Posts Tagged ‘Death Metal’

Swedish crust/death-metal unit Industrial Puke featuring members of Burst and Rentokiller have recently shared a music video for a new track off their debut EP  Where Life Crisis Starts, released on September 16th via Suicide Records. 
The video for "Industrial Puke" was filmed by Mathias Coulouri and features Dödsvarg as guest vocalist, check it out here:

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Linus Jägerskog from Burst and Jens Ekelin from Rentokiller started Industrial Puke out of their common love for Disrupt and Dismember, along with a pressing need to make music for imminent affect release.

After a long period of writing, finding band members and recording, the debut single ‘Mental Taxation’ was released in June of 2022. The single spawned a partnership with Suicide Records for the release of their debut EP Where Life Crisis Starts in September and a full-length album titled Born into the Twisting Rope is already set for release in late spring of 2023.

The EP is a direct bombardment of crust, death metal and hardcore minced down to four relentless songs about failing yourself and the men that fail the world.

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It’s time for another deep dive into the horrors of mortality and the foul side of the supernatural – It’s time for "Survival Of The Sickest"! The sixth full-length album from BLOODBATH, Sweden’s undisputed masters of old school death metal, will be unleashed on September 9, 2022 via Napalm Records. This is death metal at its ugly best: vicious, unrelenting and irrevocably sworn to the black.

The world is in flames, and Survival Of The Sickest, produced by Bloodbath and co-produced and mixed by Lawrence Mackrory at Rorysound Studios, offers no respite from the horrors of reality. Instead, with the addition of new guitarist Tomas ‘Plytet’ Åkvik (Lik) onboard, BLOODBATH’s latest and greatest album gleefully confronts the slavering ghoul lurking in the shadows, and treats him to ten songs of ripping death metal frenzy. Alongside Bloodbath’s official alumni, Survival Of The Sickest boasts a smattering of irresistible cameos from the great, good and ghoulish of the metal underground, including Barney Greenway (Napalm Death), Luc Lemay (Gorguts) and Marc Grewe (Morgoth).

Alongside its pre-order kickoff, Bloodbath have released the crushing new single and album opener, “Zombie Inferno”, a thrashing death metal assault set to draw the listener into a lunatic outburst of ferocity. The song breaks in with anxiety-inducing riffs and the insanely killer vocals of Nick Holmes, and is visually highlighted via a fast-paced, gory music video, acting as a tribute to the glory days of 80s splatter flicks.

Watch the video here:

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Bloodbath

Christopher Nosnibor

It may sound perverse, but I find metal gigs to be highly therapeutic. I suppose it’s the escapism – the release of fury from the stage working like some kind of Reiki, drawing the tension out and casting it into the air.

I didn’t really do much research beforehand – because sometimes, it’s nice just to rock up, see some bands, and drink some beer. Especially on a Sunday afternoon. It’s bloody boiling, which means I’m going to bee needing quite a bit of beer to keep hydrated, and I arrive just in time to get a pint in before the first act.

Grunk are pretty much classic grind, with two vocalists. They’re raw and ragged, with a lot of drum, but not a lot of guitar. They’ve plenty of grunt and humour, too. They’re not very good, but aren’t trying to be, quipping about the proper bands being on after, and they’re a fun opener, their set concluding with the rotund main shouter rolling around on the floor in front of the stage.

It wouldn’t be a proper dirty metal gig in / near Leeds without Steve Myles doing something, and here he’s Sulking, doing shouting instead of drumming for a change. Instrumentally, Sulk are another guitar and drum setup, but sound altogether more meaty, and consequently all the more grindy. Their tightly-structured songs pack all the heft, all the pace, and Myles pages the stage menacingly while delivering raw-throated rage. They’re absolutely brutal, and one of the best bands of the night.

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Sulk

It’s been a few years since I last caught Deathmace. They’re very much at the thrash end of the spectrum, with some frenzied guitar solos, and a sound filled out with a second guitar and bass, too. Too earnest to be truly menacing, the singer speaks normally between songs but growls the song titles when announcing them, and made me think of the recent movie, Metal Lords. They’re very obviously complete metal nerds (although the drummer is wearing a Yes T-shirt), singing about death, coffins, maggots and large fish, but can genuinely play, and being a local band with a strong following, go down a storm.

It’s truly oven-like in the venue by now, and everyone clears out to the beer garden, and consequently most of them miss the first half of Wolfbastard’s set, which is definitely their loss. The trio’s scratchy bass sound blends into the incendiary treble of the overloading guitar wall of noise. Bassist Si’s barking vocal contrasts with the guitarist Dez’s sandpapered screech, and it’s a stonking set off crusty black metal, which is exactly what I came for.

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Wolfbastard

Cryptic Shift are big hair and pointy guitars, and the first thought is ‘Megadeth’. It so happens that’s also my second thought, too. Granted, they’re a bit more death/black than that, but seem to take the remainder of their cues from Venom. They’re supremely technical and super-serious and megafast, but the bass sounds like arse and there’s so much endless harmonics and fretwanking it’s… well, of course it’s a matter of taste, but the singer plays every inch of the fretboard, and uses all 36 pedals, and it’s impressive and all, but it’s just not particularly fun. They drink a lot of water.

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Cryptic Shift

For Foetal Juice front man Dez, this is his second set of the night, and what a set it is. Foetal Juice are grind heavyweights in every way. Without the restriction of an instrument, Dez charges back and forth across the stage, fist pumping and finger pointed. There’s little commentary required: it’s death metal, played as it should be, and they sound exactly as the name suggests. They slam down the heavy noise relentlessly, and it’s a magnificently riffy, gnarly affair, and a mosh frenzy ensues. Fucking yes. This is what we came for.

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Foetal Juice

Estonian death-metal quartet Beyond the Structure have just unleashed a lyric video for a brand new song from their forthcoming second full-length album Scrutiny due out on April 28th via Vicious Instinct Records.

The follow-up to Beyond the Structure’s debut album Nauseating Truth was recorded at Walter Productions Studios in Tallinn, Estonia by Are Kangus, mixed by Igor Ovcharenko in Samara, Russia and mastered by multi-instrumentalist and producer Colin Marston at the Thousand Caves Recording Studios in Queens, New York, and sees Beyond the Structure distilling some absolutely brutal and technically dazzling death-metal.

Watch ‘Worms of Consumption’ video here:

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Brisbane-based death-metal act Cryptivore have recently unleashed a new track from their forthcoming debut album Celestial Extinction due out on March 15th via Bitter Loss Records.

Listen here:

Five years on from their debut demo “Unseen Divinity”, which was later reissued by Blood Harvest/ Dawning Septic, Cryptivore are now ready to release their first album Celestial Extinction, an effort that remains deeply rooted in old-school death metal, yet also shows the Australian outfit developing and refining their sound.

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Brood of Hatred, the Tunisian progressive death-metal project led by multi-instrumentalist Muhammed Mêlki, have just shared a new track from forthcoming third album The Golden Age, which is set for release on February 25th via Gruesome Records.

Listen to ‘The Mask of Death’ here:

The follow-up to 2018’s second album Identity Disorder features 8 songs of heavy, technical, blistering and emotional landscapes, merging death-metal with progressive textures. Regarding the album concept as far as music and lyrics go, as well as the cover art, “The Golden Age is an album of musical and thematic growth. It develops a dark and cold atmosphere with elements of rhythmic play. The artwork reflects a parallel universe of post-apocalyptic revival” says Muhammed Mêlki.

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Vicious Instinct Record – 9th December 2021

Christopher Nosnibor

Holy fuck. Death metal is by nature harsh, brutal, and intense, but every once in a while you’ll find a release that really hits hard, that crabs you by the balls and vomits in your face while headbutting you several times just to make sure you’ve got the message. Afterwards, you’re dazed and staggering around in so much pain you don’t even know what the message was, but you never forget the encounter. That, people, is Mechalith, the new four-tracker from Djinn-Ghül, delivers. Harsh and heavy, relentless and brutal, it’s four tracks last barely thirteen minutes, and hammer and thrash relentlessly all the way.

The accompanying notes say that the duo – and they don’t sound like a duo – was formed by Grant Nachbur (Nephrectomy, ex-Ritual Aesthetic) and Junior Patiño (Rotten Vomit, Voraraephilia) in 2017, when both wanted to manufacture an oddity death-metal project with the purpose of conceiving an extreme and unconventional sound, while dissolving all expectations of the sub-genre.

Here, they dissolve everything – muscle, bone, brain tissue – with sheer sonic force.

They go on to add that ‘Detailing unspeakable corruption and industrial nightmares that bare resemblance to our own current existences, DJINN-GHÜL invites listeners to relinquish their current understanding of not only extreme music, but also reality.’

There is, sadly, little escaping reality, but music that transports you out of the comfort of your living room fulfils and essential purpose. This release drags you into the bowels of the earth, where a bloody abattoir awaits – and I’ll take that over reality right now.

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Hellripper have released a new single and the title track from their forthcoming album entitled “The Affair Of The Poisons”.

Having revealed the theme of the album through the release of “Spectres of the Blood Moon Sabbath” and their last single “Vampire’s Grave”, based on true life events from Glasgow in 1954,  Hellripper continues to explore the historical dark & insidious underworld of witchcraft and the occult.

James MacBain explains the inspiration for ‘The Affair Of The Poisons’ “the song takes inspiration from a series of events that occurred in 17th Century France. Possession, witchcraft, child sacrifice & poisonings were at the heart of a large-scale investigation conducted during the reign of the Sun King (Louis XIV) after an extensive plot was unearthed within the court of Versailles, targeting members of the aristocracy and the King himself in order to gain power and influence; the scandal exploded when it was revealed that the royal favourite herself was partaking in black masses and had allegedly poisoned a younger rival to win back the King’s favour.

Listen to ‘The Affair of the Poisons’ here:

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Svart Records – 15th November 2019

Christopher Nosnibr

It’s the Christmas lull and having just pulled together a review of the year, I realise I’ve still got months of catching up to do, with stacks of releases by acts I genuinely like that I’ve yet to get around to listening to lurking in my inbox and download folder.

For those needing to catch up: ‘The Deathtrip began around 2003 by UK-based guitarist/composer Host, with a view to create some cold black metal tracks, evoking a feeling beyond what was generally circulating in the scene at the time. Very much a DIY project, the initial recordings consisted of songs featuring raw yet distinctive riffing over intentionally stripped down, repetitive and simplified programmed drums, combined with a raw-as-can-be ‘production’. The aim was for something hypnotic & primitive, achieved by using repetitive structures and multi-layered guitar parts’.

Like so many acts over the last decade, I first discovered The Deathtrip when I received an album for review – in this instance, 2014’s Deep Drone Master. On the one hand, it struck me as a quintessential black metal album; on the other, it was a damn good example of a black metal album that stood up alongside the greats.

The same is true of Demon Solar Totem. It’s dark, dense, demonic. The production is ultra-murky and appropriately lo-fi, adhering to the DIY aesthetic and the principles of a scene so underground and to be ploughing a passage though molten magma: the drums are a blurred blizzard of blasting beats. The snare is practically absent amidst crashing cymbals and hundred-and-fifty mile per hour bass beats.

The title track commences proceedings with eight minutes of grandiose black metal steeped in ceremonialism. It’s punishing and furious and dark and highly theatrical, and monastic voices rise in sepulchral echoes as the guitars fade in a long afterburn. And everything burns: it’s a nonstop blast of furnace-like heat belched from the bowels of hell. Every note, every guttural utterance, is twisted and tarred. It’s relentless and savage. ‘Vintage Telepathy’ hammers a sludgy trudge, and powers onwards to the megalithic dirge that is the final track, the nine-minute ‘A New Awakener’.

There is nothing kind or accessible about Demon Solar Totemi: it’s unremittingly punishing. And that’s precisely why it works.

23rd August 2018

Stuart Bateman

How much review do you need of an album called Pain by a band called Immolated Moth? Look at the artwork. You already have an idea of what to expect musically, that’s pretty certain.

According to the blurb, ‘“Carefully constructed brutal fucking chaos” is an accurate description of the sound of Immolated moth. The work of Thom Bleasdale, who had his career as an audio engineer cut short by serious illness, misdiagnosis and mistreatment that should have killed him, Immolated moth is hybrid death metal with an old school feel that is a real expression of true anger, pain, fear and trauma. It does not get any more real than this.’

It’s real, alright. Really pounding, heavy. Really relentless, pulverizing percussion dominates a sludgy mix of really dirty guitars, finished with snarling, guttural vocals. From amidst the raging, uptempo tempest emerge frequent frenzied solos.

The songs may be fast, but they’re not short: opener ‘Suffer in Peace’ is almost seven minutes long and sets the tone. Brutal, dark, menacing and unswervingly relentless, it’s a complete juggernaut of a record. It judders, shudders, throbs and grinds without any real respite.

There’s some weird ZZ Top on speed riffery in the mix on ‘Anger’, before it explodes in a furious flurry or machine-gun drums and wild lead guitar work, and somewhere, a weird sort of groove emerges.

Overall, Pain isn’t an album you listen to for variety, or to admire the subtlety and detail of the production. The emphasis on the mid ranges add to the effect of the lack of variation and builds the cumulative effect of being hammered at a hundred miles an hour without mercy. In short, Pain delivers what it promises.

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