Ævangelist - De Masticatione Mortuorum in Tumulis (2012)

Full Length, Debemur Morti Productions
October 16th, 2012

Genre: Black/Death Metal/Industrial
Region: USA

From the minds responsible for Benighted In Sodom, the duo known as Ævangelist have created De Masticatione Mortuorum in Tumulis a unique and sinister hallucinogenic death-cloud. I thought it would be in your interest in knowing, listening to the machinations recorded here.

Actually I’m pretty late on it myself and these guys have been busy, releasing Nightmare Flesh Offering a new 7” in the last few months, To the Dream Plateau of Hideous Revelation a new split with Esoterica soon (their side is already available), and their new LP Omen Ex Simulacra in the works already — evidence below:



Yes Cthulhu, yes H. P. Lovecraft, and you can bet that title and the lyrical themes revolve around the man’s work and influences to some degree. This is all a plus for those interested but it is used quite a bit, and doesn’t do a whole lot for me usually — however Ævangelist’s wear it very well and in an original way. There's more at work than just this thematic influence so let’s get to this record’s other aspects which are also fantastic.

The cover art depicts a tentacle-web of ancient horror, deformity, death, etc. and that’s pretty much what this duo have constructed here, specifically through emphasis on atmospherics: digital, symphonic, this all feeds into the foreboding quasi-angelic haze suffocating every square inch of this tomb. The production adds to the static, crunchy tone that permeates the record.

None of this is surprising to those enjoy the previous projects both members have been involved in, though this new formation is evidence that they have more intriguing insights into the void of death from these two.

Buried under the sheer weight of the terror and horror is a repugnant plume of death metal with certain black metal influences (cue the eye-rolling) that strangles the listener slowly. When those influences are strongest it more often sounds like Darkspace through Wormed (terrible analogy), and overall I would say this record leans a little more to the side of death metal than anything else even with the huge emphasis on atmosphere.

In fact their unique breed of pestilence is strewn liberally throughout this record but again never without being accompanied by negative illumination and sour flows of the dark symphonies you hear on the first track; which is the only one which indulges in stretching that atmosphere as long as it does.

Out of the box an eerie sample greets us on “Anno mortii : Gnostic Transcendental Heresy”, something I’d describe as an industrial terror-dimension themed soundscape that drifts from the rough and cybernetic, then to cathedral and ghoulishly angelic patches of undulating sound-craft. This is different than one may expect, far more tech/machine driven rather than fleshy or organic as the cover suggests. Supernatural for sure.

This purgatory extends becoming all the more cavernous and the atmosphere is certainly foreboding and rich, and it is interrupted by a death and black metal siege: malformed tremolo frenzies eventually give way to a swaying rhythm that dominates the track. A wall of distorted fear tearing through the atmosphere, a stream of psychotic and indecipherable roars, strangled and muffled growls no doubt relaying some kind of primordial curse.

Vocals are sick and varied if not very out of the ordinary and get a little muddled in the conjuring noises but that may just be the hypnosis working. They do contribute to the frightening haze though. This is a track, the longest, where all the ingredients Ævangelist deal in are at their most reactive and expansive. They opt for different combinations later as you’ll notice.

While the similarities with recent aberrations of the genre are easy to spot the structure overall are less complex in technical structure than say Mitochondrion in the guitar/drum arena, and not as amorphous as Portal’s. Ævangelist craft these and other influences into new forms unlike their peers, they have their own approach and it's effective. While there’s still there’s a strong tradition of crawling, often thicker-than-expected riffs the key is in repetition, swirling, and this builds alongside those aforementioned elements (usually slow to mid paced

This is definitely not to say this doesn’t get pretty complex and full at times, the opening track for example, but this more so to do with a convergence of well crafted industrial “noise” or symphonic atmosphere with these other aspects than more twisted riffs and fast drumming.

Look to “The Longevity of Second Death” for example of reliance on repetitive blows while simultaneously poisoning through atmosphere: we’re treated to a huge and spellbinding set of slow, swaying rhythms which saturated the majority of the track, over those fearsome snarls and floating symphonic ether that erode sanity from all angles.

Even at it’s most simple they resonate strongly, and the nightmare ethereality never parts from the earth-chewing death metal. Take the three shortest, most straightforward tracks “Pendulum”, “Funeral Monolith”, and "Blood & Darkness” where those influences are strongest.



“Pendulum” shows a better balance compared to the opener and an example of how well it works. As chunky and dissonant rhythms plow through the six minutes the droning cavalry wails like nuclear war sirens. These wails contaminate and adhere to everything despite the continuous and belligerent hammering from the other instruments, on a more traditional and deliberate path. There’s some pleasing moments here.

“Funeral Monolith” is similar in this respect, and more easily grasped. The passages are more well lit and decipherable, chunkier and death metal oriented — but it does not relent in its darkness, horror-drone atmospherics clouding the deluge of death beneath.

The occasional rise to the fore of eerie feedback between the both meaty rhythms and twangy sustained discord is perfect, like an orbiting entity affecting everything it comes close to. It morphs and modulated beneath as well as if it were being held under a liquid often alongside the vocals.

This track and the chaotic forerunner to it “Death Illumination”, which really flattens shit in it’s wake, are stand outs for me, though it’s a record where there’s very few weak points and all tracks stand like pillars.



So, what could sometimes seem like a concept that could easily get messy and confused, or even boring if not approached with skill or passion Matron Thorn and Ascaris show to be a worth while exploration in horror and metal. They’ve been thorough. De Masticatione Mortuorum in Tumulis is organized thoughtfully and Ævangelist’s creative output on this record is impressive. Like some kind of inverted, crippled Lykathea Aflame.

There’s one instrumental, “Hierophant Disposal Facility”, and it is staggering with again a much more industrial-ethereal-horror, percussion and bass emphasis at first which entrances no less easily, and eventually bringing the guitars in for the later grooves — slowly twisting and bending over nine minutes in order to deconstructing you spiritually.

Even after being dimensionally raped over the course of this journey, the finale will still surprise you, especially on it’s immediate front with clean flanged-out progressions and bouts of instrumental reflection. “Crematorium Angelicum”fells like it was produced differently, thinner. Regardless it transforms quite a bit over these final nine minutes, going from some kind of bizarre Pantera - Planet Caravans cover to a very Darkspace-esque tone by the time we approach the middle, back again with heavier delay effects, and into a descent.

Chalk another up to the growing “awesome records that I missed last year” list. I wish I had been more attentive because De Masticatione Mortuorum in Tumulis displays how ugly and ferocious new breeds of this genre are becoming. It’s a creaking monster of the trans-dimensional depths. If you’ve fucked up like me and didn’t get to it last year then seriously buckle down and dedicate an hour to this. Fans of Antediluvian, Portal, Mitochondrion, Darkspace — anything like that, you should give this a glance.

Pick up a copy of it if you can. Head over to Debemur Morti Productions' webshop to do just that and follow them elsewhere to keep up with their progress. I’m certainly eagerly awaiting their next record and really want to hear the split and EP once I get the chance.

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Antediluvian - Septentrional Theophany (2013)

EP, Nuclear War Now! Productions
May 14th, 2013

Genre: Black/Death Metal
Region: Canada

A booster EP recorded during the λόγος sessions, Septentrional Theophany is another rapturous astral upheaval from this now infamous Canadian group. It's been well established I'm a big fan of these guys and their related hordes so any new material will have me interested. I think the only one I haven't got to yet was their Cogitating Vacuous split with Temple Nightside. For shame I know.

Yes this is a 7" that was packaged with the 80 page, heavy duty Haruspex Zine #1 (written by Jason Campbell, art and layout of Tim Grieco, in association with the label) which appeared recently along with the vinyl press of their last LP. The magazine itself is pretty fuckin beautiful in packaging and art, not to mention the content/depth of interviews and artist discussions (Denis Forkas, Tim Grieco, Marko Marov, and Manuel Tinnemans). It includes a lot of words with the Nuclear War Now! Productions cult such as: 

Ares Kingdom
Sabbat
Conqueror
Martire
Rotting Christ (Interviews with Sakis Tolis, Jim Mutilator, and Magus Vampyr Daoloth)
Pseudogod
Anatomia
Bone Awl (Interview featuring HWCT and HWGT)
Bestial Raids
Faustcoven

 

The interviews with Conqueror and Bone Awl are particularly interesting however there's generally some nice insights drawn out from diehard members and contributors of the community, with wicked presentation. If you're into digging deep with the bands above then definitely jump on this one. The record is streaming on bandcamp.

(Bone Awl interview)

Two new tracks with lyrics also by Jason Campbell. Something noticeable is that the clarity of this EP is higher even compared to λόγος (at least the tape version, the vinyl/cd press is clearer). It's nowhere near as muddy as TTCOH or the material prior to that which I can see being a problem for a lot of people. Maybe taking a little away from the drumming and grit but Antediluvian are inherently ugly, scratched, and weathered. This EP does retain those characteristics, and the destruction sealed within each moment of the two tracks here is still of great creative quality, and primal with the strong current of mystic cosmology.

So the chaos is still rearing it's malignant head throughout what you'll hear here. Darkly empyrean and profanely exploring ancient (Greek/Christian) theism/deism much like λόγος did but focused on a specific location or region. "North" is referred to several times, Phosphoros (morning star) and awaiting the its appearance, being guided by the destoyer's vision (Abandon),  and the title references a boreal theistic awakening or worship if I'm not mistaken,

Also I don't know if there's much intended significance but stringing together the sequence of writing and tracks gets you "Being in the opus of sacrifice at the mount of the congregation... in the sides of the North". There's obviously more meaning there coupled with the lyrical content regarding astral rebirth and journey, ritual significance of the aurora borealis and morning star (perhaps), etc.

Getting to the tracks themselves more closely. "Mount of the Congregation..." begins in a strikingly ordinary (relative yes) or orthodox manner after a brief sample, maybe returning to their Serpents Malignancy days but chunkier. The drumming remains steady and integral, complex however. Slow rocking powerchords and then just the tom pounding, then the full force of their depravity is unleashed.

Later this opening riff snakes it's way in much faster, transforming several times and in the midst of one of these horrid screams can be heard, on a higher register than the abyssal gurgled hymns that poison the surroundings. The rapidity of their direction changes and pacing reminds me of their Revelations in Excrement EP: progressively more chaotic and complex, before cutting off at the height of intensity.

(Ares Kingdom)

Then there's "...In the Sides of the North", a jarring spiral of archaic violence right from the beginning, the sour tremolo riffs slowly wrapping around you, the hasty sledgehammering from the percussive end slowing inky for measured tom hits between riffs. It's from the one minute mark where things start to get disorienting as the pace is picked up, particularly awesome riffs one after another. This is a song where they pull some more experimentation beyond their usual barbarous lashing, tactfully approaching something a more bleak or horror driven once the chaos subsides slightly.

Amid the howling bent and sustained notes and the tortured screams a thick atmosphere wells up at this point, the drumming becomes more tribal, steady, supporting the descent of the scraping rhythm behind it. It's a cosmic drowning that lingers only for so long, the return to bestial warfare is explosive for the final minute, shriveling like a closing portal.

Get this if you so desire, and I would guess many people desire more Antediluvian material. I wouldn't say it's essential but all of Antediluvian's releases are a treat for any fan of the ancient and filthy ceremonies they indulge in. You know I'll recommend it.

Available at Nuclear War Now! Productions with the first issue of their Haruspex Zine.


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Svart Crown - Profane (2013)

Full Length, Listenable Records
Aprill 22nd, 2013

Genre: Black/Death Metal
Region: France

Since you're all probably pretty tired of the grind and -core I'm putting up, I'm gonna pump in some more black and death metal for a few posts. A warning though you can count on plenty more of that regardless so have fun. Speaking of: if you're waiting on the new Immolation, Ulcerate, or Inquisition then I think you're gonna want to give this a few spins as well. Might be a bit of a sleeper gem for 2013 or just something really solid. And yes I will be getting to those Abyssal albums sometime soon.

I posted Witnessing The Fall last year not long after I saw Svart Crown support Ulcerate on their first North American tour and was very impressed by both their tight performance and quick, dissonant sonic seige. This french horde has obviously been taking their writing even more seriously in the past three years, fleshing out their influences and strengthening their skills to invoke a distorted vision of dissonant blackened death metal entitled Profane that would make Immolation proud. It's a surprise and crept out of nowhere a few days back and may end up on my year end list.

Profane is a far more absorbing venture through vigorous, bendy American sounding dissonant black/death metal compared to their more tame (or less colorful maybe, while enjoyable) 2010 record. I say American because instead of feeling more creepy-chaotic like French/European acts Deathspell Omega, Hectic Patterns, Dodecahedron, etc. Svart Crown use Profane to channel the fiery, blasphemeous, and weighty sound of Immolation with a wild, open-stringed blackened discord and pacing of Inquisition. That's not to say the US doesn't have it's share of torrential death chaos (Ævangelist for instance, holy hell) but the other brand is far more recognizable obviously.

When I saw them I definitely experienced a few of the tracks on this record. After hearing Profane not only is it recognizable from that show there's a much more obvious connection to their pairing with Ulcerate outside of just general friendship. Their previous work contained elements of this yes but here it's far more developed and infused with the old Morbid Angel era influence — and it's not without their own semi-modern sour taint gracing the worship which makes it more their own.

Once again it's a pretty clean record, all the instruments breath comfortably while playing an integral and energetic part in the jagged sorcery on Profane. Loud too. Vile death roars spout cosmic heresies, standard fair but not lacking passion. Guitars are rich, dishing out merciless amounts of scratchy, blazing tremolos and gallops, spectral open dissonance, and bright bends. One channel working the artificial harmonics, chunky rhythms while the other ruptures with ghostly dissonance coupled with a never ending cannon barrage from the new drummer alongside it all, lending a heap of energy to the record. Overall the four of them definitely were working harder towards something on Profane. And from start to finish it doesn't dip in quality, the 40 or so minutes of twisted death hits just the right spot I think.

There are really only two tracks which slow things down: "Until The Last Breath" which has Inquisition inscribed in it, an intoxicated waltz for three-quarters of it's run that is pretty groovy, and "The Therapy of Flesh" which starts off like a burst dam, tearing into you with quick, technical blows before settling into a more relaxed, ominous groove. The intro being one of two instrumentals — they're not wasted on ambient samples though. The opener is a brief glimpse into the cosmic destruction you're about to walk in to, and "Venomous Ritual" is more of an interlude or prelude to the final chapter of Profane: ceremonial and adding more tribal atmosphere without reliance on woodwind instruments and the like. Everything else is a tight, molten assault quite a few leaps forward from Witnessing The Fall.

The various twists and changes in pacing while keeping with satisfying, off-kilter and jerky thoughtful writing and structuring with strong roots allows shit to continue to flow forcefully despite the ingedients being the same and not necessarily new. The arrangements and execution are gripping all over Profane and translate with exponential passion live. "In Utero: A Place of Hatred and Threat" shows off a more black metal focus for a long while, bursting into occasional frenzied gallops of death. The title track (which is streaming on bandcamp) definitely has a more old-school vibe in the opening seconds of jittery slides but the jump to nervous bends and eventually hanging chords brings it back to the bizarre. Especially that latter sustained high string section, very cold and leads to to nice bridge before the pace builds back up.


While the material is solid across the board here ("Genesis Architect" eases you in nicely) a few songs are particularly awesome. "Intern. Virus. Human" is definitely one of them and it comes early. A track that needs to be turned up without a doubt. The first few moments do not feel remarkable but once you hit like 20 seconds in wow does it become much more. By the time the song is in full swing it sounds like something taken directly off of Immolation's last record, that huge chunky, stomping hook and that breaks into an ugly thrash morphed from the opening; this whole time the erupting percussion is just burying you, just a vicious hammering from all angles. The pause a few moments later leads to some severely addicting crushing bends that make a return before the end; which is great all by itself.

Then coming up on the tail end we have "Ascetic Purification" (the shortest track) and it throws you for a loop a little on the outset. To me the first thirty seconds almost sound like it's on the brink of turning into a blackened hardcore tune what with it's semi-punk pacing but the remainder of it is more merciless distorted savagery, with some tasty pinched harmonics and frantic screams right at the end. I would even say in the final quarter is a moment of brutal death metal slam barbarity amongst the already awesome lashing.

"Revelation: Down Here Stillborn" is the other one that stands out, bleeding directly from "Ascetic Purification", and it seals the album well. It's a fucking monster with a lot of memorability. A very grand haze is draped over this song, building and building, dipping from Immolation howling solos and bends and back into more melancholic grooves found in the slower tracks before it. Within the first two minutes there's a ton of crippling grooves lathered in icy harmonized twangs and it only gets heavier from there. A good and final example of their skill and creativity coming together so well, jumping back and forth in it's style just enough to not be messy and feel complex without being wanky or boring.

Profane is a surging, polished, far more solidified and interesting effort from Svart Crown combining some of the greatest elements of Inquisition and Immolation (even the earliest Ulcerate) with pretty epic energy. It surprised me a great deal honestly. It'll hook you but it's not revolutionary, just very enjoyable for those who love that malshapen sound. And I happen to fall into that category so I'm loving this a ton.

You can stream this over here, and buy it from Listenable Records in Europe, Season of Mist if you're in North America (or iTunes apparently); and I would assume eventually direct from the bands store. I highly recommend you do so and follow their updates on tours and shit on facebook as usual.

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Antediluvian - Λόγος (2013)

Full Length / Demo, Nuclear War Now! Productions
2013

Genre: Black/Death Metal
Region: Canada

As some of you might be aware of, the Cassette rip of the limited demo (?) version of the upcoming Antediluvian record Λόγος has finally been circling the outer rungs of the web. I really wanted to hear this at the end of 2012 but only heard about it weeks after it was stealthily released. Anyway here we have it.

Pronounced "logos", a cursory Google search suggests it's ancient Greek for "I say" or "that which is said" (or possibly "reason" but I am both lazy and out of my element here), lending to the ancient biblical and cryptic tone the band has shouldered thus far even more so. The art is once again very eerie. I know that it's a little hard to believe but even in demo form (and depending on the future, even more so here) its blatantly obvious this material represents the greatest channeling of archaic global turmoil Antediluvian have achieved.

At first Λόγος seems like it is far more formless and fluid in structure than all their past recordings, and in reality their bizarre conjurations are definitely far more entangled than ever before. They once again manage to keep vigilant and cull only the best 34 minutes it seems. Riffs which are constantly mutating through copious dissonant bends and decrepit time signatures is what makes Antediluvian and their brethren so violating and captivating, and yes they continue to wallow in this filth here.

Something that also continues is the wrecking ball drumming, putting a lot of guys to shame as she coordinates with the frightening guitar work Haasiophis dredges up. "Beyond Diurnal Winds" for example, this chick is a fucking beast. The bass however is fairly lost underneath everything else, I can hear it but it needs either more growl or bounce; this was not a problem on the last few records.

The crooked paths of the songs and their unpredictability forces you to pay attention as there's so much buried in each track you have no choice, lest you get lost and write it off as poor writing (a hard sell no doubt). On the first listen as it progresses Λόγος grasps a firmer foundation, probably around "The Ash and the Stars" (which is huge and complex) you've begun to just get hold of this writhing serpent; a song which is the first time I would argue that the Portal comparisons are actually accurate. Everything before this was almost overwhelming in it's reveling in chaos, where you only get glimpses as you adjust once again to their craft.

However on successive listens, much like with earlier works, the material becomes clearer and you gain a great appreciation for the meticulous discord it's wrapped in. I almost forgot it was supposed to be a rough cut as it started sounding far crisper at this point "Homunculus Daimon-eon (Awakening)" shreds wildly in descending spirals and later opens up, stretching the 7/4 and never dropping it's pace. And if it weren't for the quick silence you'd mistake "Consumate Spellbound Synapses" for a continuation of the opener. It's ever more pungent with horror sustained wails behind this wall of hypnotizing, lopsided rhythm and hailing blasts,  both combine to level you and the weight just increases as you listen.

There's some debate over whether some of the intro vocals are pitch shifted, not that it matters much. The intros are already cavernous enough. The rest of the time Haasiophis gurgles and froths abhorrently the spells of antiquity as he obliterates his instrument in the darkest ceremonies they've crafted yet. Sometimes on tracks like "On the Tree of Life and Death" there's more hoarse screams at one or two points and I'm not sure if that's him as well (I believe they were a four piece at the time), same with the spoken passage ending the final song. That song opens with a particularly intoxicating intro before erupting into misshapen and uncontrolled masses, decaying midway through to a crawl.

Tracks like "Tower of Silence" and "Nuclear Crucifixion (Turning the Spear Inward)" are even more ugly and tumultuous, if you haven't been overwhelmed by the time you've hit the former then the latter will be all the more tasty. Definitely my picks right now along with "The Ash and the Stars". "Transept of Limbs" opens with a very angelic intro before the blasphemous avalanche breaks. Later an enthralling pinched harmonic lead is woven through the corrosive static and punishing percussion, it's unexpected and fits well.

They always know how to close with a boom and with "Death Meta" Antediluvian manage to do it again, slowing it down and returning to "Under Wing of Asael" briefly. It's another example of how twisted they make everything, the almost slow-down like whammy effect Haasiophis achieves alongside the monolithic kit work from Mars brings this one to a close and leaves a deep scar in all those who make it through.

I didn't have much time to get properly excited for this, and I was pretty surprised that they were already working on/had released a new record so soon after their last success. That made me unduly wary but even considering this I'm coming away extremely pleased with everything they're doing on this rough cut, so when the official version is out I can only imagine it'll be as good if not more relentless and savage. Certainly top ten material even as an unfinished monstrosity.

A must for fans of this genre. Antediluvian have definitely brought something more challenging in this current version of their style. Further corruption by the cassette quality along with a continued standard of great writing takes their sound to more obscure subterranean depths. The only band that competes with them on the "holy fuck" chaos level would be Impetuous Ritual in my humble opinion; I guess you could include Grave Upheaval too. You probably can't find this anywhere unless someones got it on ebay but I hear a more complete/official release is in the works over at Nuclear War Now! Productions so watch that closely. For now enjoy the cassette rip.



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Flourishing - Intersubjectivity (2012)

EP, The Path Less Traveled Records
November 13, 2012

Genre: Technical Death Metal
Region: USA

I enjoyed The Sum of All Fossils a ton, but it didn't make my top 20 last year for a few reasons. While Flourishing play a style of haunting, complex death metal I enjoy to no end, the full length felt a little disjointed and unfocused, and it didn't pull me in. There were a few tracks I really liked (By Which We're Cemented, A Thimble's Worth, In Vivid Monochrome), and others that felt a little arduous. Their Gorguts-y tone was tasty, just barely skirting worship, but it never stuck with me.

Make no mistake. It was definitely one of the best releases in death metal last year, and it was far from being a record I didn't like, but there were a lot of others in both death metal and various other genres that held me longer and crushed me flatter. I honestly haven't given it too many repeat listens despite the quality and potential being self-evident.

With the release of Intersubjectivity, I'm compelled to make a more serious effort however.

What this new EP from New York's Flourishing shows is perfect progression, improved writing, structure, and a clear vision. Flourishing have created something truly impressive here and have dived into their true potential. They've been complex and beautifully chaotic from the start but on Intersubjectivity these qualities have been refined, honed to a viciously sharp edge while moving in a slightly different direction on several fronts.

In one aspect Flourishing seemed to have distanced themselves from some of heavy influence of Gorguts and mix what's left of it with Ulcerate (TDOA in particular) and possibly some of the sounds that drive Deathspell Omega or Mitochondrion; yet again miraculously sidesteping simple worship and carve a very distinct, disturbing sound from these influences.

This shift in style is immediately obvious from the first of the three tracks, "A Living Sundial", where (after the orchestral static in the opening seconds) I instantly recognize another change from their previous work which supersedes the one I just mentioned: the bass. The low end presence on Intersubjectivity is now a key ingredient to their sound, ringing and droning like a bell in a steeple and bringing a whole new flavor to this new dissonant path they're skulking down.

While admittedly the bass wasn't exactly nonexistent in The Sum of All Fossils (as evidenced in "By Which We're Cemented" for instance), the pace and intensity of that record relegated the instrument to a more traditional position found in technical death metal. Sure you could make it out more so than in other records, but it didn't stand out or color the sound in any big way.

That has changed entirely here. I don't know if it's due to the production or a new impetus on the bassists part, or a group decision, but the change is powerful.

Instead of trying to keep up with the other instruments in speed like other tech death acts, or being relegated to a muffled patter on more "occult" records, the bass work stands as a foundational and eerie pillar in the music. The first track is magnetic in this respect. The bass lines here were what stuck out the most, not because they were technically impressive but because of their rich addition to the dissonant atmosphere created alongside the sharp discord of the guitars, pummeling percussion, and terrifying hoarse barks from the vocalist.

They thunder and moan with deep resonance even when keeping a higher pace with the drums, and when things begin to creep they ache in a way that can only be described as harrowing. Thick and strong, building up the track after it's fallen quiet. All the while, on the guitar end the chords are struck violently when the slow down comes, and when things are fast paced they bend and writhe between howling single-note solos; invoking cold fear. On occasion things will be tremolo picked but this is never solely relied upon to force whirling intensity.

This bass-heavy emphasis instantly differentiates Floruishing from a more atmospheric death metal act like Ulcerate, where the bass is fairly lost among the chaos, essentially adding nothing to the music. On Intersubjectivity the potential for the instrument to create a frigid atmosphere is realized in ways not often heard outside sludge or doom; certainly a rarity in death metal. And it achieves this without burying the other instruments. This contrast isn't even taking into account the other aspects that set them apart from bands in the same orbit.

Another difference here is song length and pacing. With only three tracks, two of them are over seven minutes in length, providing space to concoct a layered, dynamic journey that has time to unravel fully to great effect. And even with the shortest track the refined approach they've taken here makes an impact, paced slower and brooding in darkness.

A Living Sundial is probably the best track here (or at least my favorite) with some truly ear-shearing dissonance and spellbinding rhythms imbibed with restrained technical prowess. "The Petrifaction Lottery" and "Intersubjectivity" are nothing to sneer at though. Both retain the undulating presence of the bass, with slithering, reverberating discordant riffs that grab you and don't release until the record ends. 

On the former, the flavor feels more occult to me just in the tone of the opening riffs and shuddering bass notes, as the vocalist shreds his throat over top the slowly swirling chaos. Again, the solo that appears is not flashy which is perfect — it's shrill, obscene and smothering followed by creepy high pitched harmonic notes, and a short tumultuous series of wavering, intense tremolo lines. The bass continues to hold the one riff from the beginning throughout most of the track, uttering total doom and providing a rigid backbone for the whole track.

The self-titled track follows a similar path as the first, with some more creative and haunting bass work opening the track, and then weaving within the twangs of strings, which scrape and bellow like enormous ships colliding amongst stormy ocean waters. The swells of feedback and reverb between the halts and builds adds greatly to the lumbering weight this track, and in several moments I hear something akin sped-up "Clouded" by Gorguts tones before the middle point of this track.

The tail end brings echoing notes that hang and drip into the oceanic atmosphere, forming rings that waft outward as a steady bass riff circles beneath. Except for a few brief breaks of silence, the drums thrust quickly through the majority of the track, becoming more martial near the end with some quick kick blasts in between.

I could not recommend this more. The evidence clearly shows that Flourishing are approaching new and unexplored ferocious depths of what technical, atmospheric, dissonant death metal can achieve outside of the "occult" sphere of influence while containing some of it's oppressive majesty. Intersubjectivity is impressive, hypnotic and worthy of your attention.

Please be so kind as to toss them the measly $2.50 they are asking for on The Path Less Traveled Records' bandcamp page to download this record. And if you didn't know yet, The Sum of All Fossils is being pressed to vinyl and up for preorder at Australopithecus Records as I write this — so grab a copy of that if you so wish.

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Dephosphorus - Night Sky Transform (2012)

Full Length, 7 Degrees Records
August 20th, 2012

Genre: Grindcore/Death Metal/Hardcore/Black Metal/Astrogrind
Region: Greece

Dephosphorus have returned with their first full record. I've been listening to Night Sky Transform for a little while now, but even when I had only heard the first two tracks at the beginning of this year I knew it was going to be something ferocious and formidable.

Now that I physically have it and have spun it an ungodly number of times even before it was in my grasp I can confidently say that this is my #2 record of the year at this point, and until I hear the new Tesa it'll have to be something of considerable heft to move it from that spot. If you're wondering what #1 is then you haven't been paying attention.

I do admit that the first few times I listened through Night Sky Transform it did not hit me as hard as Axiom. I didn't think it was bad, it's just that I was a little concerned that they couldn't follow themselves. But I had faith and returned to it repeatedly, and at some point it hit me just as hard as their first release. That alone is impressive enough. Being able to top such a devastating opener to their library is something I was concerned would not happen even though I trust in their creativity, skill and dedication.

Night Sky Transform is 10 tracks (exactly 31 minutes) of swirling blackened grindcore that is easily the best in it's still ambiguous genre this year and a worthy follow up to their EP. What's notable about the length here is it never ceases to impress and never wears on you; most grind and hardcore records that reach or pass the half hour mark can become tedious and repetitious but this is far from what you experience here. Of course this is much more than pure grind or hardcore to say the least — Dephosphorus perpetually elude categorization.

Almost every track hovers around 3 minutes in length but they're so packed full of exciting, gripping elements that you're often surprised at how quickly they seem to progress. You'll feel compelled to return to them in order to catch something you missed before. And yet it's nothing overly complex at all. It's not flashy or self-indulgent. That's not to say the skill level isn't impressive — surely it is on all fronts. And it's all extremely tight and hasn't dropped one bit from their debut. The important thing here is a completely smooth transition between all the various styles they've mixed, channeled through rich and very pleasing riffs Thanos conjures, wonderfully harsh vocal work from Panos, and Nikos' percussion that is searingly fast and tastefully busy.

At first the production seems coarse compared to Axiom which felt very cold and clean, but by the second track you settle into it comfortably as it brings the rough, muddied texture of the guitar and the force of the drums into a new level of dynamism. It does not smother anything — Panos' voice is not drowned, Nikos' blasts do not burry Thanos' mighty guitar work. Lyrically we see that the cosmological-spiritual themes glimpsed in Axiom are preserved and expanded upon, sometimes ceremonial in form, with (what I think are) subtle dystopian undertones taken to a celestial level in some songs.

Dephosphorus pour untold quantities of passion and intensity into this record. Fierce cosmic radiation seeps into each song as they retain their signature style, a unique atmosphere draping all songs, while on a few occasions they slow down and experiment ever so slightly with the strong formula they've established.

Examples of this can be heard in "The Fermi Paradox" which at the start could almost be confused with something Neurosis might have created: slow martial or ceremonial drumming, eerie twinkling atmospherics and minimalistic, bendy swelling grooves; as well as a switch for the first time to clean droned vocals to heighten the ritualistic feeling of astral projection through the dominating blackened chaos. Panos' vocals are fairly varied on this record and just as terrifying. Desperate and agonized on the higher register and when he dips low they are an unearthly growl

"Unconscious Excursion" is another instance where things are slowed down for a time with thick sustained chords and once again clean moans. It's a very hypnotic sway that is created, which is carried into a slightly faster paced second half where we return to some of that wonderful and tasty hardcore groove found throughout the record (accompanied by a short and howling solo). You can see this kind of formula work it's way into the middle of the following track "Aurora" as well, continuing to the end. It gives variance between the rusted cacophony that tears through the coldest reaches of space, without dropping the power.

What I love about everything they've released so far is that they manage to capture the heaving weight of sludge at various points but never actually settle on it, so you don't actually encounter or experience it in it's pure form but taste the influence in a new, dark manifestation. This is kind of captured in it's more distilled forms in the aforementioned tracks, but in almost every song you catch glimpses of it, alongside the death metal and black metal which stains the grinding hardcore.

I have to say that while I could easily say everything recorded hear impresses me (as it all does) which makes it hard to choose favorite tracks, I will say the first four songs are my favorites. "Uncharted" and "Cold Omen were wise choices to show off before Night Sky Transform was released, as well as being great openers to have back-to-back. Both have a very similar vibe and formula, sounding like a brief transition from where Axiom left off to the full earth shattering impact of this record.

Each riff in these openers is so addicting and well crafted, smoothly slipping into one another and leading to a dissonant and heavy dirge at the end; injecting the black metal with some sludge ooze to great effect. These ending caps have some lovely drumming to compliment the just as impressive guitar and vocal work. "Cold Omen" especially has some hurricane-force percussion. Both are captivating seemingly aided by the unceasing pressure of surrounding celestial bodies

"Starless" follows them with a more bouncy and mid-paced section on guitar while the drumming continues to awe, and when you hit that section at the 50 second mark it becomes truly spellbinding; shortly afterwards assaulting you with that blinding haste they channel so well. And then we hit the title track, decidedly more on the genuine hardcore side than blackened grind (on the outset at least) with flurries of discord added to the powerchords. You can still feel the astral atmosphere lurking within each moment however. By the time you're halfway in a slow gratifying oscillation lulls you, signalling they haven't dropped their approach at all, before a return to the previous thread.

From this point on we see Dephosphorus shape their formula continuously into deeply satisfying and intense new configurations without straying too far from their transcendental, darkened, angular atmospherics. It's remarkable how they can transfigure their style and keep it fresh without losing the force behind it.

We see it in tracks like "The Astral Putch I" which starts off jarring before jumping effortlessly between grindcore with a definite black metal structure shortly after the intro, and then again near the end where a riff appears that reeks of evil; tremolo angularity feeds into chords of the same style. "The Astral Putch II" is split from the first by "Identifying The Encapsulator" — which is jumpy vortex of riffs — and is far different from part one. Slower at first, breathing deep and shining with a brooding cold patina, before jumping into more technical territory. It then shifts into a sharp blackened cascade shortly after, urgent and ominous; suddenly we're back in the hardcore gear as Panos shrieks his last words.

And then as if to prove my earlier point we sink into "Stargazing & Violence". A distinct death metal overtone is cloaking the opening minute, close to the old school on both the drums and guitars. Just as you're settling into it we're greeted with a delicious groove and before you're finished enjoying it an escalating scheme of chords appears as Panos calmly and clearly speaks with it. The black metal enters and Nikos blasts us while Panos screeches — and one final return to a more hardcore flavor. *


The final three tracks that close this record also appeared on their split with Wake released a few months back, and if you read my review of that record then you already know what my impression of them was at that point. The shortest tracks on the record and still being fairly different from each other in spite of your expectations of them being a burst of speed to close the record. "Unit" is certainly a scorching meteor, but both "The Final Computronium" and "The Cosmologist" have some nice slower sections crush you with. Sure they're executed with a disturbing urgency but amongst the oppressive speed is breathing room, making the blistering pace all the more satisfying. *


Why would you even hesitate to listen to this? This is an album of undeniable strength and creativity, something that blends genres so effortlessly and smoothly it can please practically anyone with working ears who can appreciate great underground music. A pleasure to listen to, Night Sky Transform is a huge accomplishment for these Greek grinders and that's saying a lot when you consider their debut Axiom was one of the best pieces of grind-esque metal in the last decade this side of GridLink and A Scanner Darkly.

Listen to it loud and conjure an astral storm.

No download link this time even though it's out there. Dephosphorus deserve your money, so go to bandcamp and download it for a measly $5 as it's easily worth more than that. Stream it and hear for yourself I do not lie. Or you can go to 7 Degrees Records and send them an email to pick this up in vinyl form with some beautiful artwork. I just got my copy and it's well worth the cash.


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EDIT: A mistake on my part everyone. Apparently the advanced copy I had included the tracks from the Wake split and the Great Falls split, and now that I've spun the vinyl and been contacted/informed I'm aware of this. So I've struck the last two paragraphs of the review dealing with those aspects and amended the length. Just be aware of this when reading this and checking out the album, those four tracks are found on separate releases. *

Grave Upheaval / Manticore - Split (2012)

Split, Nuclear War Now! Productions
July 9th, 2012

Genre: Death Metal
Region: Australia / USA

Once again the twisted minds behind Impetuous Ritual and Portal, through their heinous Death/Doom Metal project Grave Upheaval, unleash more crawling chaos in this split with Manticore; who also contribute to their own seasoned catalogue of filthy death metal.

Probably the only thing that bothers me about Grave Upheaval (other than not having recorded a full length yet) is the fact that all their tracks are "untitled" which can make things a little confusing. A minor and insignificant complaint considering whenever they raise from their earthen tomb to project cold doom-infused death metal upon the underground community it is uncompromisingly destructive.

They contribute two tracks to this record, both of which I saw performed at Rites of Darkness III not long ago and both are suffocating, crushing and dirty as a smoker's lungs. The production is slightly clearer on this compared to their split with Encoffination which to some might take away from their murky atmosphere but to me the riffs and groaning vocals are no less oppressive and lurching with a little more clarity in the mix.

The first track is a little shorter but the severely low tuning and creeping pace is such that it feels just as torturous as any ten minute doom track, hammering the listener with drawn out tremolo riffs as the moans crawl forward — drums flickering ominously with the sudden appearance of a gong. The pacing is set slightly faster by the drums as the riffs continue to weigh down with a single set of notes which continues right to the finish, so low and dirty.

This tone is only altered slightly once you hit the second track which pulses with crunchy, slow doom powerchords punctuated by an occasional hammer-on. It's pure darkness as the track somehow hits an even lower pitch when the rasping growls enter. They hold this nice groove with very slight changes in the dismal sway, drums only picking up a touch in the final moments of the track. Every chord struck is a granite slab in the face to be savored on their side. Their material is growing stronger with each short step and I long for a full release even more at this point.

Honestly I'm not all too familiar with Manticore's releases prior to this but their side is great regardless. Manticore definitely take a more traditional approach compared to their partners here, though they remain filthy and evil in their own right. "Unleashing Unholy Temptations" opens slowly, demonic rasps uttered with palpable hate as the chunky riffs plow for a short time. The pace is decided more thrashy and oldschool immediately after this short intro: a choppy onslaught of death metal with some nice hooks near the end before an abrupt close.

"Insemination of the Sycophant" is just as vicious. Powerful percussive blasts pummel you the entire way through — the pace only slows in the middle where a crushing section briefly interrupts the thrashing before tossing you back into the blackened fury. It all ends so quickly you'll definitely need to run through both tracks a few times to get a proper dose of the whirlwind chaos, something that shouldn't be any trouble at all.

If you're aching for another taste of what Grave Upheaval are conjuring in their dark pit in Australia, or what Manticore have been working on since their 2006 full length and last years split then jump on this one. Buy this shit from the Nuclear War Now! Productions store, the diehard version comes with two patches. You can also stream this in full on their bandcamp page.

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Corpsessed - Corpsessed (2012)

EP, Dark Descent Records
May 25th, 2012

Genre: Death Metal
Region: Finland

Following their 2011 EP "The Dagger & the Chalice" (which was one of my favorites last year) this is Corpsessed's self-titled second EP.

Two tracks in total: "Demoniacal Subjugation" and "Of Desolation". Both are heaping servings of ripping death metal that doesn't stray to far away from their last offering, each containing some pretty simple but sweet sharpened, dirty riffs strewn amongst the deep growls and mid-paced chest-crushing drumming.

There's not much to say here honestly: the slow crunchy moments destroy, the faster ones tear with purpose. Powerful tremolo sections run all through this with an evil taint while the crawling powerchord parts will hypnotize.

It's a short but a completely enjoyable ride that keeps you plenty interested. If you liked last year's effort there's no reason you wouldn't like this. The guitar tone is a thick tasty buzz and the material hasn't backed off in terms of quality — I just really want a full album from these guys.

Just a taste of what they're working on and it's quite sick, so get on it. You can buy this in 7" form from both Dark Descent Records and Parasitic Records, and follow them on facebook.

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Antediluvian / Adversarial - Initiated in Impiety as Mysteries (2012)

Split. Nuclear War Now! Productions
June 28th, 2012

Genre: Death Metal
Region: Canada

This is a split I've been hearing about while it was being formed since late last year from a few friends "in the know", and I've been quite excited to hear how it turned out. Needless to say it's phenomenal.

Initiated in Impiety As Mysteries is an essential split record of churning chaos containing two of Canada's most talented, ferocious and hard working death metal acts couldn't be anything less than utterly destructive. Antediluvian and Adversarial on their own have both made big impacts in the last few years so I guess it was only natural they would combine their efforts. While both bands play distinctly different styles of death metal their pairing feels natural. And because essentially each release they've worked on independently has been gold (with growth in each careful step) you shouldn't be surprised once you unleash this to find it is no different in that regard.

Adversarial commits three wicked songs to their side. Two of the songs here ("Swirling Chaos that Swallows Horizons" and "Spiraling Towards the Ultimate End") they've been playing live since ROD III, and I've heard them each time they've played a set since. Hearing them live in their more raw form it was undeniable that they were no less crushing than their work on All Idols Fall Before The Hammer, but now having the chance to listen to them full worked through and a little cleaned up their impact has risen greatly.

For those of you who were bitching about the snare on All Idols Fall Before The Hammer there's good news: the snare is far more tame here. Every other aspect of the percussion remains the same: intense, blazing fast and intimidating. It really does the job of amping up the guitar in the faster sections very well, trampling like a stampede of elephants. Adversarial continues to hone their unique style of awe-inspiring and tasteful technicality with restraint allowing it to feel far more orthodox than you would expect. Carlos is still a fucking beast: his ability to craft high velocity, smart and dissonant riffs that remain catchy and memorable is something more musicians in the modern death metal arena should take note of.

The way he shreds on the opener (following a short ambient intro) shows that he's still full of creative riff ideas, as he snakes his way from technical sections into more dirty, mid paced tremolo sections and then into a slow dissonance which eventually ramps up as some of those crooked notes float in the background is quite satisfying. "Swirling Chaos that Swallows Horizons" has too many excellent moments: from the first riff (which repeats multiple times in the song) to the one that directly follows it at 1:45 which slams you with a combination of choppy fast powerchords and thick palm-muted tremolo shreds to the apocalyptic section emerging from a brief silence — it's all top notch and catchy as hell.

"Into the Waning of Twilight's Death Ocean" is the only track here I'm pretty sure I haven't heard previously but it's no less excellent then the others: cutting technicality and sparks discordance placed between shorter slow chords. The last riff in this song is beastly as it changes it's structures gradually, serpentine and then galloping, will put you on your ass.

"Spiraling Towards the Ultimate End" mirrors the feeling of the first track with one difference: the final haunting section filled with delay which is spellbinding, meandering slightly but circling a familiar theme as the drumming shifts from slow to blazing several times. I remember it clearly from the times I've seen it live but it's even more tremendous here. There's a really technical chunky moment which is just awesome, and the whining riff that's unleashed at 1:15 (and appears again later) is unforgettable.

Antediluvian's side is just as vicious as Adversarial's. I've heard one of these tracks live as well though I did not know the official title at the time.Their sound from Through The Cervix of Hawaah has carried over on these three tracks but the production feels far more raw (as it was on their earlier releases) and to me it seems the atmosphere and structures sound far closer to those heard on Under Wing of Asael.

Even with this being said you can hear growth in their compositions. While there are no behemoth length tracks what Antediluvian are doing on this release is truly magnificent — it's still a swirling catastrophe of jagged darkness but more warped than anything they've done. Crushing waves of sustained bends clash with dirty and tangled tremolo riffs over a storm of furious drumming (which is fairly overwhelmed by the other players and a little "cardboard" sounding), while the bass is so clear it's actually surprising; it's right up front with the guitar.

The most chaotic track is their opener "Force of Suns of Adversary" which is a writhing pile of blackened riffs for the first minute but halts for a wicked slow section reminiscent of the title track from their Asael demo: its a breathing archaic atmosphere in these moments, before moving into more thrashing chaos and again — only to be interrupted by a clean hammer on section which is a little bizarre, and once the distortion is cranked again the sharp scream that echos above turns this into a frightening experience. The vocals remain undeniably inhuman.

"Dissolution Spires" is a little different, slower paced for the most part after a writhing intro section — again the huge, rusted bends  with the thick bass line beneath reminds me of their demo, it's a hypnotic set of sounds that no other death metal group is messing with at this point. These sections make up the bulk of the track and it's entirely engrossing, and even when the pacing speeds up later in the track these grotesque warps remain largely. Near the end there's a truly evil "solo"(it's barely a solo in the traditional sense) which howls and groans in an unearthly manner, it's just great.

"Ehyeh Asher Ehyeh (I Am That I Am)" I saw performed live last year and it slays. It closes this split and much like the previous track it's slower, opening with a cold melody before speeding up briefly and then slamming back to a trudge with an avalanche of dissonant sustained dirges bringing oppressive atmosphere with them; and this pattern repeats in slight variations for the rest of the track. Those slow sections are eerie and otherworldly, a sharp contrast to the ferocity of the moments that come immediately after but no less intense. Near the very end there's a set of riffs that are some of the strangest they've crafted: the pace is quick but the guitar is slow, creeping, warped while the bass lines are quick and filthy. Antediluvian's contribution is just as consistent and strong as their previous work if not more so, their writing continues to impress and tighten.

Absolutely fantastic. This might be one of best splits in a while and there have been some excellent ones in the past two years. Both of these bands a morphing their styles ever so slightly and yet still keep them solid, making for some killer material that rivals their full length works. Don't bother hesitating on snatching a copy from Nuclear War Now! Productions, this is something that deserves your cash.

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Witchrist - The Grand Tormentor (2012)

Full Length, Osmose Productions
June 4th, 2012

Genre: Death Metal
Region: New Zealand

This is a record I've been patiently anticipating. The perfect record for post #500. Witchrist are probably at the top of the pile of newer-old school death metal acts alongside Antediluvian, Ignivomous and Mitochondrion and it was Beheaded Ouroboros that solidified that spot. Now with their second full length there can be no doubt that they have a tightening grip on that position.

The Grand Tormentor is oppressive. It is surrounded in a grainy, pitch black shroud of production to achieve this. Songs of untold hideous realms make up this 50 minute chilling trek into the clouded pits of horror that is Witchrist's lair. It is a record that summons a war lust draped in terrifying and cold darkness.

Opening with far off whines and ghostly cathedral bells the first monolithic track "Into the Arms of Yama " staggers forward heavily with an aberrant grace that builds at a crawl. It's doomy and foreboding until the scratchy tremolo riffs emerge to grasp at the acrid atmosphere, bringing the distorted death riffs into a blackened caress.

From this track onward it is just a torrent of scalding, primitive death metal that plows straight to the depths of disgust and vitriol. All the greatness of their previous record is ratcheted up ten-fold here. The lyrics centered on old eastern gods and goddesses invoked during battle and defiled by each other, frightening serpents bringing destruction, war, etc. The jagged, muddy, painful riffs peppered with brief and chaotic whammy solos, the waves of putrid roars, the dirty flurry of drums, the rough bass growls — it's all amplified and tailored brilliantly.

While this is a murky sounding record everything is pretty damn clear (which might be a negative for some) and nothing gets too lost in the chaos outside of the bass. The riffs spiral and churn above everything, illuminating the unbearable darkness with an unrestrained, head-splitting tone and creative serpentine structures. "Meditation For Sacrifice" contains some truly wicked riffs from the opening undulating tremolos to the crushing slow chords so heavy they breath malice that they are followed by; the combination of both later is tremendous. Near the end it gradually slows again with some spiking pinched harmonics which I fucking love when they're used sparingly and well.

The songs vary quite a lot in terms of length. On shorter ones like "Wasteland of Thataka" or "Exile" there's some deliciously built, raw and aggressive riffs as there are on "Cast Into Fire" — a track that burns like molten lead on soft flesh. Regardless of the length of the tracks here they all feel deliberate, well paced, and are examples of excellent writing. Tracks like "The Tomb" are incredibly simple and have all the same elements of the previous ones while managing to stand out with a fine use of hammer-ons, a few chunky grinds, and a writhing, filthy solo.

"Beyond Darkness And Death" (which isn't listed on the tracklists I've seen online) is steeped with feedback as the militaristic drum patterns rise, pounding relentlessly in the beginning and with the riffs following this example. They turn to a thrashy pitch suddenly before again hitting twisted and violent spires of tremolos, and again crawl to a halt near the end ushering in a hellish doom tone.

All the way through The Grand Tormentor I never found myself losing interest. It's a record that catches you effortlessly despite it's deceptively simple, orthodox style. "Funeral Lotus" is the final track and second monolith on the record  (almost reaching 10 minutes) closing it off perfectly. Shaking with a string of goliath drawn-out powerchords and hammer-ons with slow clash of cymbals and vile utterances to flank them, the dragging pace is kept even once the slice of the tremolo section breaks in. These moments trade off a few times during the course of the song but never lose their force. Eventually everything settles on the excruciating pace found in the first moments, trudging to the end while a cycling noise builds — the final moments are opened up to chanted "auns", creaking silence and (as in the opener) faint clangs of church bells.

There's something to be said about an album in a very saturated, beat-to-death genre that is almost an hour long, entirely memorable and yet feels like it has flown by once you've reached the end. I was skeptical as to whether Witchrist would be able to follow up (let alone top) their last record but my skepticism has been obliterated here. It's clear that this record builds carefully on their solid foundation set in Beheaded Ouroboros and shapes it into something even more perverted and brooding.

You should get this. No questions, just go out and buy this fucker. One of the top death metal albums this year next to the new Ignivomous, Wrathprayer, Pseudogod, etc. Head over to Osmose Productions to grab it on either vinyl or cd. Both come with more wonderful and disturbing art from Alexander Brown.

This is a vinyl rip.

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Pseudogod - Deathwomb Catechesis (2012)

Full Length, Kvlt / Hells Headbangers
April 24th, 2012

Genre: Black Metal/Death Metal
Region: Russia

I'm very late on this one.

Satanic blackened-death fury from Russia. Deathwomb Catechesis opens with cathedral choirs which may lull you into a false sense of security but this is soon shattered by the vicious attack that follows. One might be expecting a traditional bestial assault but while those elements do make an appearance there seems to be a more refined and complex creature lurking within.

Weaving through the drum blasts and barbarous growls the riffs here are brutal and quick. Rather than circling the dissonance drain or wallowing in in the blood of Incantation the guitar is a bit more aggressive, fast paced and bright. There is an undercurrent of technical proficiency without unneeded flare here and rather is reliant on catchy, bouncy, loud grinds that are obviously structured traditionally but manage to skirt too much retreading. This goes for the drumming too: it's ridiculous, moving at blistering speeds. Yes there are momentary lapses into dissonance or sustained dischord but it's used well and sparingly between the furious shreds that mangle themselves into their tremolo equivalents.

Violent and blinding powerchords slam into each other leaving little room breath, churning into an abominable bloody froth. Only a few slower sections are found, such as midway through "Saturnalia", "Necromancy of the Iron Darkness" or "Azazel" and they crush with wicked sways just as much as the clamoring decimation on either side of those moments. "The Triangular Phosphorescence" is quite a hefty final heave of the album, starting off with slow, bubbling dirges and shifting pace at various points with one of the finer moments of cacophony on the album in the middle and then again at the end; crawling at first and then carrying into the hyperspeed percussion. Really a great closer to the album.

What's nice about Deathwomb Catechesis is that while it does fall into the category of the "new wave" of death and black metal revitalization without a doubt it is able to separate from the bestial and war metal tropes a little more than others. It's not breaking new ground but it has definite power behind it.

Another one I'd recommend highly. If you want it you can pick this up over at Hells Headbangers.

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Wrathprayer - The Sun of Moloch: The Sublimation of Sulphur's Essence Which Spawned Death and Life (2012)

Full Length, Osmose Productions / Nuclear War Now! Productions
June 13th, 2012

Genre: Black Metal/Death Metal
Region: Chile

Prepare for a grotesque and bestial assault from the darkest bowels of Chile. The Sun of Moloch has risen to cast its searing rays upon us all.

Wrathprayer engulfs listeners in the scorching fumes of ripping, gritty riffs and an ominous, archaic atmosphere. Beginning with a to-be-expected dark occult intro to set the atmosphere (paired with a similar outro) the cruel nature of this album is slowly revealed. It becomes sluggish and dissonant before tumbling into chaotic swelling riffs with distant, cavernous vocals and storming percussive barrages.

Its a smooth balance between death and black metal that revels in the old path, maintaining a depraved and sour tone one would expect and at the same time satisfyingly revitalizing it.

And this is generally how The Sun of Moloch feels throughout the 40 minutes you'll be enduring. Baneful, filthy and swirling in it's blasphemous tone. The record is spilling over with a ritualistic heat which incorporates the Incantation structure well with touches of Portal-esque writhing. Eerie sampling of discordant strings, screams, chants and moans with ambient rumbling accents some tracks like "The Darkest Fyre" and "From the Depths of the Phlegethon" sliding up the cult factor a few notches.

Vocal duties (more varied than expected) feel a little subdued by all other elements — there are some great echoing howls and screes that snake their way through. It does sound as if the vocals are emanating from a lightless tomb and considering the nature of the subject and style here matter this distant, ancient quality is a positive. 

The bulk of the experience here surrounds the guitar work which doesn't meander from the traditional bestial template too much — not that I'm really complaining. It's all ugly, abrasive and tasty. The guitar tone is muddy in the most pleasurable way. A choice few spellbinding death grooves and pinched harmonics between the onslaught of blackened, labyrinthine tremolo sections but when these slabs enter it's a fucking blast as they carve out deep ridges in the darkened, ashy landscape. Good examples of these completely monstrous and punishing moments are found in "Devourers of Light", "Ritualization (Rev XIII)" and "In Visceribus Bestiæ".

The Sun of Moloch does its job exceedingly well, paced so as to not overextend its welcome with some thick production. It's certainly not innovative but fucking terrific regardless.

Definitely a record that slays. Highly recommended especially for fans of Witchrist, Mitochondrion, Antediluvian, Teitanblood, etc. For now this is only available on vinyl through Nuclear War Now! Productions but in the coming weeks they will be putting it up for a digital download on the label's bandcamp page.

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Blood Revolt - Indoctrine (2010)

Full Length, Profound Lore Records
July 19th, 2010

Genre: Black/Death Metal
Region: Canada

This is one for the ages in voyages into untold darkness and violence of bestial war metal. The talents swirling within this release are such that one should not ignore what this release has to offer. This is another example of Canada demolishing the competition.

Composed of a triad of fantastic and seasoned members, Blood Revolt tear through every boundary of extremity in black and death metal with their first and only release (thus far) titled Indoctrine. From the legendary Primordial: A.A. Nemtheanga brings his jarring and pained vocals to grate on this release, while the inhumane, squall-like drumming of James Read (of Axis of Advance, Revenge, Conqueror, and Kerasphorus) batters and bludgeons with untold ferocity and technicality, and finally the sharpened axe of Chris Ross (Axis of Advance, Revenge, and Weapon) shreds and obliterates in true terror all the conventions known to the genre.

Who would ignore this release? I am ashamed of myself for not knowing about it when it initially appeared.

Indoctrine is a lesson for every metal fan and musician. Without traipsing down the path of dissonant Portal or Gorguts worship this record twists the traditional death metal formula into something so grotesque, so abhorrent that it's a wonder how they have gone unnoticed up to this point: especially those who claim death metal is dying (despite the slew of other excellent releases that also prove otherwise). While the tone is certainly warlike this is no clone of the genre, it in fact escapes that categorization with ease through it's unique sound, superb writing, and whirlwind pacing.

Nemtheanga's vocals have received criticism on this record due to their unorthodox clean, howling, wavering style from purists of the style — what a fucking surprise. Disregard them. His style fits the atmosphere of this record perfectly: tortured and amorous with a true feeling of ferocious urgency. The lyrics are violent and hold no punches. According to the band's statement Indoctrine "... follows the first person narrative of a man who comes to the realization that he lives outside of the system as an animal, a law unto himself. To his salvation through striking at the system, severing its artery, wringing its neck in the only self-expression left to those with no choice in this world. In over the course of eight acts, you will witness his descent into madness, salvation at the barrel of a gun, dehumanisation and ultimately his redemption in destroying himself."

From reading them they espouse war and the power of man against God and all natural forces, alienation, the consequence of raw power and mortal desperation, betrayal, martyrdom, the detailed expression of the filth of battle, the transfiguration of will into a life-ending grasp on the system, the smell of burning cities, metal and sulfur.

This really comes through in all the songs displayed here, but especially the title track, "The Martyrs Brigade", "God's Executioner, Praise Be", "Salvation at the Barrel of a Gun", and "My Name In Blood Across The Sky." I assume if you like Primordial then the vocals won't be a hurdle. Even if you don't, this is metal we're talking about — bending the norms to create something brutal, cacophonous and extreme is what the genre is about.

Between these howls of agony there is the rare but very appropriate and mood setting samples, sometimes spoken passages that are distorted and laced in static. Indoctrine opens with a very ominous one indeed: on "Salvation at the Barrel of a Gun" heavy, haggard breathing is heard, a quick heart beat with one line "make my aim true and my hand steady" followed by successive gunshots before you're thrust into the chaos. It crushes from this point onward with a hateful lust.

Beyond this is the truly magnificient drumming and riffing. Read is a legend. His skills are practically untouchable: his speed and technical finesse are blinding, raw and capture the urgency of the rush of battle. The production arguably hampers them but again in this genre all things are dirty so suck it up. Read will pound your bones to a fine paste before the end without any question.

Ross clearly knows how to craft memorable, filthy, venomous guitar rhythms and leads that cut through to your soul. They lash at your ears with barbarous malice. The tone is condensed and without the plastic feeling so common in "brutal" metal today. Despite being sour every moment of Ross' work on the guitar becomes spellbinding, truly gripping. His riffs will stay with you after this record has finished spinning. Indoctrine has finished its assault. You could take any track on this album as an example of this, but just take a glimpse of "The Martyrs Brigade":

The riffs are chunky and hypnotic, churning with a searing hatred, shifting from gritty tremolo thrashes to thick and energetic sliding powerchords to quick alternate picked slices and gallops. When a solo does appear it is anything but filler: it is almost melodic but so simple that there is no pretension to be heard. The slower moments twist with pain in an ugly groove. Again, the only slow-ish track on the record is My Name In Blood Across The Sky which has a very subtle touch of doom to it midway through (like Antediluvian's Under Wing of Asael), and even it strays into the sheer abrasive speed of the others; especially in terms of Read's drum work.

For all fans of death metal or black metal looking for the ultimate in writhing horror. Especially if you're a fan of Axis of Advance, Rites of thy Degringolade and Revenge you would be doing yourself a disservice to not begin spinning this album immediately. A highly recommended gem of the genre that I have not done justice to here. Profound Lore still have copies available, or if you're in Europe you can find this at Invictus Productions' store as well. Buy it now.

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Svart Crown - Witnessing The Fall (2010)

Full Length, Listenable Records
October 25th, 2010

Genre: Black Metal
Region: France

I saw these guys open for Ulcerate last Thursday and man was that a show to remember. Needless to say Ulcerate completely surpassed my expectations and demolished the tiny venue but I didn't know anything about Svart Crown. Regardless I was pleasantly surprised by their sound and performance. The French know black metal, that is certain, and Svart Crown are another group that come out of that country with some sick and twisted sonic undulations.

Witnessing The Fall is packed full of cutting and dissonant riffs, a ferocious sound that borders black and death metal as the blasting drums hurl you backwards and venomous tongues tear through your ears. At one moment it sounds straight forward and oldschool (though brutal) when suddenly you're struck by a discordant pack of riffs, undeniably powerful with big bends and sustains (as heard on "Strength Higher Than Justice" and "Dogs Of God"). When these bouts of concussive rhythms are over the sharp tremolo riffs, swirling and churning to great satisfaction, and chunky gallops punch through with relentless malice — and an occasional dive bomb solo — made all the more tasty by some thick production and a skin-flaying guitar tone.

The writing is very solid. I wouldn't say it's hugely unique and the subject matter is pretty typical but there's enough there to hold your interest and bring a few surprises. They can play their instruments very well, throughout the release there's a sense of technicality without staying from the orthodox formula or falling into any wankiness that can be off-putting; the intro sets it up nice and it stays pretty damn catchy throughout the 10 tracks with only a few moments to catch your breath.

The final track "Of Sulphur And Fire" is the longest hitting 8 minutes, slowly building from a dark, clean set of chords and then plummeting into a creeping groove, slowly gaining speed and hitting rough dissonance right up to the last fading moments. Slow, loud, filthy and sour.

I recommend checking this out (especially if you like shit like Arkhon Infaustus) and if you have the chance you should definitely see them live. Their material packs a bigger wallop live no doubt and they perform flawlessly with a ton of energy.

Pick this up directly from the label in various formats. They, along with Ulcerate, had a lot of their gear and merch stolen by a pack of cunts while playing in New York a week before I saw them so if you like what you hear try and help them out — same goes for Ulcerate. Those guys are magnificent and true soldiers for plowing through without a hint of self-pity after such a disappointing event on their first North American tour.

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