Posts Tagged ‘Death Metal’

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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US death metal pioneers Autopsy are set to return on 15th December with new mini album Puncturing the Grotesque set for release on Peaceville to coincide with the band’s 30th anniversary. You can listen to the title track here:

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We like our short, short, brutal shocks here at AA. And with the latest offering from Full of Hell, that’s exactly what we’ve got. It seems the press release isn’t kidding when it refers to the upcoming album Trumpeting Ecstasy as ‘punishing, virulent, and dynamic beyond expectation. Upcoming via Profound Lore on 5th May, the band have shared the first insight into the album, via the new track ‘Deluminate’. Clocking in just under one minute ‘Deluminate’ is a short sharp blast of rage, showcasing Full Of Hell’s animated, frenetic and unrelenting death metal fury. It’s over in a flash but, as with much of their music, the atmosphere it conjures and the vocal eruption lingers long after Dylan’s final roar…

It’ll probably take you longer to read this post than to listen to the track, so here it is: