Hey metal lovers! Let’s get stoked about this fantastic mid-week release from British Columbia Groovy Prog Death Metallers The Hallowed Catharsis and their new concept EP Solar Cremation!
I’m stoked to bring you a look at the review for the upcoming split EP with Fumigation and The Path To R’lyeh.
Mat Desjardins (drums)
Jay Donnelly (vox)
Tom Hansen (guitar)
Chris Humeniuk (bass)
Matt MacIvor (guitar)
The first four songs of the EP are Fumigation. This is them at their most gruesome and organic sounding yet. The approach to this EP was much more old school and gives a vibe of walking through an abandoned house that is covered in mold and cobwebs, to open up a cupboard and it be filled with a massive next of spiders.
The EP starts out with a grim build up into a cool heavy dissonant riff which transitions into a nice head-bangable verse that uses some of the same chords. The chorus is faster and has an enjoyable fast riff with more dissonant chords at the tail. I like how the theme of the first song seems to end riffs with a similar feel, but not the same part. There are some brief slams and more verses which flow well. They even make the main verse riff groovier which has a nice effect at one point. After the next chorus is goes to a series of wicked riffs that are made for a circle pit! The song continues to finish strong with sweet riffs and angry vocals. Their half of the EP continues to utilize some catchy tremolo riffs and lots of catchy Old School, bouncy but somewhat Thrashy riffs too. A Beard Full Of Maggots is full of exciting riffs and slows to a slower almost Death/Doom part near the end which is killer for a brutal and slow headbang.
The bass begins to stand out much much more in the second song, Forced Vaginal Harbourage. He weaves in and out of the riffs and the riffs themselves are more melodic as well and quite catchy, as well as pretty progressive in the intro. Near the end of the song the bass has some more sweet low but bouncy lines. Through most of the music, the bass is mixed in, making the tone nice and thick. It is audible but he only steps out of the rest of the arrangement occasionally. The parts all fit the songs and the low clunky tone sounds sweet.
You won’t really hear much blast beats in Fumigation at all. They have more Groovy and Old School vibes, especially in the drumming. There is some blasting in Forced Vaginal Harbourage. Aside from not utilizing much blasting the beats do fit, and there is some very consistent double kick. I like the organic sounding mix on the kicks and cymbals as well. Whole kit really. It has nice panning as well in the mix. Earwigs & Earwax has ripping double kick and super-fast tremolo riffs most of the time after an awesome and nostalgic King Of The Hill intro clip, perfect for the bands theme, featuring Dale Gribble leaving an angry and deranged exterminator phone message.
The vocals are also pretty old school in a good way. They have a low mid bellowy shout tone that almost reminds me of Psycrpotic but heavier at times. The vocals can also get pretty guttural at times and occasionally use semi high accents. While the vocals on this EP do not have the same badass powerful crisp low that their previous full length had, it is more comparable to the transition that Bloodbath went through vocally. This being a more putrid, organic and raw sound with plenty of passion. There are quite some brutal moments in Earwigs & Earwax, as well as some of the more “shouty” parts. It is a great and diverse performance. They are a unique tone that is hard for me to describe, and at times remind me of Deathgrind. The “shoutyness” that is incorporated almost reminds me of what could be the beginnings of those ‘hallowed priest shouts’ that Zombiefication and Apocrophex and Hour Of Penance use sometimes. It sounds kind of agonized and desperate. I like it. One other neat thing that adds to the vocal diversity is that each song has some guest vocals. Which becomes more apparent and distinct with more listens.
The second half is The Path to R’lyeh. This is their debut release and a rather impressive one at that. While none of them are brand new to the genre or scene either, they are still relatively unknown. They play an aggressive and technical Lovecraftian worship themed Death Metal and they have a pretty refreshing sound.
THE PATH TO R’LYEH
Alain Cloutier (guitar/bass)
Milann Vaidya (drums)
Yan Chatel (vocals)
Jonathan Lattimore Desabrais (guitar)
It starts with a cool groovy slam with a blast and pauses before coming in full force with heavy blasting, cool tremolo riffing and powerful vocals. After they change heavy riffs a few times they go to a more almost atmospheric part with more prominent and great bass, vocals come in and they continue to fluently turn it into a sweet techy verse with equally prominent bass and guitar. I must say I really like this riff. They go back into the slam from the start with the blast. He goes on the mix up the cymbal work and it is really enjoyable. They then go to another fast but slightly “slammy” riff into a heavy ass slam with ripping double kick and pretty brutal but not overly guttural vocals.
The next song comes in with a catchy kind of Melodic Death style Thrashy riff. The vocals in this song switch depending on the verse, from a more love mid ranged bark to a wicked cool low tone to semi guttural and guttural at times. The vocals start to stand out more to me at the 1:10 mark when they change riffs and he goes lower. It is a very cool tone and I feel that it hits a bit harder than the more mid range tone, which is still a good one.
The following song starts out fast and strong, opening with a quick drum fill into furious riffs and drums and powerful low vocals. This is the first demonstration of highs in the album and it may catch some off guard. They are a rather blackened sounding shriek that has a piercing and agonizing pitch. Once you get used to them they are pretty badass, but definitely sound a bit unexpected almost every time. It almost reminds me of the ‘pterodactyl scream’ from Unhuman. The vocals and drums are totally furious in this song and they have some cool Origin-esque moments.
The final song starts with a super-fast riff with some quick gallops thrown in and techy fills. The drums are ripping the whole time with nice switching up on the cymbals quite often. The cymbal work right around the middle is totally excellent. The vocals are powerful and pretty brutal at times. Near the end of this song there is several sick groovy riffs that are really well executed.
This is a cool split EP of two bands that are different enough yet familiar enough to totally work and be enjoyable as one full listen. Their songs are quick and hard hitting. These bands managed to write some catchy songs, without any solos whatsoever. Proving that good songwriting really does topple over all. Though, I do love me a good solo. I would love to see the addition of tastefully placed solos into these bands music down the road. Perhaps that is not what they are going for, but here and there to mix it up like that is great in my opinion. Go pre-order the album now, it drops next Friday!
For fans of Skinless, Gorguts, Obituary, Cephalic Carnage, Bloodbath, Immolation, Konkeror
For fans of Origin, Demented, Cognitive, Brain Drill, Abysmal Dawn
Path To R’lyeh
Check it out below
Hi guys! I am honored and extremely stoked to bring you my review for the brand new release from my Chilean brothers in Bleak Flesh!
First, let’s look at a bio of the band…
Formed in 2004 in Santiago de Chile by Matias Quiroz under a different name. By 2009 the project had evolved to what is Bleak Flesh. Soon after, bassist Enrique Carvajal joined ranks. By 2012, talented drummer Sebastián Vidal had joined the ranks and they had recorded some demos which would later be released on a compilation in 2015 called “A Glimpse from the Past: The Unreleased Demo Collection”. In 2013 the band was complete with addition of Nicolas Martinez on guitar and Paulo Carcamo on lead vocals. The band would the release their 2013 debut EP, THE GATEWAY, presenting an interesting mix of genres like technical and melodic death metal with progressive touches and nice synth mixed in. In 2014 Bleak Flesh released their first full length album called TRANSCENDENCE. The album got great reviews from fans and critics alike and I even reviewed it a while back! The CD’s even sold out! This EP should be highly anticipated based on the great response Transcendence got, not to mention the brand new vocalist. On January 1st 2016 Radial Velocity came out as the first song recorded with Ngen Kerruff on vocals, being the first single for the new OVERCOMING REALITY EP. On December 19th 2016 they released the second single for the EP, The Spectral Path, along with a sweet music video.
Order or stream their new EP here:
Their music is extremely well rounded within seamlessly molding different subgenres together. Not the same way Cyborg Octopus does, but these guys are still completely unique. They mix Progressive Metal with synths, Technical Death Metal, Djenty and other groovy and sometimes funky riffs, melodic Death Metal and more!
The vocals are powerful and have a great tone. His delivery isn’t quite as enunciated as their previous vocalist Paulo, however he makes up for it by having a really excellent tone and range. He does have enjoyable delivery as well and a wide range. He can go from gutturally low, which he only does on occasion, to a powerful, almost Polish DM sounding mid low and some soaring awesome highs which are also kind of dark and intense. They remind me of the blackened highs heard in Slugdge. Though overall, the bands are very different, they are both slightly experimental and incorporate similar vocal traits at times.
There is still clean vocals on this EP, like their previous work, but it is different and it isn’t coming off forced. That being said, no vocoder. Which I am OK with because I don’t really like vocoder and their previous work war the only use of vocoder I have ever managed to enjoy in any band. In fact the clean vocals in songs like Overcoming reality, where the cleans come in right away, before they even proceed to get brutal, and Sunshine, which has some great epic but totally add to the overall vibe and epic-ness of the songs. Sunshine by far has the most cleans and I think they are really fitting. It also has some great riffs and beats and grooves. The cleans remind me of the cleans that Cyborg Octopus lays out in their Neo-classical influenced song, Divine Right (In D Minor). I personally like them a lot.
The bass work sounds great! The opening and title track, Overcoming Reality has some sweet bass lines, especially during the parts with prominent synth. It sounds like there are some cool slapped bass licks and fills.
Expanding the Existence has an excellent bass solo when it mellows out and then goes in to a beautiful guitar solo section. They mellow it out the first time and he plays a great bass line and then they go to a nice upbeat riff for a bit and mellow it back down to the amazing solo sections.
The guitar is very enjoyable as well. Matiaz is an amazing player who can create beastly riffs and beautiful solos. The riffs are exciting and very upbeat. Expanding the Existence has some super catchy and quite intricate riffs and that absolutely lovely solo mentioned before after with wicked bass sections. Galactic Monolith is a great and varied song. Several awesome grooves and lots of really wicked fast parts too. I particularly love the little melodic lead near the end of the song!
The instrumental track, The Dawn of the Ancient Realms, is simply outstanding!
They soften it down at just before 2:00 and the bass has some totally awesome lines, then they go into a rather freely and super epic solo, into a sick groove with more awesome bass! This then leads into another fantastic solo! Love the tone too! The riffs are extremely exciting and quick with really blistering drums, though he has great feel when they need to let the song breathe too. The synth is pretty prominent through most of this song and it is used well. It fades out with a kind of tribal feel.
The guitar solo in Radial Velocity, which was one of the first singles for the album, released last year, is absolutely amazing. It is fairly lengthy and goes through several different ‘sections’ and is extremely well written. The solo section in the more recent single they released at the beginning of this year is out if this world as well. The Spectral Path has all sorts of incredibly catchy riffs, wicked intense drums and roaring and soaring vocals. But that solo is just absolutely fabulous!
The drums are killer. Great beats and mix. The cymbals sound great as is but when the synth is going, it is mixed really well too. The frequencies add a really nice angelic feel. He sometimes tastefully incorporates gravity blasts as well. Such as in Galactic Monolith, which also has some wicked groove at times and some excellent fast double pick and ride beats that I lust love. And also such as in Spectral Path, which has awesome blistering fast beats that are perfectly placed and not only speed, but excellent feel as they give this song room to breathe several times and every instrument totally plays into making it work, especially the guitar and drums in this song. All sorts of other enjoyable cymbal work as well. not only on that song. The EP is packed with awesome grooves, sweet super fast yet creative beats with lots of great cymbal and especially ride work, and seamless transitions.
It makes me proud to hear this EP. These guys are amazing people and musicians, creating truly unique and inspiring Death Metal. Fans of original and slightly experimental sounds with great melody and groove, this band is for you! The vocals are well ranged and have an exciting delivery and great tone. The drums have incredible speed and excellent beats and fantastic groove and feel when called for. The riffs are creative and very intriguing, with tons of stand out bass through this EP! I strongly urge you to give this a listen! I know this band can have a bright future in this genre if they reach the right amount of fans! It would be a dream come true to see these guys live or play with them some day!
For fans of Atlantis Chronicles, Between The Buried And Me, Dark Matter Secret, Cyborg Octopus, Slugdge, Flub, Black Crown Initiate
Fruit Of The Poisoned Tree
Releases April 7, 2017
Mike Low – Mixing
Zak Denham – Mastering
Justin Abraham – Artwork
I am thrilled to bring you guys my review of the highly anticipated debut Virulent Depravity album, Fruit Of The Poisoned Tree.
The line up for Fruit Of The Poisoned Tree is; Colin Butler – Composition / Guitar / Bass / Vocals
Malcolm Pugh – Guitar
Kévin Paradis – Drums
I believe for the next album, the lineup will remain the same, with different guest appearances to look forward to. This is some of the most complexly composed material I have ever heard. The riffs are unreal, but retain catchiness, and are melodic in their own, incredibly technical way. Lots of great harmonizations and riff counter points.
Some songs with particularly great riffs are; “Beyond The Point Of No Return”, there is a SICK harmony melodic riff that repeats. Definitely one of my favorite riffs I have heard in a long time. The solos are insane. Some very creative licks and a unique, but epic feel utilized. All of the solo tones sound awesome, and fit, but sound individualized, especially the difference between Colin and Malcolm’s tones. Malcolm’s seems to sound more melodic, similar to his “A Loathing Requiem” tone, but still fit for this project. Where Colin’s tone seems a bit more alien in sound. The guest solos are all rather distinct as well. Mark Hawkins (Devolved) rips the first solo on the entire album with a very crisp tone right into a killer solo by Malcolm and a sweet melodic solo by Colin. The most similar of all the guest solos to Colin’s tone is Elijah Whitehead, who performs a killer solo after Colin on “Mechanized Defilement”. One of my favorite solos on the album by far as well.
This album isn’t just technically proficient though. Your mind will be blown with its feel and passion as well. “Only Human” begins with a beautiful, clean section into an almost classically influenced lead, into the brutality. It comes back to awesome soulful sections later on as well, one, after an awesome guest solo by Craig Peters (Deeds OF Flesh, Destroying The Devoid, ex-Arkaik), flowing incredibly with a nice bass part into a sweet groovy riff and beautiful solo by Colin. The song has some more badass verses, a chorus and a few more killer solos by Colin. The ending is very soulful as well and goes back to that Neo-classical vibe.
The closing track, “Crushed By Futuristic Filth”, is one of the most well-rounded. It is crushing and beautiful and so much more. It has an amazing soft section with a keyboard solo by Jimmy into a completely heart wrenching, beautifully written, emotional but uplifting solo by Malcolm. It is really fantastic! After smoothly going back to brutality it then sounds like it is over at about 5 minutes in and it kind of spirals into a beautifully written guest solo by the young virtuoso, Sims Cashion, over a soft section with keys and more beauty as well.
The bass isn’t overshadowed either. Often in albums when it is performed by the primary composer who is a guitarist, the bass gets the role of simply “holding down the low-end”. Not here. Not only does it have an “EXCELLENT” tone, but Colin steps in and out (mostly out) of the guitar work and throws in a lot of perfectly placed, totally sick fills. He mixes up the technique a lot as well. Between finger picking, slap parts and cool tap licks. The bass has it all on this album. All the tracks have awesome bass. We’ve established this, but some songs have especially great parts that are worth mentioning. Such as “Only Human” has a great bass part during a soft instrumental section in the middle of the song. “Mechanized Defilement” has awesome fills, strategically placed to grab your attention through the entire song, and there is a stop with a nice bass sweep which everyone loves when done right. In the last song, “Crushed By Futuristic Filth”, following the guitar solo is a piano solo with an amazing bass line under it. Not overly shred-dy, just so good. The piano continues after the rest of the instruments stop to give a bleak, but slightly hopeful sounding end.
The vocals are just “WOW“! He utilizes so many different tones as tasteful accents, while the main tone seems to be a low mid to a low that are very aggressive. The delivery is what really gets me here. Most of it is well enunciated and while crushingly brutal and technical, still fairly easy to understand. At other times he uses what I call, “vocal artistic integrity” and just massacres us with some of the sickest deliveries I have ever heard. Especially during certain techy riffs, the speed and ability to manipulate words slightly to fit perfect, is incredibly impressive. The vocal speed and delivery in “Serpentine Messiah”, some of the line in “Your Demise” and, the vocals in “Beyond The Point Of No Return” are ridiculous and some of the verses in “Crushed By Futuristic Filth” are nearly inhuman. Simply astonishing performance. Hard to keep up to even reading along at times. “Your Demise” also has some really great delivery in lines that are not incredibly fast. My favorite being “as you sleep in your cocoon of ignorance, night approaches and we are coming for you” before Malcolm’s solo. The delivery is simply sinister and perfect. The whole song has excellent vocals, not to mention the whole damn album.
The drum performance is also totally crazy. Ridiculously fast blasts with meticulously placed but sporadic at the same time fills. He is capable of basically any type of beat he demonstrates. He tastefully and strategically places occasional gravity blasts, but mostly keeping to jarring blasts and crazy bursts and fills. The snare beats and kick bursts in the first verse of “Serpentine Messiah” is just nuts. Incredible doubly kick speed and stamina through the whole album. especially on that song, “Spineless Obedience, Your Demise”, “Bad Drug”, “Beyond The Point Of No Return”, and “Only Human”. As well as super tasty cymbal word with the changing between crashes / Chinas / splashes and even super tasty hi-hat use between hits. It is my understanding that Colin composed all of the riffs, and wrote general ideas for the drums, but it was all basically Kevin. He even records in his home studio. Which is a huge plus to me. The drums have a very refreshingly organic sound, which can especially be heard during the softer instrumental sections. The cymbals sound amazing and are panned great. Everything about the drum performance, engineering and mix is completely stellar in my opinion.
One thing I really love about the album is that while being absolutely mind-boggling-ly technical, it remains cohesive, and often even has a psychedelic vibe. At times the lead tone helps achieve this, such as the solo in “Spineless Obedience” and a lead section, in “Desecrating Eden”, which comes back at the end also and I just love it and the way the guitar mixes with the Keyboard solo in the middle. This is a largely unexplored sound in the genre and it has been demonstrated magnificently here. With classical level intricacy in the composition and a modern spin to the technicality and riff style mixed with the perfect levels of brutality and passion in the right places. There is even some Neo-classically influenced licks. If this isn’t one of the most creative and well-rounded albums in Death Metal history, then I must have a lot to learn. Definite contender for album of the year! Get on this people! Soon! … I want vinyl.
For fans of Spawn Of Possession, First Fragment, Anomalous, Archspire, Inanimate Existence, Ending Tyranny
Jimmy Pitts – Keys (Track 4, 10)
Mark Hawkins – Solo (Track 1)
Nick Padovani – Solo (Track 6)
Craig Peters – Solo (Track 8)
Elijah Whitehead – Solo (Track 9)
Sims Cashion – Solo (Track 10)
Nathan Bounds – Guest Vocals (Track 10)
Check out the early stream from Tech Death Tuesday HERE
Released March 10th 2017
First started as a side project by Shane Embury, they are now on to their fourth album this time featuring Kevin Sharp on vocals. I had to go back and listen to “Pleasures” with Peter Tagtgren , and then albums with Thomas Lindberg on vocals to be able to compare Kevin to both. I have seen some people express dissatisfaction with this album, and a lot comparing Kevin to Thomas. However to really give Kevin the benefit of the doubt he needed to be heard alongside the Tagtgren style also. And after listening to a lot of Lock Up recently, I can honestly say, I really enjoy this album. Kevin is a great fit in my opinion. However one thing I really picked up on was the fact that Nicolas Barker had more range on his drums and the clarity of his drums are fucking crisp. If you have been under a rock and don’t know who Nicholas Barker is, or have known any of his other bands. He played with Cradle of Filth on five albums including Cruelty and the Beast, as well as Dimmu Borgir and a handful of other bands with albums an E.P.’s. but the one thing I always wished you could get from a Lock Up album was to get better sound of Nicks Drums. But with songs like “The Decay Within The Abyss” Nick rattles off a roll out on the toms that you just didn’t get on previous albums. It has just that much more to offer than previous albums when it comes to the drums in my opinion. The album starts out with “Blood And Emptiness” a solid opening track, music starts out hard and fast after a short sound clip. They slow it down, but you hear the first example of Nick’s drums being so crystal clear around the :53 second mark. This is the moment when my ears perked up, and I knew that this album was going to be a good listen. The song goes through a few tempo changes but really maintains a heavy dose of death grind in typical Lock Up style. They follow up with The Decay Within The Abyss” and that tracks starts right out of the gates with such a clean and fluid rollout on the toms before engaging an arsenal of blast beats. This song really gets the listener amped up with plenty of blast beats but also riffs that provide a thick layer of groove. I find I enjoy this album so much because of the added elements with this album. Nick is an unbelievable drummer, the guy has so much talent and unless you were a fan of his, you might not realize it. I think in all previous albums my biggest gripe was even though nick was the drummer, his name in the credits. I just didn’t hear the Nick Barker I had listened to for years. To be honest the only reason I became a Lock Up fan in the first place was because I saw Shane Embury, and Nicholas Barker were in a band, and I knew it was going to be cool. There are still tracks like “Locust” that are basically saturated with grinding blasting mayhem that are going to keep the die-hard’s satisfied. I really have enjoyed my time listening to this album. The album has the same raw aggression as previous albums, but it has Kevin Sharp on the microphone, and that adds a few other spices blended into this album. Kevin has a bit of a blend between Tagtgren and Lindberg almost down the middle, he has similarities to both vocalists prior. I dig this album, and I like what Kevin brings to the mix, but being able to hear Nick’s drums with more free range and crisp sound really helps out. 8.5 / 10 \m/
If you like what you hear, check them out on FACEBOOK
You can also follow them on TWITTER
Then CLICK HERE to grab your copy of Demonization
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I have a very special review of Slugdge – The Cosmic Cornucopia.
Slugdge is a fantastic 2 man studio Death Metal project from Lancashire, UK. The band consists of Kev Pearson on instrumentation, guitar & bass performance, main composition and Matt Moss on vocals, lyrics and composition. I have been following Slugdge for a few years now, and it makes me so happy to see them finally able to physically release their material. They play an absolutely enthralling take on Blackened Death Metal with prominent elements of OSDM, Sludge, Prog-Death & Doom Metal. They mix these genres so well and fluently, it really makes for an amazing musical journey. When I first heard them it was about a week after they dropped Gastronomicon. My friend showed me them on bandcamp and we each bought both of their first albums for $20 each. (They are on bandcamp for NYP download).
This album is the Bible of The Greatfather Mollusca, harvester of the universe. An epic, 24 track, reverse chronological order compilation of Slugdge’s 3 full length albums, Dim and Slimeridden Kingdoms, Gastronomicon & Born Of Slime. Each album contains 8 dark and progressive Death Metal tracks.
First you have their newest album Dim and Slimeridden Kingdoms. The songs are pretty long, with only 1 song clocking in just under 5 minutes and most of them being between 6 and 8 minutes. They do not drag on though. They progress wonderfully with great songwriting that allows the riffs to flow to one another perfectly. This album is definitely the most diverse Slugdge album. It has the most technical riffs out of any of their other albums, and some of the blackened parts, always present in Slugdge, are more Technical and Progressive in this album. One thing that may come as a downfall to some, is that this album seems to have more clean vocal range and cleaner clean vocals & ‘Priest Chants’ as I like to call them. The gents have clearly progressed at their respective instruments. Definitely noticeable in the advancement of the clean vocals and the grim highs as well as the technicality of the riffing. That’s not to take anything away from their previous works.
The middle of the album consists of most of my favourite Slugdge songs, in Gastronomicon. It has a really great instrumental intro whoch flows directly into the title track, which is almost 8 minustes long as it is. I like to think of the intro, Dark Side Of The Shroom (LOL) as part of the song Gastronomicon. This song also contains the lyrics which they will choose for their compilation title. This album has a very bleak, but yet spectral feel to it. It is dark, epic, and fantastical, all at the same time.
The last third, Born Of Slime, this is Slugdge’s first full length album, and it’s pretty much just as great as the other 2. It’s place on this compilation is well deserved even though it does sound more primitive and raw than the other 2. Slugdge, to this day has a very dark vibe to their songs, but this album is especially grim and bleak. One interesting piece of trivia is that this album’s cover art was very obviously inspired by The Destruction of Soddom and Gomorrah, painted by John Martin in 1852.
Sometimes people tend not to like compilations, and for me, it depends on the case but I generally don’t care. This one is great because it makes all 3 of Slugdge’s fantastic releases, available physically to the fans. The first 2, physically for the first time. Plus, the albums do flow really well. Though I do kind of feel that it should have gone oldest release to newest release, they obviously chose this order for a reason. One thing that I like about Slugdge that is not musical is that their titles are parodies of classic Metal titles that most fans of Slugdge have probably heard before. It is a fun Easter egg and reminds me of Cannabis Corpse and Dethklok.
For fans of Behemoth, Bal-Sagoth, The Chasm, Apocrophex, Emperor, Nile
Spiritual War Tactics
Released October 31, 2016
Today we take Spiritual War Tactics for a spin. Dark and gritty this is Seattle experimental/ dissonant black metal with Deathspell Omega, and Gorguts influences blended to create this interesting release. Now by standards an E.P. is 25 minutes or less, or 4 songs, however this is four songs and almost 35 minutes in length. Let’s call it a mini album since it’s longer than the typical E.P. It was released a few months back in the fall but it comes with a Name Your Price option and when we got to listening to it. It is really worth the listen, Mortification of My Legacy had hooked right in several times in the nine minute long period of some hauntingly appealing metal. But the last two minutes of the song really get you. To be specific right around the 7:37 mark they have this really catchy riff. I was really surprised by this first track, but I am glad that they chose that to be the first song on the album. They follow that up with Nullum Emperium which is just a few seconds longer in overall length of time. And holy shit that song has two and a half minutes of solid buildup, they are not your average sounding band by any means. Sure they have the typical elements in their sound but the song writing, the song structure, the riffs and how catchy it is. I don’t find myself to be a big fan of black metal. I will always listen to new stuff (or new to me) because just like every genre, there is good music and music that is slightly less appealing to my ears. So far I have really enjoyed this album and I was curious to see if they continued to impress. So it was no surprise that Spiritual War Tactics followed the same pattern as the previous two tracks. I will be honest, with this album, I really wasn’t even sure I was going to like it, by reading the description, and the tags on their BANDCAMP page. But I am glad I did, Spiritual War Tactics was not at all what I had expected, I really dig this one. And for a NYP option picking up a digital copy is next to nothing in cost. I liked this one, it was dark, but it didn’t lose me, it caught me pretty early on with some catchy riffage and for that, it kept my interest going. I am thoroughly satisfied with this E.P. only I find myself wanting more. The whole four songs is a bit deceiving, because while it’s a good half hour of music, it almost doesn’t feel like it’s even that much. It’s a gem with that NYP option on Bandcamp and part of what made this something we had to review. 7.5/10 \m/
Check them out on FACEBOOK and give them a like.
Head on over to their BANDCAMP page to get your digital copy
The Finite Cycle E.P.
Out today March 1st, 2017
Chris Dovas on Drums (Seven Spires)
Jeff Demarco On vocals (Solium Fatalis)
Ryan Knight- Guitar (Arsis, Black Dahlia Murder)
Nick Scarfo Guitar (The Hours End)
Dmitry Demyanenko Guitar (Shokran)
Joey Conception Guitar (Absence, Armageddon)
Jim Gregory (Solium Fatalis) and Charles Ayala (owner of the Wreck Room) on lyrical content
This is the solo project by guitarist RHK. This is also his debut E.P. as a solo artist. He has amazing talent that has has graced listeners ears over the years whether it was in Mortis Deveia, Alterius, or simply demonstrating or reviewing guitar amps, pedals and others on his YouTube chanel. He is an endorsed artist by Airis Effects, Xvive, and is the founder/owner of RHK studios. He has shared the stage with many bands and notable musicians like Within The Ruins, Shadows Fall, Misery Index, Lord Dying, The Human Abstract, Die Cast, God forbid, Arsis, 1349 and even when Angel Vivaldi did his first mini tour as a solo artist. Since the last time we heard him on a recording was with Alterius from their E.P. “Voyager” it has been a pleasure to hear his music again only a few short years later with a solid E.P. as this one is. With guest musicians like Ryan Knight, Dmitri Demyanenko, Jim Gregory, and Alterius band mate Nick Scarfo. The first track is “Industrial Demise” a heavy track with plenty of Djent feel, and is a killer song with copious amounts of shred. The guitar work between RHK and R. Knight is an impressive instrumental track. It has so much flavor in that track right away. This E.P. is saturated with talent right from the beginning. The following song veers towards a slightly darker blend of metal. Not exactly what you were expecting after that first track. The title track features vocals by Jeff Demarco from Solium Fatalis giving the music a darker and more abrasive edge to it. It helps to hear Rithiya’s guitar skills against vocals of a different style than his other bands/ projects. It also allows people who may have not heard Alterius or Mortis Deveia to grasp the talent, that he can play to different styles and still end up sounding great. Maelstrom of War follows up the title track quite nicely. But the track that has gotten the most play from me has been Voyager II which is the follow up to Alterius’ E.P. with the title track. while that one had vocals this one is an instrumental track. it certainly shows how far Rithiya has gone with his guitar abilities. This track also features Alterius band mate Nick Scarfo and the two of them pull of an amazing job with this track. right at the :39 second mark you experience one of the most infectious riffs of the year. They just build and build on this song, it is bursting at the seams with talent. Because this is a five track E.P. I don’t want to give up too many details, but its worth mentioning that Rithiya has immense talent when it comes to music, the guests he landed on this E.P. are also very much impressive. This E.P. is killer and you need to check it out. 8/10 \m/
Find it on Amazon by clicking HERE \m/
Or grab it on Google Play by clicking here \m/
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Desecrate the Faith
Releases: 3 March 2017
John Hull – Vocals
Jonathan Bayliss – Guitar
Tyler DTF – Guitar
Coleson Cowden – Bass Guitar / Backing Vocals
Mike Caputo – Drums
1. Daemones Nos Ave Satanas
2. Predatory Impalement
3. Malignant Divinity
4. Shrine of Enmity
5. Unholy Infestation
6. Magna Daemonia
7. Ceremonial Invocation
8. Sacrilege Reborn
9. Angel Eater
10. Septic Womb
11. Ascension of Belial
12. Let Us Burn (the Father, the Son, and the Holy Spirit)
The album begins with the track titled “Daemones Nos Ave Satanas”. This song begins in such a meat grinding brutal fashion. The sound clip is filthy and the music fades in slowly and heavy as hell. Really giving an ominous vibe to the music that has just begun to project from your speakers. This is more a less an introductory track as the song is really just a slow roll of punishment, and growls. But they follow that up with Predatory Impalement, what a way to kick things off. The setup is quick and simple but the blast beats and the guitars are relentless. They blend technical riffs with brutal death chugs. Not to mention the vocals are solid, a low guttural style, but the backing vocals match almost perfectly to fill in some areas here and there. After listening to Predatory Impalement I was wondering if they would be continuing this album in a step by step progression towards a heavier and more brutal track each time. Malignant Divinity follows that theory, as it is one of my favorite tracks off this album. It’s a very catchy song, the guitars halfway through that track show another side to them. It’s not just going to be brutal riffs and blast beats. They slow things down for a few bars while the guitars play a short and melodic sequence with some pinch / squeals before transitioning back to that driving brutal death. The hits keep coming with tracks like “Shrine Of Enmity” it follows the saying “everything is bigger in Texas” including the brutal hits to the gut that this album delivers. Just like the album artwork, this is a filthy and brutal album. With tracks titled Septic Womb, and Unholy Infestation, they aren’t following any political correctness and worrying about who they offend. They set out to create a brutal album, which will sink its hooks deep. The music is unwavering, blunt and brutal. I will always gravitate towards the drums, and Mike does an impressive job on this album. His drums are crystal clear and the overall sound of this album is great. This album is one of those that are going to go the distance in 2017. I see myself spinning Unholy Infestation many times over as I have been listening to this one and I love it. What a way to start your morning than to be blasting this at 6:00 A.M. and preparing for my work day like I’m preparing for a cage fight. 7/10 \m/
Head on over to their FACEBOOK page to give them a thumbs up and stay current on DTF news by clicking HERE
You can also head to their label/website here Comatose Music \m/
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Released January 27, 2017
David ‘Cejca’ Cachia – bass
Omar Grech – guitars
Simone Brigo – guitars
Davide Billia – drums
Frank Calleja – vocals
- Beast Incarnate
- The Horror Breathes
- Crossing The House Of Knives
- Reign Of The Headless King
- The Black Death
- Cursed Mediterranean
- Fid-dlam Tadejjem
- Punishment Of The Grave
The guys in Beheaded waste no time with their title track opening for this album, that quick set up and then the drums rolling into a truly menacing riff. That riff is 100% responsible for my uplifted attitude and mean mugging while air drumming right now. These guys have no subtlety to their brutal intentions from what I have heard in only two minutes of the first track. I can’t even begin to describe how much I am enjoying the title track. What a way to kick off an album. I must admit I have looped the title track several times now because they hit you with such explosive force and god damn those guitars and drums. The drums are a driving force and the guitars back it up with brutal and unwavering showmanship. The album continues on the same destructive path, track after track. I have yet to hear any particular track on this album that made me feel differently from how I felt listening to Beast Incarnate for the first time. By the time you get to “The Black Death” the listener has already succumbed to the relentless pummeling they have endured for the first half of the album, but The Black Death has a slower approach, but the beginning with the sounds from an old ship just creaking as it sails through the open water with the wind as the only other background noise, growing louder and louder with the occasional waves crashing against the side of the ship. The drums and guitars fade in, slowly over the course of a few bars to build up to this eight minute long track. I really enjoy this track as it breaks the album up enough to show that they aren’t going to be sticking to a specific formula of driving guitars and blast beats. They have more to this album than what’s on just the surface, the second half begins at almost half the tempo of the first four tracks. But it’s how they end the album with “Punishment Of The Grave” that brings back an old school melodic death metal feel and that guitar solo halfway through the track seals the deal. I am very impressed by this album, and have enjoyed my time spinning this these past few weeks. The vocals stick to their style that works for them, I find nothing bland about them either. They just seem to follow the rule “if it’s not broken, don’t fix it” approach. The guitars have a great tone, but the talent and craftsmanship is modestly distributed. They are not showboating their skills, and they have great skills they bring to the table. The drums are on point, never over the top and keep the listener engaged. and it is worth mentioning that Dave also plays the drums for Hour Of Penance. So the drums kick ass as you would have expected them to. 8/10\m/