled with the fact that they don't sound like most Finnish black metal bands and have their own sound. The closest comparison I can think of (and which probably isn't even that accurate) is Front (also from Finland). This album is definitely a grower and gets better with every spin. Recommended to fans of good black metal! (HT)

Album review: Azath - Through a Warren of Shadow (2020)

Azath - Through a Warren of Shadow

USA

Pulverised Records

After their first demo in 2018, the band returns from the cesspool of exhumation with this dark and evil debut album in the final and chaotic year of 2020.

Relentless death metal practitioners fueled with great technique and insane fury. They also show us a strong influence of Black Metal and even Thrash Metal in their compositions. I read that many didn't like the sound of the drums. It's true that the production isn't the best, but are they sick in the head? It sounds really beastly and it's the right sound for what the band is proposing to us. It's underground, not overproduced shit. At the end of the day, I think this is the sound we like the most. In my opinion, the battery is like a machine gun. The drummer fires all the time with that killer snare, and the bass does its job very well, amplifying the power of the sound. The riffs are sharp as a sword. There is a lot of technique in their execution. The music is very well thought out and accomplished. Everything has meaning and they are always trying to connect the parts of the song together so that they explode along with the other instruments, while the slow parts are incorporated with melodies expressed as disturbing laments from beyond. For fans of Dead Congregation, Cruciamentum, Grave Miasma. (Catacombs Walker)

EP review: Cthonica - Lessor Incantations of Cthonic Lore (2021)

 

Cthonica - Lessor Incantations of Cthonic Lore

Venezuela

Sentient Ruin Laboratories / Caligari Records

From the depths of Venezuela, a communist country rife with crime and oppression, comes the duo known as Cthonica. The band plays dark and subterranean black/death reminiscent of bands like Antediluvian and Grave Upheaval. "Lessor Incantations of Cthonic Lore" is their sophomore release and the follow-up to their excellent 2019 debut album, eerily titled "Typhomanteia: Sacred Triarchy of Spiritual Putrefaction." The music exudes a deeply sinister atmosphere that makes you feel as if you've just entered an alternate dimension of pure evil. Most of the songs follow a similar flow, but are able to put the listener into a trance with their hypnotic and impossibly dark overtones. The vocals are monstrously cavernous to match the music, while the drums, bass, and guitar are drenched in a rather primitive production. The guitar sound is absolutely perfect for the style they play and gives off a very gritty atmosphere that makes your skin crawl. The production is suitably raw for this kind of cacophonous music, coupled with their knack for excellent songwriting that contains a lot of depth. There are a lot of bands that have tried to play some sort of dark, murky black/death over the years, but few come across as convincingly as these Venezuelan maniacs. These guys are, without a doubt, the real deal. Highly recommended! (HT)

Interview: Mortuary Spawn (2021)

 

Mortuary Spawn is a killer death metal band from England who recently released their crushing debut EP "Spawned From The Mortuary" which is an addictive blast of brutality from start to finish. The following interview was conducted with the band’s guitarist, Jack.

Greetings! How’s everything going in England? Please tell us how Mortuary Spawn was conceived and what the band is all about.

Hi Jim - cheers for the interview! All’s well here, or as close to well as it can be these days. On the welcome cusp of having shows return even as cases of the virus seem to be skyrocketing, so wouldn’t be surprised if that decision gets reversed, but on the whole we are happy and healthy.

Mortuary Spawn started as an idea myself and Ben (drums) had many years ago, shortly after a band we were in called Bong Goblin ended. The initial plan was for Ben to send across some mad sounding drums and I would come up with some riffs and send them back, working that way as we were based in different cities at the time, but that never ended up happening, mostly because of my ineptitude using recording software! In the meantime I had started writing some songs with some friends more local to London under the name Deadly Intentions, but as that project kind of dissolved, I started travelling up to Leeds on spare weekends and jamming with Ben with more purpose, and at that point you could probably say Mortuary Spawn was properly spawned. Shortly after that Ben (bass) joined, followed by George on vocals, and all the while we were searching for a capable shredder who eventually emerged in Joe after he watched our debut show supporting Demilich on Valentine’s Day 2020. Then the pandemic hit and although it really scuppered our plans (and everyone else’s!) in hindsight it gave Joe a chance to catch up and add some extra flavour to the EP, which was eventually recorded by Ben at our practice space earlier in the year.

As to what we’re about - nothing more than trying to write some gross Top of the Pops death metal and having a good time while we’re at it!

As we all know, the underground is saturated with bands and competition is strong. Do you feel it’s important to leave one’s mark with a quality output, as opposed to releasing some sub-par material that will soon be forgotten in time?

The obvious answer is yes, but it depends on what you’re trying to achieve! If that’s immortality through music, then for sure, crack on with writing a masterpiece. I think I’ve been in over 15 bands, and I’d say most of them would be classed as sub-par or forgettable unless you were directly involved in them, but playing music isn’t a popularity contest for many people, or at least it needn’t be when you’re playing this style. It helps not to lose sight of the fact that you need to entertain people with quality songs if you want to play live a lot, but as long as we continue to write music that is interesting and fun to us, that is the key thing.

Your debut EP “Spawned From The Mortuary” ripped my head off. Raw, vicious, and well-executed Death Metal. Can you tell us a little bit about the sound you were after, including some details about the whole writing process? Will there be more of the same with future releases?

Cheers! There was no foundational plan or guiding principles when it came to writing these songs, and because some of the riffs have been bouncing around in my head for the best part of a decade before being upgraded massively by the full band’s input, there’s been the chance for a lot of revisions and improvements along the way. I’ve got some videos of some of the riffs that made it on to the EP from 2013, and the hardcore influence was a lot stronger then, sounding more like All Out War or Stampin’ Ground. I’m glad it’s ended up fully death metal sounding, and that’s largely down to the combined talents/capabilities/backgrounds of everyone in the band. Ben (Southern, bass) is a maniac for grind with the nastiest tone in the business, while Joe (Kerry, guitar) is successfully learning Stabwound by Necrophagist at the moment, so I think playing to our strengths while working towards a common goal is probably the reason we sound like we do. Going forward the songwriting has started to be a lot more collaborative, but I still do most of my portion of things at home first, as I can obsess over note choice for hours on end without wasting anyone else’s time (bar my own) that way, before bringing it to Ben (Jones, drums) to demo/learn and then to the practice room. Expect pretty much more of the same from us in the future, which is essentially our take on classic death metal - not enormously original but not entirely hackneyed either.

I have to admit, the black and white artwork for the EP is just awesome and gives off a sort of cult vibe that fits your music. What is the idea behind it and who is the artist?

The original concept was George’s and it was drawn up by the excellent Tombtower, someone we know from their time playing in Stiff Meds before relocating to Berlin. The brief was pretty short - we wanted a corridor filled with a trail of chaos leading to a set of double doors behind which you would not want to go. Tom ended up going one step further and actualising this horrific monstrosity that you see on the cover, so there’s less left to the imagination but it’s certainly better for it and we’re extremely happy with his work!

Do ridiculous boomer sentiments like “metal is dead” hold any significance to you?

Haha - absolutely not! Great metal musicians keep dying, which is obviously terrible, and we’ll most likely never return to a time of stadium filling metal bands, but any which way you look at that statement, it’s a pretty stupid and blinkered one.

Has metal become too soft and watered-down? Are people too sensitive nowadays? How do you feel about censorship?

As far as I’m aware, no! If anything, metal mirrors the population at large - it has spread, split into smaller and smaller fractions, evolved for the better and for the worse, argued with itself, become many new things and preserved old ideas too. So if you go looking for something that seems soft and watered down to you, you could probably find it easier than ever before, but that ease applies to more orthodox shit (rendering the concept of obscure somewhat less earned) and other much more unpalatable ends of the spectrum too. I reckon a lot of the people you see pumping out inflammatory sentiments regarding censorship, or a perceived culture war, or trying to reduce the world to binary terms like left and right when it suits them to do so - people like Nergal from Behemoth, for instance - are smart people who are too comfortable in their own views to continue to evolve or listen to other experiences that contradict their own. Penny Rimbaud of Crass is someone else who because of their own well established world view, just sounds like an idiot these days. It stinks of laziness and intellectual stagnation, it sucks. More than trying to censor others' views, I think we all need to practice a bit more compassion and spend a lot less time trying to garner truths about the world from warped, decontextualised online interactions. Honestly, is there anything more depressing than a group of older men with stupid avatars banding together in a space they dominate to convince some new teenage black metal fan that they are somehow wrong or a poser to bring up the issue of outright racism in the music that they are encountering for the first time? It’s a hateful playground where it’s easy to get sucked into the wrong crew for quite some time before you’re able to come to your own (hopefully palatable and respectful) conclusions. Metal and the wider music world will always be a place where ideas can be discussed and learned and an avenue for expression, but they definitely aren’t the places where they should be finalised or taken as law.

What are some of your favourite albums of all time and which bands influenced your sound?

Most of my faves dwell outside of the kind of relevant levels of heavy, but all of Sepultura’s classics, Doom - Rush Hour of the Gods, Entombed - Clandestine, Extreme Noise Terror - Phonophobia, Carcass + Obituary + Death in general, Framtid, Bolt Thrower, Merciless - The Awakening, Aura Noir, Black Breath - Slaves Beyond Death, After The Bombs - Relentless Onslaught, Celtic Frost (big time) and Dystopia are all firm favourites of mine who fit both categories and have seeped in to the Mortuary Spawn sound somehow!

Can you give us some details about working with labels like Brutal Cave Productions, Chamber of Emesis, and Sewer Rot Records? How has the response been so far towards your music?

Great on all three counts - Chamber of Emesis is George’s venture with the other two in Vomitorium and we thought 50 copies with them would be enough for a first run, but we’ve got through a fair few extra copies now. It was only a matter of days after putting the EP up on bandcamp until Brutal Cave (Portugal) and Sewer Rot (Southern California) got in contact with offers that worked for all parties, as in no unreasonable obligations, no expectation of riches, but plenty of enthusiasm for the music, and although there’s crazy delays with production worldwide at the moment, you should be able to buy Mortuary Spawn stuff from both of them by the time this is published!

The response has been pretty great and more than we expected, and since then it’s been a pleasure finding out a bit more about the current landscape of death metal through the support we’ve got from strangers in the underground. I didn’t realise death metal was having such a big moment! I might have come across them anyway, but now I’m listening to 2021 releases by bands like Sněť, Morbific and Cerebral Rot and thinking, shit, these guys are very very good and we’re going to have to be very very good too.

That will be the end of our interview, thanks for your time! The last rotten words are yours.

If you’re in the UK, come to any of the shows listed below, and give us a shout on mortuaryspawn@gmail.com so we can come play in your living room/alldayer/generator show/megafest/miserable town, we really would like that. Thanks again, Jim!

LEEDS 24/07/21 w/ Discharge, Pest Control, Ona Snop, Frisk + loads more @ Boom

LONDON 02/09/21 w/ Celestial Sanctuary, Slimelord + Vacuous @ the Black Heart

LONDON 11/09/21 Chimpyfest w/ Varukers, Active Minds, Sulk + loads more @ New Cross Inn

LEEDS 14/10/21 w/ Foetal Juice, Basement Torture Killings + Ona Snop @ Boom

MANCHESTER 16/10/21 w/ Wode, Live Burial + Sump @ the Star and Garter

EP review: Razvalina - Smrt Živečega (2021)

Razvalina - Smrt Živečega

Slovenia

Unsigned / Independent

“Smrt Živečega” is the great debut from this Slovenian trio of maniacs who use their words to lash out against politics and the whole pandemic situation that threatens us and our way of life.

Musically, you'll feel like you've just been run over by a fucking truck transporting corpses to the crematorium. From the beginning, they express their ideals with real, extreme passion. I wouldn’t necessarily classify them as death/grind, but I can detect a good lethal dose of grindcore influence in their music. This is a EP, which stands out for its aggression. Every barrage of riffs hits the mark with absolute precision. They are very successful with crafting cohesive song structures. What I probably like most about the band is the drums. It fascinates me when they unleash those snare hits which sounds like a hail of bullets. In the second song "Ne Pripada" they throw a solo in our face where they make the guitar scream with some levers that open the gate and send you straight to hell back and forth. The fact that the band sings in their native tongue makes it sound even more rotten. Something I also really enjoyed is the harmonies they put in key parts of the songs. Without a doubt, my favorite song on this EP is "Agresor", followed by the aforementioned "Ne Pripada", a brutal way to crush your ears. We'll just have to wait for their debut album and see what else they can come up with. For now, I think they did a great job! Recommended! (Catacombs Walker)

Album review: Insanity - Psicosis (2020)

Insanity - Psicosis

Colombia

Ritos de Muerte Radio Extrema

Formed in 2001 and after a series of EPs and two compilations, Colombians Insanity finally unleash their debut album upon the masses with "Psicosis". Admittedly, the material is pretty standard for the genre, though the execution and musicianship are undeniably good. The production is comprehensible and appropriately clear, fitting for the style they play. The display of technical prowess, heavy groove and bludgeoning brutality is reminiscent of bands like Skinless, Prostitute Disfigurement and Necrophagist. I think fans of the aforementioned bands, especially those who are into modern death metal, will definitely enjoy this. "Psicosis" is a solid debut album with 9 tracks of well-crafted death metal that hits you like a hammer blow to the skull. (HT)