Jun 262019
 

 

Voiceless visions vary, with highly variable results. Subtracting the vibrations of a human larynx doesn’t diminish the appeal of most orchestral compositions or of jazz, for example (though solemn choirs enhance a requiem, and the smoky sultriness of a soulful voice brings dimensions of sound that a saxophone can’t capture). But in genres of extreme metal, entirely instrumental performances seem to face special challenges. It’s not immediately clear why this should be so — after all, a voice is just another instrument of sound, and usually a harsh and ugly one in our circles — but the absence of such assaulting sensations seems to leave a void that many instrumental performers have difficulty filling, leaving the attention of listeners to wander.

On the other hand, the music of the instrumental Belarusian band Essence of Datum leaves no noticeable void at all. To the contrary, it might not go too far to say that the addition of vocals to their music would be a subtraction — an unwanted intrusion that might prove to be a distraction and a diminution of their achievements. That’s quite a testament to their powers, especially because this duo are firmly rooted in the extremity of death metal rather than feeling compelled to layer in symphonic excesses or indulge in meandering proggy diversions as a way of filling the voiceless void.

Essence of Datum‘s success in surmounting the challenges identified above led to their signing earlier this year by Season of Mist, who will release the band’s new album Spellcrying Machine on August 30th. How they achieved that success is not fully revealed on any single song; listening to the entire album provides the best answer. But the first single we’re bringing you from the album today through an attention-grabbing performance video — “Pendulum” — is certainly a great introduction to the album’s manifold attractions. Continue reading »

Jun 252019
 

 

It’s unlikely that you’re unfamiliar with Plaguewielder if you’ve been a frequent visitor at our putrid site, because we’ve paid a lot of attention to them over the course of a career that now includes two albums, including 2018’s excellent Surrender To the Void (reviewed here). They describe themselves as “a three-piece blackened sludge outfit from a decrepit mill town in Ohio”, an extreme metal power trio “embodying the misery of our times and the determination of Ohio’s forgotten working class”.

The band have a multitude of influences that come through in their viscerally powerful music, and they’ve now completed work on a new EP that both pays tribute to some of them and gives their fans a hard strike of vicious new material. Entitled Suffering From Self-Inflected Wounds, it includes covers of G.G. Allen‘s punk anthem “Bite It You Scum,” as well as working-class blues legend Leadbelly’s “Where Did You Sleep Last Night”, plus three original songs. Today we’re presenting one of those original compositions, and it’s the new EP’s raging title track. Continue reading »

Jun 252019
 

 

The song you’re about to hear should probably be delivered with a supplemental oxygen supply — just a mask, a tube, and a small canister capable of feeding your lungs long enough to make it through this 2 1/2 minute hurricane of sound without gasping for air. To avoid utter evisceration, it might also be a good idea to borrow some Kevlar body armor.

Tsantsas” is the name of this breathtaking assault, and it comes blazing at us from the sophomore album of the Italian death metal band Demiurgon. Entitled The Oblivious Lure, it will be released on July 12th by Everlasting Spew Records. It arrives four years after the band’s 2015 full-length debut, Above the Unworthy, whose music we praised repeatedly at this site in the lead-up to its release, and attempted to sum up in this flurry of words: Continue reading »

Jun 252019
 

 

On the Fourth of July the Virginia-based symphonic black/death metal duo Warthrone will return with their second album, Crown of the Apocalypse, which follows their 2014 Venomassacre debut full-length. On this new album, Warthrone members Erik Sayenga (ex-Dying Fetus, Witch-Hunt) and Kristel Sayenga (ex-Witch-Hunt, Dark Purity) are joined by an impressive group of guests, including vocalists Nader Sadek, Sarah Jezebel Deva (Cradle of Filth, Hecate Enthroned, Therion), and Kim Dylla (GWAR), and lead guitarist Jim Ross (Cystic Dysentary, Doomzilla).

The album’s opening track, “The Eyes of Kings”, has already been revealed, and today we present the album’s title track, which immediately follows it in the running order. Together they make a powerful one-two punch to launch this new 40-minute record. Continue reading »

Jun 242019
 

 

Some melodies are so blatantly hooky that they get stuck in your head immediately, even if you don’t think they deserve the attention and wish they would go away, like bits of fluff that annoyingly get stuck to your clothes. Others adhere to your memory more seductively but in a more lasting fashion, because there is greater emotional substance to them. That’s true of the song we’re about to premiere by the Mexican band Ragnell.

The song is “Divine Eradication“, and it’s one of nine tracks on Rebirth in Darkness, the second album by this band from Toluca and the first release since their full-length debut in 2014. Like that first album, the new one will be released by Satanath Records, joined this time in the release by More Hate Productions and The End Of Time Records. Continue reading »

Jun 212019
 

 

Fear and dread, and a certain tingling up and down the spine, are perhaps the dominant sensations that should accompany the announcement of a new album by the Texas duo Hellvetron, whose members have also wrecked havoc through such other formations as Nexul and Black Witchery. Seven long years have passed since Hellvetron’s debut album, Death Scroll of Seven Hells and Its Infernal Majesties, but at last a new one will be upon us come August 16th, through the devilish ministrations of Iron Bonehead Productions.

The portals of Hell open wide through this new album, whose title — Trident of Tartarean Gateways — foreshadows the sulfurous abominations and terrible majesties that reveal themselves through its nine tracks. Similarly, the title of the song we present today — “Draconian Witchblood” — presages both the severity of the punishment it metes out and its air of poisonous enchantment. Continue reading »

Jun 212019
 

 

The thrill of witnessing destruction is a large part of Fawn Limbs‘ appeal, like the excitement of being present at the implosion of giant buildings to create space for something new. But there are other thrills within the mayhem of their music which derive not from chaos but from the almost machine-like precision of their otherwise freakish demolition jobs. This may seem paradoxical, but you’ll see what we mean when you check out the song we’re premiering today.

The song is “Pines” (which does not refer to trees) and it comes from this trans-oceanic trio’s debut album, Harm Remissions, which will be released on August 2nd. The album is an amalgamation of grindcore, math-metal, and noise, created by Finnish guitarist/vocalist/noise-producer Eeli Helin and the Pennsylvania-based rhythm section of Lee Fisher (drums) and Samuel Smith (bass). The album also includes guest vocal appearances by Andrew Hawkins (Baring Teeth), Champ Morgan (BLK OPS, Derelict Satellite, Kill the Client), and Mitchell Luna (Maruta, Noisear). Continue reading »

Jun 202019
 

 

And now for something completely different, and quite extraordinary on multiple levels — a smorgasbord of strange delights, mind-warping delicacies, and blood-freezing terrors for the adventurous listener, a work of mad and marvelous genius that discerning consumers of sound will not soon forget. This is Flawed Synchronization With Reality, the debut album by an experimental black metal project that has taken the name Deemtee.

Deemtee is the work of Spanish multi-instrumental artist NHT from Garth Arum, As Light Dies, and Aegri Somnia — though one should not be misled into guessing that this record will be in the vein of any of those other bands. Perhaps the best way to begin (succinctly) is to share some of the descriptive references in the press materials that have paved the way for the record’s June 22 release (by GrimmDistribution and Suprachaotic Records): Continue reading »

Jun 202019
 

 

The music of the German band High Fighter now exists in apparently opposed but interchangeable states. Rather than juxtapose their contrasting stylistic ingredients like hard veering lane changes on some musical Autobahn, however, they’ve created songs that are more like the confluence of river systems, all joining to flow powerfully forward in an intermingling of upstream sources.

The band’s new album, Champain, will be released on July 26th by Argonauta Records. As a follow-on to their 2014 EP The Goat Ritual and their 2016 debut album Scars & Crosses, it is itself the product of new soundscapes through which the band have passed, as if other tributaries have joined this river in new convergences on its rush to the sea. The Goat Ritual has been left far behind, and Champain certainly isn’t Scars & Crosses Part 2 either. The song we present today, “Dead Gift“, makes that plain, and could stand as a proud emblem of this river’s new course. Continue reading »

Jun 192019
 

 

For my comrades and myself here at our putrid site, WarCrab’s second album, Scars of Aeons, was one of the biggest, brightest, and stupendously heaviest discoveries of 2016. Grant Skelton named it to his list of the year’s best death metal albums. I included a track from the album on our list of 2016’s Most Infectious Extreme Metal Songs. And Andy Synn praised the album in his review with these pungent words:

“With a sound that can best be described as a humongous hybrid of the chugging, churning assault of classic Bolt Thrower, the swaggering, sludge-soaked grooves of Crowbar, and the sheer, merciless morbidity of Autopsy at their doomiest, Scars of Aeonsis one heck of a weighty listen. There are riffs here which are heavy enough to break an elephant’s back, and slithering grooves as thick and meaty as an anaconda on steroids.

“In fact I’m surprised this album doesn’t come with an attached safety warning and a recommendation that listeners wear a hard-hat at all times in order to prevent cranial trauma. It really is that [expletive deleted] heavy!”

The news that these sludge/death heavyweights would be releasing a third album this summer (through Transcending Obscurity Records) was thus cause in these quarters for a mixture of excitement and dread — the skull fractures from the last record are almost healed, but new ones will undoubtedly now be opened, and there’s no getting back those inches of height lost in the last pounding, only more to lose as WarCrab drive us into the pavement once more. Continue reading »