Posts Tagged ‘Death Metal’

Gutter Prince Cabal is proud to announce the release of Melbourne-based sludgy death-metal project AGLO new EP "Into The Maze", now set for release on February 16th on vinyl/digital download.

With ‘Into the Maze’, this one-man doom project created by Aaron Osborne unleash 6 filthy and crushing tracks that take the swagger and groove of Entombed’s ‘Wolverine Blues’ and infuse it with the tar-thick pull of doom. Lumbering like some slow-crawling and atrocious beast through the murk of a polluted swamp, AGLO seem to take pride in all that is rusty and ugly, delivering exceptionally murky and nasty riffs, slow and powerful drumbeats and tormented growls.

Today, AGLO unleash the title-track of the EP, check it out here:

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25th November 2022

Christopher Nosnibor

If you’re after something subtle, melodic, and imbued with rich emotional depth, stop here. Because with song titles like ‘Aborted Eggs Benedict’, ‘Hymen Drizzled Hotcakes’, Rancid Risotto’, and ‘Fetal Fajitas’ the food-themed debut album from this ‘tech/brutal death’ act from Ohio is none of these things.

They’re keen to stress that while not entirely bereft of humour, they’re by no means a parody or novelty act, pointing out that the album ‘serves enough morbid and bizarre courses to fulfill the craving for extreme and wild. On top of that, the Northwestern Ohio group is serious about their music and does not deem their band as a fun or side project. To make their live shows more vivid, A La Carte members perform with the same characters displayed thematically and dress in maître d’ outfits’. Not that the lineup of Chef Cuck, Chef Highman, and The Maitre d’ remotely hints at anything even vaguely comedic.

The tile track, which lifts the lid on this crazy concoction of an album, is a whirl of psychedelic and theatrical flamenco-flavoured strangeness, before the heaving and churning begins with the sample-soaked intro to the technical thrash of ‘Aborted Eggs Benedict’, thrashing its way hard into a frenzy of guttural vocals and squealy notes emerging from the gnarly grind like flames spurting from a molten volcano. The lyrics are indecipherable, but thankfully, they’ve shared them, so it’s possible to grunt along with corking couplets like ‘When Boiling The Fetus Adjust The Oven Rack / With out Consent I Poach Your Tusks From A Elephant Add A Dash Of Vinegar Hatch A Meal So Sinister / Lower Fetus Boiling Immolate Carefully So It Dosent Seperate Make Sure You Only Cook A Little Skin Is Tough Gooey In The Middle / Breakfast Is Served All Atop A Carved Out Toasted Flaky Womans English Muffin’.

If only the instructions were so clear and straightforward for the majority of recipes I find online! And not that any of this translates in the listening, where the vocals mostly sound like phlegm-thick garglings of ‘Gurrrhgggghhhhh!’.

It would be ridiculous to criticise Soup Dejour for being puerile, and while it is largely cliché, it also shows some real creative flair. Not because it’s bombastic or theatrical, but because of how it pulls in a range or elements and presents some quite distinctive bass runs that aren’t genre-typical.

The twiddly guitar does get a bit much, and the crisp production only highlights the dominance of the fretwanking, and at times it works, and at others, it just feels excessive – and it’s by n o means the kind of excess that points towards the palace of wisdom, and, to turn to Blake’s proverb, ‘you never know what is enough until you know what is more than enough’.

Listening to Soup Dejour, I believe I may have made that vital discovery. That is, it’s solid and consistent as an album, the musicianship is absolutely faultless, but small servings are recommended.

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Seven long years following the release of their critically acclaimed debut full-length album Heavy Over The Home, Perth-based death-metal outfit Sanzu finally unleash new material in the form of a visualizer video for a new track off the band’s album Our Behaviour When Drowning.

Titled ‘Throne Of Rope’ this new song was written and recorded by Sanzu, mixed and mastered by George Lever at G1 Productions, and the video for the song was created by Leovannmusic.

Watch the video here:

Comments the band: "It’s great to finally be able to release something to our fans. People have been continuously asking us for new material for 7 years and that’s not something we’ve taken lightly or ignored. We’ve constantly had a duality of situations that have helped and hindered. We had the fundamental agreement that we still wanted to make music together and wanted to pursue it under the stylistic SANZU "idea". But, also month after month, year after year, massive personal and interpersonal changes, complex situations, changing tastes, members going, members going then coming back, health issues and evolving standards and ideas for music and life. All these factors were rapidly turning over faster than we could hope to produce music."

"So it’s at this point that we are really pleased to release a couple tracks we’re proud of and to show some different shades and tones being experimented with. We know and understand there may be real disappointment that the promised full length isn’t a reality yet. But we hope that the people who saw that announcement and our lengthy explanation of the trails leading to that point can trust us in knowing that the trails have not stopped! And yet we’re one step closer and one toe out of the door. So, easy does it!"

"Throne of Rope is from a handful of songs we have written over the last few years that have concepts around having children. This one is maybe more abstract and less literal than our other material as it loosely brings together ideas about toxic parenting, ownership and projected expectations. As well as the frustration a lot people can have with an outdated education system that seems at odds with human and childlike nature. This song has some deceptive qualities, if you surrender to its tone in the given moment it tends to pull you around and down without much consideration for where you were before. Coincidentally the structure also sets a frame for the concept of childhood and education that the lyrics address. With its free and flowing beginning, being full of potential that then descends into turbulence and militancy."

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Lupus Lounge – 25th November 2022

Christopher Nosnibor

There’s catharsis and there’s catharsis. Extreme times heighten the tension and anxiety, and increase the urge to purge. This split release from Tchornobog and Abyssal – a truly international effort, with Tchornobog hailing from Portland, Oregon, and Abyssal representing the UK with their brand of Death/Black/Doom Metal that explores, according to Encyclopaedia Metallum, themes of oppression, and decay.

Tchornobog take this approach to catharsis and purging completely literally. As the press summary notes, ‘Any track opening with a multi-layered recording of a number of vomiting sessions is bound to continue on the darker side of the musical spectrum.’ And so it does, delivering on the threat / promise that “The epic song ‘The Vomiting Choir’ delivers 24:08 minutes that form a descending spiral into a bottomless pit filled with a mostly dissonant sonic miasma of pure negativity and surprising complexity.”

The sounds of regurgitation, guttural coughs and choking and spluttering echo on for a good minute and aa half before the band piledrive their way into an extended workout that finds them burrowing deep into the thick sods of the earth towards the molten pits of hell.

It’s relentless and brutal, and proper old-school: the lyrics are impenetrable and so are the guitars, as a thundering, grey blast of impenetrable distorted guitar blasts away hard and fast and dark and heavy against pummelling percussion, and delivered at a breakneck pace, there are rasping, dead walker noises. There are tempo changes, and mood shifts. And there is deep, dark, anguish and throbbing pain. ‘The Vomiting Choir’ is dark, dark, dark, heavy, and oppressive. Thirteen minutes in it feels like an eternity has passed, an entire album’s worth of anguish squeezed into an excruciating document of torture. But no: there is more, much more, as the next wave and the next movement crash in. For a moment, around the 14/15-minute mark there’s a feel of Joy Division being covered by a black metal band, and the piece drives on and on, ever harder, ever darker, toward the piece’s crushing conclusion with a heavy, throbbing riff of swirling hypnoticism.

Abyssal offer no relief whatsoever, not that you’d really want them to. ‘Antechamber of the Wakeless Mind’ could well be summary of my lifetime as an insomniac. There’s no chance of sleeping through this twenty-four minute barrage of jolting, jarring metallic rage, where everything blurs in a blizzard of fretwork and drums faster than an industrial knitting machine.

It’s a truly exhausting experience; after just five minutes of busted-lunch growling and wheezing against a screeding backdrop of mangled guitars and beats that explode like machine-gun fire, the experience is exhausting – but also exhilarating in the most primitive, purging, cathartic fashion. It’s an extended release, one that’s punishingly intense and physical as well as cerebral.

As a pairing, this split is truly harrowing, mentally and physically draining, dragging its way through the darkest depths.

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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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