Sep 122022
 

Some of us have some fun playing the game of “What Will This Sound Like?” after seeing the cover art and logo for a band we’ve never heard before. Statisticians haven’t calculated the numbers, but it sure seems like a significant percentage of the time the art and logo telegraph the music, at least for people who’ve been paying attention to metal for a fair number of years.

But if you’re like us, you’ll be perplexed when you see the cover of Convergence, the debut album from the Italian group Miscreance. It’s wildly colorful, and the images packed into it create a crazy collage. Stars, lightning, sea creatures, heads, limbs, wombs, cemetery scenes as if glimpsed through inter-dimensional windows in a wall, lots of other things too difficult to identify… it’s a head-spinning vision, and it’s not a clear message about the style of music. The band’s logo doesn’t really telegraph a clear message about the music either.

Maybe you already know, because Miscreance did put out a demo in 2018 (From Awareness to Creation) and three tracks on a split with Australia’s Vile Creation last fall, and a couple of preview songs from the new album have surfaced, but if you missed all of that you might be befuddled right now. But then you see a photo of the band, and you’ll think, okay I got it now: This is a thrash band — a real old-school thrash band. Continue reading »

Sep 092022
 

(DGR has some thoughts to share about the new 12th album from Poland’s Behemoth, which will be released on September 16th by Nuclear Blast.)

It has been a long-standing tradition of Joe Baressi that whenever he works on a metal album, he is credited as ‘Evil Joe Baressi’. That’s pretty funny, considering that often Joe’s name is brought up more in line with groups like Alice in Chains, Soundgarden, Tool, Queens Of The Stone Age, Volbeat, and a bunch of other humongous rock acts over the years. Thus, you get ‘Evil Joe Baressi’ whenever he and his team work on a metal album.

It is certainly an unusual name to see attached to one of the bigger purveyors of Satan-as-spectacle out there — Behemoth. There’s been a little hay made in the press over the name drop, although it’s not like the band strayed well outside their comfort zone, since they’ve involved longtime collaborator Daniel Bergstrand as well. However, this may also be one of the more interesting new things happening with Behemoth‘s latest release Opvs Contra Natvram, because otherwise this is “as expected” a Behemoth album as you could possibly expect. Continue reading »

Sep 082022
 


Northless

(Our Denver-based friend Gonzo has brought us the second installment in a round-up of new albums that emerged this summer which caught his attention and kindled his enthusiasm. See check out Part 1, go here.)

When I’m doing these columns, there comes a point at which I just have to stop agonizing over what I’m going to include and decide on something. I guess this speaks to the quality of what’s come out since June.

That being said, here we go. And I’d be lying if I said this list looks exactly like I thought it would a week ago. Continue reading »

Sep 082022
 

(Andy Synn lavishes praise on the new album from Sweden’s An Abstract Illusion)

This Friday is a big day for Death Metal fans, especially fans of the more Prog/Tech side(s) of the scene.

We’ve got new records from Fallujah (an even flashier version of The Flesh Prevails, for better or worse), Warforged (a much more coherent and consistently rewarding record than their debut, albeit one which still doesn’t feel like the band’s “final” form) and Revocation (which… I already reviewed and, spoiler alert, it’s great), as well as several more which I don’t even have time to mention here, let alone review.

But one album I feel compelled to write about is Woe, the upcoming second album from ultra-talented Swedish trio An Abstract Illusion.

Because while other bands might be getting the lion’s share of they hype and headlines this week, these guys could (and should) very well steal the show.

Continue reading »

Sep 072022
 

(Our man DGR prepared the following review of a long-awaited debut album by NY-based Castrator, which is out now on the Dark Descent label.)

This is one that’s been hovering in the periphery for some time now, so it’s good to have the chance to finally dive into it.

Castrator are a project we’ve been watching for a while around these here parts. Although their activities have had long quiet periods – including those within this site’s general lifespan – there was never a sense that the group had split. The 2015 No Victim release has always lurked somewhere just off the purview but within sight, in part because the members of this particular death metal project were in so many bands that we have crossed paths with. For instance, their bassist R.M has time spent in both Derkéta and Gruesome.

In the timeframe between No Victim and the group’s newest album Defiled In Oblivion – released at the tail end of July – Castrator‘s lineup has changed somewhat, localizing its musicians a bit closer, but there is no question about it when it comes to the music. Castrator‘s death metal bona fides are fully realized, and the ten rumbling songs here – nine originals and one tackling of Venom‘s “Countess Bathory” – are demonstrations of that fact time and time again. Continue reading »

Sep 062022
 

(What albums did you miss last month? Andy Synn is here to tell you about a few of them)

August was… a pretty shitty month for me, all in all. For a variety of different reasons.

That’s probably why today’s edition of Things You May Have Missed is such a dark one – sometimes you just need a dose of darkness to help put things in perspective.

Continue reading »

Sep 062022
 

(In this feature Chris Luedtke introduces our premiere of a new EP by Chicago’s Bifid Corpse, which is being released today via Bandcamp and features a logo by Warhead Art.)

Since 2016 Chicago two-piece Bifid Corpse have been punching out heavy, punishing tunes that largely walk a fine line between death metal and grindcore. Frantic blasts, brutally heavy guitar, gruff throat-ripping screams and growls. On top of that, sprinkle in a little bit of beatdown and the occasional doomy section and you have an idea of what you’re walking into. After a slew of shorter releases, a three-way split with Surfer James and Pythian, it looks like the band decided to go out and smelt a bigger hammer, namely their latest release Real Raw Death.

The title could not be more fitting. Bifid Corpse have cranked up the heaviness and recording quality without sacrificing any of the rawness. Real Raw Death is an immediate sledgehammer shot to the speakers. Opening with “Severed Skewed Consumed” the band lead in blasting and swinging. The heaviness and riding that grind/death wave sets up the album well. Continue reading »

Sep 052022
 

In our never-ending mission to drown people in heavy music we have another roundup to start the new week. We’re doing this even though today is a national holiday here in the U.S., and the culmination of a 3-day holiday weekend. Canada also celebrates the same holiday today, the first Monday in September. Much of the rest of the world observes a similar celebration, but does it on May 1st.

The holiday is generically in honor of “workers”, but really began as a celebration of the labor movement (or “labour”, as they spell it in Canada). “Union” has become something of a dirty word in the U.S. over the last 40 years (in that time the percentage of American workers who belong to a union has fallen by half), though labor organization seems to be experiencing at least a modest resurgence in places like Starbucks shops, Amazon warehouses, and Google’s cafeterias. More power to them.

The holiday has really become just another excuse to have a 3-day weekend of sleeping, eating, drinking, and hanging out with friends. Here in the U.S., tradition also has it that you’re not supposed to wear white after Labor Day, since it unofficially marks the end of summer. But you probably don’t wash your underwear very often anyway, so you’re good. And who wears white band shirts, I mean other than Andy Synn?

Where was I?

Oh yeah… drowning visitors in heavy music. That mission goes on, ’cause we don’t observe holidays at this clinically obsessive place (as if you couldn’t tell from the three posts that preceded this one today). Continue reading »

Sep 042022
 

For this Sunday’s column I’ve included three complete releases and one from a forthcoming album. I venture to say that you’ll find the first two releases formidably frightening and the third one more head-hooking and heart-exploding, while the advance track is an amalgam that’s fiery, feral, and defiant.

ADAESTUO (International)

I’ve written with admiration about all three of Adaestuo’s previous releases — the 2016 debut EP Tacent Semitae and the band’s two albums, Krew za krew (2018) and Manalan virrat (2020). So there was no chance I wouldn’t make the dive into Purge of the Night Cloak, a new EP they released just last week, but which seems to consist of recordings conceived in 2016 and first made in 2020. They describe it as an effort “to bring the intrepid beholder into a more Faustian Gnosis”. Continue reading »

Sep 022022
 

(Today Wise Blood Records is releasing a kick-ass four-way split whose title says a lot, and Todd Manning says a lot more about it in this review.)

For those paying attention, record label Wise Blood Records has been spitting out pure fire with their releases since their inception less than two years ago. The latest release from the label is called Faster Than the Fucking Devil. It gathers together four blackened thrash acts from around the world, each spitting their own brand of blasphemous madness over the album’s thirty-seven-minute runtime.

Hailing from Northwest Indiana, Wraith kicks things off properly. Their sound draws on the early thrash classics like Exodus’s Bonded by Blood, Dark Angel’s Darkness Descends, and Metallica’s Kill ‘em All, but interjects a good dose of Motörhead as well. With tracks like “Demons of Doubt” and “(Call Me) The Destroyer” we get served the hooks of old-school metal with the rawness of black metal. They close their three songs with “Seven Serpents” which sports an awesome Slayer-inspired bridge. Continue reading »