Album review: Thunraz - Revelation (2023)

Thunraz - Revelation

Estonia

Independent

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

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

Misanthropy Apotheosis - Crush the Mask of Virtue 

Greece

Repulsive Echo Records 

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

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

Church of Disgust - Weakest Is the Flesh

USA

Hells Headbangers Records

 

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

Album Review: Mvltifission - Decomposition in the Painful Metamorphosis (2021)

Mvltifission - Decomposition in the Painful Metamorphosis

 

China

 

Rotted Life Records / Pulverized Records / Huangquan Records / Filth Junkies Records

 
When it comes to metal from China, my knowledge of their scene is admittedly not the best, but I would like to add here that Mvltifission released an incredible album back in 2021 that was undoubtedly one of that year’s best. The album harks back to the glory days of death metal, when bands still sounded original and had that obscure, evil sound. Comparisons to Demilich are inevitable, although the band seem to display enough individual chops in their arsenal to set them apart. A focal point of this album is undoubtedly their penchant for writing killer riffs and not sounding like a poor rehash of their influences, producing death metal that is both distinct and well-crafted. The vocals are putrid gutturals straight from the bowels of hell, complimented by bouncy bass riffs, excellent drumming, and dissonant riffs, all with a production that brings to mind Dawn of Possession era Immolation. All in all, if you enjoy bands like Demilich, Immolation and Demigod, then there’s no doubt in my mind that this gloomy slab of underground death is right up your alley.

Interview: Aeon Void

AEON VOID from Turkey play deadly, possessed death/black metal that evokes a sinister atmosphere reminiscent of the ominous black metal sound associated with labels like Norma Evangelium Diaboli. The music on their debut EP “Fragments of Illusion” is incredibly well-honed, and one of the best releases of 2023. I had the opportunity to speak with the main maniac behind this terror incursion. Read on as we unveil some dark insights.

Hails. Can you tell us how Aeon Void was conceived and what bands inspired your unholy craft?
 
Infernal Hails!
 
We started our activities in Istanbul with Horrida Vultum. The compositions of the songs actually took shape spontaneously after we decided to get together to practice regularly with the instruments. In fact, we created it by restoring the ideas which emerged during the jam sessions. Rather than the idea of "let's do it like the way this or that band does", we wanted to reflect our own RABID approach and aesthetic ideas in a chaotic context. We thought about this together and these 5 songs emerged. I can mention a few of the main bands whose philosophy we have absorbed as sources of inspiration: Katharsis, Deathspell Omega, Thunderbolt, VI, Teitanblood, Azarath, Dead Congregation, Mayhem, Marduk...
 
Are there certain environmental factors that contribute to the darkness of your sound?
 
Everything, especially the human being and its population, becomes more intolerable with every passing day, so life continually fills us up with more hatred.
 
I really enjoyed your debut EP, “Fragments of Illusion.” How long were you working on the songs and are you satisfied with the outcome? I think you nailed the production and that it compliments your sound very well, so congratulations.
 
The writing and recording phase of the guitars was completed from 2018 to 2019. Drums have been recorded in 2020. We took the process slowly so that some things could become stable and mature. At the same time, we tried many new things during the recording sessions. Reamping of the guitars; also bass & vocals recordings were done in 2022. Let me summarize the messy process as follows:
 
We were looking for members to play the other instruments, and we had some auditions related to this. After not being able to pick the right person to get the result we wanted, I took over the vocal and bass parts, and this required a preparation phase on its own. I don't see it as something negative because it was an opportunity to improve myself in every aspect. We are also happy with the result because our goal was to release this EP the way we wanted it to sound. Now we are striving for better. Thank you.
 
The artwork of your debut EP is so sick! I love it. Who is the evil genius responsible for this profane image and what exactly does it depict?

It's done by the Russian artist Alex Shadrin. The cover design of the EP directly reflects the chemistry of the EP: DEATH.

Starting from this point; we wanted it to be drawn in accordance with the image in our minds. A dead baby on the cover indicates what should have happened at the beginning of all humanity, but unfortunately it was not like that and it came to this situation. The dead baby figure actually expresses the feelings we desire, such as the extinction of humanity and the end of everything without any differentiation. So the baby in the middle reflects the only "remedy" of the sinful humanity.

Have you had any other musical experience prior to Aeon Void or is this your first band?
 
Yes we had. For me it was nothing more than rehearsing processes. But Horrida Vultum had played in Godslaying Hellblast and is now playing in Nex Carnis, also he has another project which is about see the light of the day soon and I am dying to listen to it.
 
What are some of your current favorite bands? Are there any releases from this year that have grabbed you?
 
I want to mention my favourites from this year:
1-The Devouring Void & Atrate split
2-Somniate- We Have Proved Death
3-Spirit Possession- Of the Sign...
4-RUIM- Black Royal Spiritism -I- O Sino de Igraja
5-Necrovation- Storm the Void
6-Ascended Dead- Even Fall Apocalypse
7-Blut Aus Nord- Disharmonium- Nahab
8-Horda- Form
9-Marduk- Memento Mori
10-Tetragrammacide- Typo Tantric Aphorisms from the Aracheophidian Quran
11-CH'AHOM - Ts'ono'ot
12-Acausal Intrusion- Panpsychism
13-Voidescent- Dust and Embers
 
I understand Aeon Void is currently a duo. Do you plan to recruit more members in the future or do you prefer the line-up as it is? How many instruments are you playing?
 
Actually we have new members currently, and we've already started working together. As you will appreciate, it is very difficult for two people to hit the stage. I played the guitar and the bass and on top of that I recorded the vocals for this EP. I prefer to shift my focus more on the guitars and the vocals.
 
Thank you for your time! I hope to hear more sick tunes from your band in the future, especially a full-length. Any last words before we close this interview?
 
You're welcome! I am always working on for the better.

Album review: Combat Noise - To the Heart of the Battle (2023)

Combat Noise - To the Heart of the Battle

Cuba

Independent

 

Combat Noise is one of the oldest (and also one of the first) death metal bands from Cuba. The band has been around since 1995 and has released a number of demos and full-lengths. The latest album “To the Heart of the Battle” is a truly excellent offering of bludgeoning death metal in the purest sense. The band’s straightforward approach is reminiscent of bands like Bolt Thrower, Cannibal Corpse and Morbid Angel, although executed with pure passion. Just imagine a more bestial version of Cannibal Corpse, but with war themes. The compositions are well thought out and show a level of experience that can only be achieved by musicians who have been playing music for years. “To The Heart of the Battle” comes highly recommended for fans of death metal, especially those curious about the Cuban scene.

EP review: Aeon Void - Fragments of Illusion (2023)

Aeon Void - Fragments of Illusion

 

Turkey

 

Zazen Sounds

Aeon Void is a duo hailing from Istanbul, and “Fragments of Illusion” is their debut EP released under Zazen Sounds. The EP features five tracks of possessed death/black metal that’s about as relentless as it gets. This otherworldly atmosphere is accentuated by the malicious vocal attack as every utterance is spewed forth with absolute malice. Every track offer a rush of pure darkness and volatile aggression replete with uncompromising riffs and blasting drums. Their music has some unmistakable Turkish characteristics, injecting their own trademark violence into it. As far as references go, I can hear trace elements from bands like Abigor, Marduk, Infernal War, et cetera. One of the highlights of this release is without a doubt the ungodly riffs, which are ruthlessly executed and sharp as obsidian blades. There's something nuanced and sinister about the atmosphere that reminds me of French and Swedish bands, particularly the ominous black metal sound associated with labels like Norma Evangelium Diaboli. All in all, this is a near flawless release from a very promising band.

Interview: Caveman Cult (2023)

The Florida band Caveman Cult plays barbaric black/death/war metal that will rip you to shreds. This interview was conducted with Alvar Antillón, founder, singer, and bassist.
 
How did you come up with the name Caveman Cult? It’s definitely compatible with the type of music you play. Is it meant to be tongue-in-cheek in any way?
 
Alvar: Our guitarist Harold came up with the name. To my understanding the name is definitely meant to match the nature of the music and the intent behind it. We definitely are set on being different and much rather have our own style. We are never concerned about what other artists in the genre are doing, we rather keep it our own thing.
 
How do you think your last album “Blood and Extinction” holds up compared to your previous recordings? How do you feel about the outcome and response from critics?
 
Alvar: In comparison to our prior efforts the production on Blood and Extinction is definitely the most clear so far, however it still has that raw quality that we need for this kind of music. Musically with this one we definitely wanted it to be the most relentless and cut-throat record so far. There are no slow parts, more guitar solos, and the songs are kept short and stripped down. We are very satisfied with how it came out and the response has definitely assisted us to progress as a band and getting good prospects for more sick shows.

When it comes to your music, does the word “evolution” have any significance? How would you define your sound and influences?
 
Alvar: I think evolution applies to any artist as one would always want to evolve and progress rather than remaining stagnant. We take the concept of evolution to our music in the way of how we can make the songs more stripped down and primal. Rather than making the caveman smarter we want to make him more ignorant, violent, and definitely a thicker forehead. We take influences from the classics of metal, but obviously much more in the vein of the barbaric and bestial. Picking up from the works of Bathory, Sarcofago, Venom, Bestial Warlust, Blasphemy, Repulsion, etc. Hardcore and punk also most definitely influences our approach to just making the filthiest metal possible.
 
What’s on your playlist most of the time? If I’m not mistaken, you are a maniac for old-school black, death, thrash and heavy metal? Do you have any favorite albums of the year so far?
 
Alvar: I mentioned classic bands in the previous question that I regularly listen to however I listen to all kinds of music that isn’t metal all the time. I feel you get a wider perspective as a music fan in general and it does get boring to me just listening to the same thing. Caveman Cult on tour is the same way we definitely dedicate moments to all kinds of music and even bad music on purpose just for the fuck of it. We can range from funk to industrial, to jazz to ignorant rap. We enjoy keeping it fresh. My favorite recent albums so far that remain relevant to the purposes of this interview would be Abysmal Lord "Bestiary of Immortal Hunger" (2022) and Shitstorm "Only in Dade" (2023)
 
 
I’ve noticed some pretty divisive reactions towards Caveman Cult in the past, with some people even sounding envious of the band for some reason. What do you think might be the cause of this?
 
Alvar: Some people don't like us simply because of our name, I speculate because we don't fit their satanic bestial war metal cookie cutter mold. Whether it be that or envy that people dislike us, we couldn't care less. We just do what we do and if people like it or not that’s not what drives us. It’s good to have haters, confirms we are doing something right.

 
Thanks for your time brother! To wrap up this interview, can you tell us about your future plans, projects, etc.? Good luck with the tour and cheers!
 
Alvar: Caveman Cult is working on a third full length album which we are striving to record this year, we will also be performing once again at Destroying Texas Fest in Houston this July coming up. I have a newer project called Ejecutadór in which I perform guitar and vocals. We play a blend of classic styles along the lines of death and thrash metal. We just recently released our first EP "Stalking the Kill" which can be found on YouTube and also physical copies soon through
 
www.alternativemia.com

Album review: Negative Plane - The Pact (2022)

Negative Plane - The Pact

 

USA

 

Invictus Productions / The Ajna Offensive

Negative Plane can do no wrong. Their latest album entitled "The Pact" is nothing short of a masterpiece. The band has always had a unique approach to writing riffs and kept the music simple, although enriched with great songwriting. Their ability to weave idiosyncratic elements with black metal is absolutely captivating. These days it's difficult to reinvent the wheel of black metal, and bands that offer something unique are few and far between, though I feel like Negative Plane has succeeded in that department. The music exudes a profoundly sinister atmosphere that feels like demon claws scratching at your soul. Musically, the entire performance is excellent, including the vocals. The production is also perfect. "The Pact" will surely go down in history as a classic. Recommended for fans of church burnings, black magic rituals and serial killers. Stand-out tracks: "A Work to Stand a 1000 Years" "Poison and the Crucifix"

Album review: Complot! - Victimes Innocentes (d'une furie meurtrière) (2022)

Complot! - Victimes Innocentes (d'une furie meurtrière) 

Canada

Anti-human Productions

At first glance, one might dismiss Complot! as just another war metal act, although it quickly becomes clear that these Quebecers mean serious business. "Victimes Innocentes (d'une furie meurtrière)" is their debut album and is as much a black metal album as it is a war metal album. A repugnant atmosphere permeates this recording, giving it a ritualistic feel. The production is also seemingly raw, but not so much that you can't discern individual parts, but more in the sense that they knew what they were doing. The performance is very consistent as each instrument is played with razor sharp precision. One particularly pleasing feature is the mix of pulverizing bass riffs that give the whole thing a rather menacing quality. The vocals are downright evil, while the riffs give the impression of being whipped with chains over and over again. Certainly one of the best albums of the year as far as this style is concerned. Recommended for fans of Naked Whipper, Black Witchery and Blasphemy.