Genre: Grindcore/Death Metal | Label: Morbid Records Location: Germany | Listen:Bandcamp
Nyctophobic were a grindcore band from Germany who I seldom see mentioned, even among fans of the genre. They were active for 17 years before calling it quits, and released two full lengths in that time. Their debut from 1996, “War Criminal Views,” is a crushing display of death metal infused grindcore that is sure to appeal to fans of all the classics, as it has plenty in common with the likes of Agathocles, Brutal Truth, Napalm Death, Excruciating Terror, and especially their fellow German grinders, Blood.
Blood is clearly the most similar band to Nyctophobic, as they fuse together death metal riffs with grindcore structures, and they even shared members between the bands at one point (although this record contains no member connections to Blood). The songs don’t waste any time pummeling the listener with riff after riff. There’s some primitive grooves that come through the downtuned guitars, which is certainly reminiscent of what Excruciating Terror was doing at the same time over in America (both bands’ album covers are certainly reminiscent of each other too). They’ll throw these groovier parts in between primitive jackhammer blastbeats, which are usually played underneath simple tremolo picked death metal riffs.
Lyrically, Nyctophobic focuses on themes that are fairly common in grindcore – sociopolitical topics, anti-war, anti-racism, etc. This is certainly in line with Napalm Death, Agathocles, and Brutal Truth. Songs like “Responsiblities” get into some Napalm Death “FETO” territory with both the riffs and pacing, which is some god-tier grindcore as far as I’m concerned. Speaking of Brutal Truth, the way these lyrics are delivered certainly remind me of “Extreme Conditions Demand Extreme Responses,” as they’ll layer in high pitched screams and low death growls at the same time, and the highs sound a lot like Kevin Sharpe does on that record. They also utilize some pitchshifting effects, which also draws comparison back to Agathocles. The dynamics in these vocals certainly translate into a good variety for these shorter songs.
The production is fairly on point for mid 90’s grindcore, especially with it’s distorted bass that sounds absolutely grimy. The drums sound somewhat raw, but in a very appropriate way. The snare doesn’t get lost in the blasting sections, nor does the kick. The way all these rumblings come together is again very much like Agathocles’ “Theatric Symbolisation of Life,” which they even go as far to cover the title track on that album, as if to tell unsuspecting listeners what to expect. There’s a lot of samples of dialogue throughout this record that kind of sets the tone with the lyrical themes. Sometimes they feel like they drag out a little too much, but that is only a minor complaint.
If you like grindcore that leans more into death metal, “War Criminal Views” is a necessary listen, and honestly should be mentioned in the same breath as the bands I’ve compared this record to. It’s a pretty straight forward record that has enough dynamics between blistering fast sections and groovier parts to drive it home. It’s a full 40 minutes too, which by modern grind standards is a bit long, but the way Nyctophobic utilizes the time makes it feel very complete.
Genre: Death Metal | Label: Invictus Productions Location: Vancouver, British Columbia | Listen:Bandcamp
Grave Infestation are a new band out of Vancouver, but the way they play death metal makes it sound like they’re from the depths of hell. These Canucks put out a pair of crushing demos in 2019 (which have been compiled on a compilation LP and released alongside this record), and needless to say, they made a strong impression on myself and many other death metal fans. For those unfamiliar with Grave Infestation, they contain three members of AHNA, and continue the absolutely sinister style of death metal that resulted in the former band’s apex album, “Crimson Dawn.” There’s a clear refinement of sound and vision here, as Grave Infestation eschews the punkier elements of their old band’s sound, and dives further into morbid death metal.
If you were hoping to hear the Sacrilege influences that were prominent in AHNA’s later material, those are not to be found here. This applies both to those thrashy style of riffs, and the vocals. Drummer Anju Singh focuses entirely on drums and leaves the vocal department entirely to guitarist Graham Christofferson, who has some deathly low growls and bestial snarls that are perfectly suited for what Grave Infestation is playing musically. However, there are certainly lots of elements from the members’ previous band that show up here. The overall tone is still very sinister and hellish, and this is achieved in a variety of ways. The lead guitar work is especially at the forefront of this, as reverb drenched guitar abuse is peppered throughout each song, sounding more like torture than any sort of virtuoso playing, and I mean that in the best way possible.
The ebb and flow of percussive approach here also really adds to the evil feeling of this record. There’s a certain primitiveness to the drums, as they aren’t flashy, but they give the needed velocity to the fast parts like in the beginning of “Plague of Crypts,” and can let the creepiness of the riffs shine through by opening up a bit like on “Slaughter, then Laughter”. Even just basic cymbal-kick shots like midway in the title track add so much power by doing something simple. They utilize blastbeats too, but go for the more primitive “goat blast” style that works very well with the style of riffs here. Really, at the end of the day, each individual piece of this record is relatively simple, but it is greater than the sum of its parts. Again, there’s no flashy embellishment on “Persecution of the Living,” and everyone works together to make each song vile.
Much like previous output by the members of this band, this record was recorded at Rain City Recorders by Jesse Gander, and he’s managed to make sense of this downtuned filth. Each instrument is easy to spot in the mix, but much like the songwriting, they come together to form something greater than the sum of their individual parts. The way the grimy bass backs the guitar creates such filthy torrent of sound, and again, this is something that these musicians have put to practice with their other bands like AHNA, Ceremonial Bloodbath, and Encoffinate. Seriously though, scope that bass tone in the break in the title track – when the guitars come back in, it’s really apparent how complementary all the tones are with each other.
Coming back to the previous demos, there are a couple re-recorded tracks from the second demo that appear at the end of this record – “Human Jigsaw Puzzle” and “Eternal Oblivion” – and then none from the first demo. These re-recordings sound as savage as ever, and fit right into the rest of the record. For those keeping score, that means six of the songs here are new, as the other two are just short intro/outro tracks. It clocks in at about 37 minutes which is an ideal length to digest such a dense and evil album.
I’m having a hard time finding other bands to compare this too, because although this is certainly in the vein of old school death metal without question, it doesn’t have any obvious influences up front. Surely there is some Autopsy influence with the creepy leads and doomier sections, but I feel like Grave Infestation has done a good job mixing things up and never feeling like a worship band in any regard. This just further strengthens the case that death metal fans just need to hear this record – it does everything death metal is supposed do, and delivers a range of killer riffs in a powerful package. If you loved AHNA’s progression towards death metal, Grave Infestation will surely satisfy.
It’s been over a decade – 12 years to be exact – since Winnipeg’s Besieged has put out a full length. They put out a couple songs on a 7″ in 2015, but the band has been relatively quiet other than that over the last while. Finally, these Canadian thrashers have released their sophomore album (which is technically their third album if you count the scrapped debut from 2005), and fans of the band will not be disappointed. Their signature style of ripping thrash metal with a little bit of death metal brutality is displayed in full force on “Violence Beyond All Reason,” and does so in relentless fashion.
First and foremost, Besieged have not strayed away from what makes them great in the first place, and that’s providing an absolute onslaught of vicious riffs. The obvious comparison is Sepultura, specifically some hybrid “Schizophrenia” and “Beneath the Remains.” There’s plenty of other brutal thrash bands or death/thrash acts from that era that are probably also a huge influence on these guys, but you get the idea. Besieged waste no time on their latest offering, as there are very few moments for one to catch their breath. The drums might drop back for a moment with some quick guitar build up, such as in the intro of “Paragons of Brutality” but other than that, Besieged push the pedal to the floor as much humanly possible. This speed is coupled with some impressive finger dexterity in the riffs, as they twist and turn around intricate patterns that are easy enough to digest, but are clearly creative and well thought out in their construction. In simpler terms, this isn’t some copy cat worship record, and these riffs provide plenty to chew on.
The guitar work doesn’t stop with the riffs, as the lead playing further displays some fretboard wizardry throughout the record. Another thing I’ve always liked about Besieged is their inclusion of solos that sound like they’re right out of the 80’s thrash era. Dive bombs fly into complex runs with the utmost smoothness, and are further enhance with tasteful bends and the odd quick arpeggio. The lead guitar tone is exquisite. It cuts through the mix with ease, is full of life, and is a shining example of what a lead tone should sound like. It doesn’t feel overly drenched in any effects, but there’s certainly something there to give it a little extra texture, such as in “One World Coma,” and there seems to be a wah pedal present throughout a lot of the solos. Again, very much in line with its 80’s thrash influences, and is executed at a very high level.
The production is generally really great on this record, especially with the way the guitars and vocals are done. There are some tasteful vocal effects thrown in here and there, as well as double tracking to give them some extra power. The drums, however, aren’t as satisfactory to my ear, and for two reasons. First, the toms are very boxy sounding, and they stick out a little funny because of this. Second, the kicks are very clicky. This isn’t much of a problem for most of the record, but there’s some parts in “One World Coma” where the drums become the focal point, and the typewriter kicks become so apparent. Otherwise, the drum performance is just as ferocious as the riffs, and the interaction between the riffs and drums is what propels this record the whole way through.
Clocking in at a mere 26 minutes, the 7 songs on “Violence Beyond All Reason” is a lean affair with zero filler. It is a little disappointing that it’s not longer, especially considering how much time there’s been between albums. Of course, it’s always better to have quality over quantity, and Besieged excel when it comes to what matters. “Violence Beyond All Reason” is without a doubt a worthy follow-up to “Victims Beyond All Help,” and is almost as if the similar album titles is a clue that they haven’t deviated from what made them great in the first place. Fans of late 80’s death/thrash like Demolition Hammer, Incubus, Morbid Saint, and of course, Sepultura need to get this in their ears immediately!
Genre: Black/Doom Metal | Label: Relapse Records Location: Winnipeg, Manitoba | Listen:Bandcamp
From the Canadian prairie city of Winnipeg comes Culted, a band that play a unique concoction of doom and black metal with various experimental elements thrown in for good measure. Culted doesn’t seem to play live – their vocalist lives overseas in Sweden, and had never met any of the Canadian members until very recently. “Oblique to all Paths” is the band’s second full length, and it’s one of those albums just seems perfect for a gloomy, grey day. The dreadful Canadian winter that blankets cities like Winnipeg comes through in this music, with it’s slow dirges and eerie atmosphere that seethes throughout the record. I discovered this band a handful of years ago through some of the members’ other bands, and this record has found itself in my listening rotation many times since.
First thing I should note is the length of this album. It’s long, and I tend to to prefer albums that stick to a single LP in length. However, this style of music naturally lends itself to being drawn out – it is doom metal, after all, and atmosphere is the name of the game. Individual parts don’t necessarily feel like they’re repeated to the point of redundancy, but there is certainly an element of ebb and flow here, with Culted taking the appropriate amount of time to build things up. The opening track, “Brooding Hex,” is almost 20 minutes long, and takes this approach to the extreme, and certainly does sound brooding with darkness.
The song that really sold me on this record is the second track, “Illuminati.” It gets into that heavy Neurosis territory of sludge/post-metal, but it sounds far more horrifying. There’s also a healthy dose of industrial metal in their approach to groove and pacing that makes me think of Godflesh at their most monolithic. The main riff in the aforementioned song really combines the two influences well, with a Godflesh like rhythm and Neurosis like leads over top of it. The transitions between songs get kind of noisy and create these unsettling soundscapes that again remind me of Neurosis. The vocals give it this really harsh and evil tone, which is something that could be associated with their vocalist coming from Scandinavia. At times, they seem to get overdriven/distorted, and it just makes this stuff sound even uglier.
Another element that really keeps me coming back to “Oblique to all Paths” is the use of modulation effects on the guitar leads. Despite the down tempo approach of these songs, Culted manage to create a ton of dynamics by placing in all sounds of strange sounds on top of them, and just generally experimenting with cool sounding effects. “Transmittal” is a great example of this – there are some cleaner guitars soaked in a chorus effect and with a delay on it. It’s a simple part, but it breaks up the song nicely, and sounds really chilling. The use of dissonant melody and clashy, diminished chords is extremely tasteful, almost like a more industrial feeling Deathspell Omega at times. “March of the Wolves” gets super eerie too with some higher arpeggios drenched in more effects that gently feedback out once they are finished.
Furthering the dynamics of this record, the production really helps. When things are quieter or building up, they feel like an open abyss. Conversely, when it’s time to be loud and heavy, it hits particularly hard with layers of rhythm guitar coming together. Despite the dense guitar tones in parts like this, the bass still manages to cut through with a grimy pulse, and I must emphasize the Godflesh influence on how the bass works with these songs. The drums on this record also sound extremely natural and balanced. The mix is very much focused on creating huge sounds with the layers of guitar and whatever else is coming in to create atmospheres, but the drums never get lost but are also never distracting. Sometimes they throw in some delays on the drums to further that industrial feel, and it’s super effective.
If you’ve ever wanted to hear a bleaker version of Neurosis, look no further than Culted. This record feels cold, dreary, and soul crushing, and is absolutely perfect for those days where the world just feels grey. The balance of heavy, eerie, and experimental parts on this record are well balanced, and all serve towards a greater dynamic that is as satisfying as it is unsettling. “Oblique to all Paths” was the bands’ last release with Relapse, as the band has gone onto work with Season of Mist (and are currently recording their fourth record at the time of writing this). That being said, this 2014 release has been my favourite from Culted thus far, but I certainly look forward to hear what other sonic hellscapes this band comes up with.
Death metal is obviously my favourite genre of music, and I’m no stranger to doom metal either. The two styles have been fusing together with each other since the late 80’s, and have been complementary to each other in many ways since. Bands like Autopsy realized the slow, heavy riffing of Black Sabbath, Trouble, and Saint Vitus was the perfect counterpoint to the extreme speeds that death metal had been pushing since its formation. The hybrid genre has many different iterations and niche styles now, such as the more cavernous sounds pioneered by Incantation, the Celtic Frost/Amebix fusion by Winter, and the more melodic or gothic approaches by bands like Paradise Lost, My Dying Bride, and Katatonia.
There is, however, one style of death/doom that I absolutely can never get enough of, and it’s the kind that includes gloomy, ethereal melodies to create some of the most sombre atmospheres I’ve ever heard. This specific style was honed in by the great Australian band diSEMBOWELMENT on their only full length, “Transcendence into the Peripheral” (1993). This album was absolutely monumental, and featured songs that ranged from brutal grinding sections to some truly melancholic pieces. Many death/doom bands have existed throughout the years, but it feels like a lot of them weren’t taking note of what diSEMBOWELMENT achieved on this record, or maybe they just couldn’t pull it off. Regardless, it feels like this style has seen somewhat of a resurgence over the last decade plus, with more bands coming out that capture the same feelings. To me, it is the perfect kind of music for a dreary winter day, which is something that is in no short supply up here in the Canadian prairies. I hope that in reading this, you can find something to get lost in during the most awful part of the year.
Disembowelment – Transcendence into the Peripheral (1993)
As mentioned, this was the album that really started this sound, and ever since hearing it in my late teens, I’ve been absolutely enamored by it. There’s huge death metal riffs that wouldn’t sound out of place on an Incantation record, likewise, there’s evening some grindcore parts that show the band’s roots when they were playing that style under the moniker of Scum. What really sets this album apart from other death/doom records at the time was the more atmospheric pieces. The clean guitars and Gregorian chant-like vocals on tracks like “Your Prophetic Throne of Ivory” are so hauntingly ethereal, and yet so beautiful, you can truly get lost in it. The willingness to experiment on this record really sets it above and beyond anything else. I love the inclusion of the stand-up bass – the outro of the record sound so ominous with its usage. It doesn’t get much better than this, and if you haven’t heard this record, you are truly depriving yourself of an outer-worldly experience. Note that this has been reissued throughout the years, and there’s a self-titled compilation that includes the EP and demo tracks on a second disc as well!
Spectral Voice – Eroded Corridors of Unbeing (2017)
I’ve reviewed this album before, and I honestly think it’s the best thing since “Transcendence into the Peripheral.” Featuring 3 members of Blood Incantation, this band had a lot of hype before dropping their debut album, and it masterfully executes this style of death/doom. A lot of the death metal influence on this record sounds like it was influenced by the classic Finnish death metal bands, and they really hit out of the park with the slow, atmospheric stuff. Their use of layering in modulated guitar leads takes it to the next level, and everything about it just sounds massive. I am anxiously awaiting a follow up.
Krypts –Remnants of Expansion (2016)
This Finnish band has been on my radar for a bit. I thought their demo was cool, but the debut full length didn’t really strike much of a chord with me. That changed with their sophomore release, as it gets into some territory that sounds like the desolation one would feel in cold outer space. There’s some great lead work intertwined with all the heavy low end, which is bound to hook anyone in who appreciates this style. The follow up to this record is also fantastic, so don’t sleep on that one either.
Sinistrous Diabolus – Total Doom//Desecration (2013)
Sinistrous Diabolus are an old cult band from New Zealand, having released a demo in 1993, and finally dropping this monumental full length 20 years later. I bought the LP pressing immediately upon hearing the one track that was premiered online, the album closer “The Essence of Divinity Given to Abstraction of the Human Mind.” This track truly harnesses a similar vibe to diSEMBOWELMENT, with it’s usage of clean guitars and orchestration. They have some other material that really focuses on dirgey soundscapes, which is also enjoyable unto itself.
Anhedonist – Netherwards (2012)
Anhedonist kind of led this style in the early 2010’s, starting with “The Drear” demo before unleashing this massive piece of death/doom a year later. There’s some truly gloomy stuff on here, and a variety of sounds at that. One track in particular bends more towards the melodic side, but the album’s epic closer spirals into some truly dark territory. There’s quite a variety of twisted vocals soaked in despair, which is also mirrored in the lead playing as well. Anhedonist, like many death/doom bands, has a limited output, but all of it is worth checking out.
Assumption – Absonditus (2018)
I stumbled upon this Italian death/doom band a few years ago, and I was immediately taken by their ability to tap into that diSEMBOWELMENT sound while expanding on it at the same time. There are only two members of this band, with one of them handling drums, and the other layering in everything else, including flutes. Flutes certainly aren’t an instrument that comes to mind when one thinks of death metal, but the way it’s utilized on this record creates a unsettling and eerie atmosphere. This album is a mere 3 songs clocking in at 36 minutes, making it pretty easy to listen to on repeat. Both the previous EP and demo are great, but they really knocked it out of the park with this release, and I am eagerly awaiting a follow up!
Inverloch – Distance Collapsed (2016)
Two decades after the monumental diSEMBOWELMENT full length, a couple former members formed Inverloch to continue down that same path. They released an excellent EP in 2012, and then this full length four years later. There are many elements and parts throughout the record that beckon back to a particular moment on “Transcendence into the Peripheral,” acting as a clear statement on what the band intended this album to sound like. It’s by no means as incredible, but honestly, what is? This is still a great album and is totally worth anyone’s time who loves their former work.
Rippikoulu – Musta Seremonia (1993)
Finland’s Rippikoulu was a cult band that released two demos and then fucked off until people caught onto how great those demos were through the power of the internet years later. “Musta Seremonia” was their second demo, and it’s one of the heaviest recordings from the Finnish death metal underground in the early 90’s. It’s a little on the raw side, but again, this is a demo, and it kind of adds to its cult appeal. But make no mistake, this stuff is massively heavy, and has the right eerie atmosphere, and its influence can certainly be heard via many of the contemporary bands featured on this list. There’s some evil sounding synthesizer parts that further add to the doom and gloom on this cult piece of death/doom. It’s been reissued a ton in recent years, so definitely seek it out!
Mortiferum – Disgorged from Psychotic Depths (2019)/Pervesed in Torment (2021)
Seattle’s Mortiferum are the only band on this list where I’m mentioning more than one album, and it’s honestly because I can’t choose between the two. Both of them are masterful displays of death/doom, as they are full of massive riffs and perfectly dirgey lead playing, drenched in nice modulation. There’s definitely a good dose of Finnish death metal influence throughout both albums, and it’s sure to satisfy your cravings for crushing desolation. Bonus trivia fact: the bassist on their demo was in Anhedonist, so you know this is worthwhile!
Void Rot – Descending Pillars (2020)
Most of the bands on this list are relatively new bands, and I believe Void Rot are probably the newest band on this list. This Minneapolis quartet put out an EP and split before this album, both of which really piqued my interest. Much like Mortiferum, they utilize a lot of midpaced tremolo riffs backed with double bass that give away to more open parts. They fill up a lot of the space by throwing in some arpeggiated chords and simple lead melodies. The atmosphere is also very similar to Krypts, so you’re bound to enjoy this record if you want more of that.
Worm – Foreverglade (2021)
Florida’s Worm has been around for a decade now, but they didn’t start off playing dismal death/doom. They ditched their initial black metal sound on the sophomore album, “Gloomlord” (which also rules), and then followed it up with this monster last year. Much like Inverloch, there are some parts on “Foreverglade” that sound almost directly lifted from diSEMBOWELMENT, but they’ll change it up just enough that it’s different. Specifically, they borrow some of the clean guitar chord progressions, and it sounds just as dark on this record. Worm does have some elements that set them apart from every other band on this list, and that’s namely the inclusion of neoclassical lead guitar playing. Contrasting with the open space of the real doomy sections, they’ll throw in these sweep arpeggios on top. These guys seem to have a lot of creativity in them and hopefully they keep pushing it.
Womb – Split w/ Disciples of Mockery(2001)
Womb consists of three musicians who also played on the debut Incantation LP. Craig Pillard (who fucking sucks as a human, but undeniably was on some great death metal records) is on vocals and 2nd bass guitar. That’s right, Womb features two bassists and no guitars, and they somehow manage to create a very ethereal atmosphere by putting some modulation and delay effects on one of the basses. Songs like “Thong” are so perfectly done, and it provides great contrast to some of the more monolithic (and dare I say, industrial influenced) riffing such as in the opening track. The band only released the songs that are on this split, but apparently have a full length that has been shelved for years. If there’s one unreleased album I’d love to hear, it has to be the Womb album. Alas, Disciples of Mockery at least got a full length out (which features the three members of Womb configured into a quartet with the usual dual guitar set up), and I’ve always loved that album.
I hope that anyone who bothered to read this list found something to go listen to. This is by no means a definitive list, as you can really find yourself crawling down a hole to find similar sounds (and in discussing this list with a friend, he mentioned Decomposed who are worth a gander too). There’s a great band out here in Alberta, Nephilim’s Noose, who put out a solid full length in this vein of death/doom, and I’d feel like a schmuck if I neglected to mention them. You may find that funeral doom satisfies your craving for grief and desolation, as that style eschews the fast parts and emphasizes on the slow parts. If that sounds attractive to you, definitely don’t sleep on bands like Evoken, Esoteric, or Mournful Congregation. This is perfect music for days where everything looks grey, and if you’re like me, it’ll help make the worst days feel a little more tolerable.
Genre: Death/thrash Metal | Label: Carbonized Records Location: Dallas, Texas | Listen:Bandcamp
Death/thrash is one of my favourite metal hybrids, as I can’t resist the combination of fast, energetic riffs next to the downright extreme and brutal tendencies of death metal. Some of my all time favourite bands like Deceased and Ares Kingdom have been masters of the genre for decades at this point. Enter Steel Bearing Hand – a Dallas, TX based band that are bringing the fucking riffs, and their sophomore record has been one of my favourite albums of 2021. Every thing that I like in metal is here, and they do it with powerful conviction.
“Slay in Hell” has only six songs, but clocks in at 40 minutes, with the first couple tracks acting as total rippers before the band really starts to flex their songwriting abilities with the latter four songs. Their songwriting reminds me of Sacrilege’s “Behind the Realms of Madness” quite a lot in terms of feel, rhythmic approach, and structure. Often times, a simple riff with get played with a midpaced feel, and then kind of pick up to something a little more intense, before letting loose into a fast punk or even blasting feel. It’s a perfect catch-and-release approach, and the parts seem to all center around an idea and just embellish it as iterations go on. There’s parts that plod like Amebix/Axegrinder, there’s double kick death metal grinders like early Bolt Thrower, and there’s just downright thrashing parts.
As mentioned, the first two tracks are more compact and keep it pretty up tempo, as they both are under 4 minutes. By “Tombspawn,” we get a little more variety with some slower parts as a breather, but it’s not long until Steel Bearing Hand busts some blazing fretboard work again. Scope that opening Sacrilege like lick in “Per Tenebras Ad Lucem.” The way they bring it back at the end of the song (after an array of riffs with fast and tight picking) is great too, as the the two guitarists start harmonizing it and bringing it up higher and higher for effect. Evidently, these guys are fantastic guitarists, as both the rhythm and lead parts are played with a high level of skill. Much like the precise picking on these fast paced riffs, the solos are dazzling too. Steel Bearing Hand absolutely brings it when it comes to killer guitar solos, and it just feels fucking metal, reminding me of the deadly solos the godfathers of death/thrash I mentioned earlier are known to have. “‘Til Death and Beyond” probably highlights this the best with it’s multi-solo section at the end, utilizing dive bombs, smooth runs, and tight tapping.
“Slay in Hell” is a rather clear sounding record, but it still feels filthy thanks to its high gain guitar tone that just reeks of heaviness. All the palm muting and picking patterns come out really well, and the parts where things slow down (especially in the epic 12+ minute closer, “Ensanguined”) still end up having enough sustain and power to sound massive. Likewise, the drums sound massive, and there’s great clarity with every fill. A lot of this record is dominated by double kick beats, and they all come through really well thanks to the competent recording. The bass is easy to find without taking away from the guitar tone – you can really feel it filling out that low end, and there’s a well balanced amount of clang that shines through for that added percussive force. Furthermore, there are some really nice production touches throughout, such as background keys for atmosphere in some of the slower parts, giving it that apocalyptic crust feel akin to bands like Filth of Mankind. There are other little flourishes like the odd dive bomb or vocal echo when a new part comes in, things like that to spice it up.
I can’t say enough good things about this record. It does all the things that make enjoy metal in the first place, from the punky thrashing parts, to the tremolo riffs with blast beats, to the electrifying lead playing, and to the use of dynamic songwriting. The whole record feels so complete the way it starts off with a couple thrashers, and then closes off with a big epic full of gloomy atmosphere. I honestly don’t know how this band’s debut didn’t end up on my radar, but Steel Bearing Hand has made quite an impression on me with “Slay in Hell”. Kudos to Carbonized Records for putting out such an awesome package, as even the artwork feels like a crusty death/thrash masterpiece.
Every year, I hear less and less albums, and I barely cracked the 30 mark this year. As such, I missed out on a lot of albums and am still playing catch up. Regardless, I enjoyed most of the new releases over the past year, and there really was only one album I didn’t enjoy (which was the new Asphyx). My top 15 picks, in alphabetical order are:
Altered Dead – Returned to Life (Death metal from Victoria, BC) Anatomia – Corporeal Torment (Death/doom from Japan) Antichrist Siege Machine – Purifying Blade (War metal from Richmond, VA) Bootlicker – s/t (Hardcore punk from Vancouver, BC) Decrepisy – Emetic Communion (Death metal from Portland, OR) Dream Unending – Tide Turns Eternal (Death/doom from Toronto, ON/Boston, MA) Excruciating Pain – s/t (Grindcore from Vancouver, BC) Fossilization – He Whose Name Was Long Forgotten (Death metal from Brazil) Languid – A Paranoid Wretch in Society’s Games (D-beat from Edmonton, AB) Mortiferum – Preserved in Torment (Death/doom from Seattle, WA) Outre-Tombe – Abysse Mortifere (Death metal from Quebec City, QC) Phrenelith – Chimaera (Death metal from Denmark) Sijjin – Summerian Promises (Death metal from Germany) Steel Bearing Hand – Slay in Hell (Death/thrash from Dallas, TX) Worm – Foreverglade (Death/doom from Florida)
Death metal, and especially death/doom seemed to be strong this year. This shouldn’t be surprising to anyone who knows what I like. I should make special note that the Languid LP is a very bias choice since I engineered it, but I actually enjoy listening to it quite a lot, and am very proud of the sound I was able to get out of that band. There are some other great releases on Dark Descent Records (who did the Anatomia album) I enjoyed such as Grave Miasma, Craven Idol, and Malignant Altar, but I just haven’t given many listens to the latter since it came out late in the year. The drummer of one of my bands, Azath, also put out an incredible technical death metal record with Aenigmatum. There were a couple compilations that I loved too, including Vancouverpost-punks Spectres non-album material and a demo comp of Infestation, the former band of former Cryptopsy vocalist Mike DiSalvo.
Genre: Death Metal | Label: Earache Records Location: Birmingham, England| Listen:Bandcamp
During Napalm Death’s death metal years in the early 90’s, Earache had them releasing singles, EPs, and other small releases between albums. During the writing of “Utopia Banished,” Napalm Death made sure to write a bunch of additional songs, something that wasn’t a problem, as they were on fire in the writing department, especially with the addition of new drummer Danny Herrera. Bassist Shane Embury has said something that he forgets how to play a lot of these extra tracks since they wrote so many, but that doesn’t mean these songs are just just discarded album material.
First and foremost, if you don’t like “Utopia Banished,” then the songs on this EP won’t do it for you either. Out of the three tracks, one is a re-recording from that album, and the other two are exclusive tracks. They opted to record the three songs at a different studio with a different producer than “Utopia Banished,” so the production is a little different. It’s a little more airy, especially with the guitars, but it’s not a glaring difference. The title tracks differs from the album version slightly – it contains a bit of an intro with some samples, and the backup vocals are a little more prominent. The song itself has a really cool death metal groove with blasting section in the middle, and is a classic song of the band’s death metal era.
The two exclusive tracks presented here are also rather enjoyable. “A Means to an End” has a pretty groovy UK death metal riff that’s got a nice amount of speed, but generally also has a lot of speed with interesting riff patterns that get into some punk territory too. Meanwhile, “Insanity Excursion” is a lot more straight forward, as it alternates between blasts and fast thrash beats for its 2 minute duration. Again, the riffs are interesting enough, but I’m sure a song like this was delegated to the “non album material” bin due to its simplicity.
Do you need this EP in your collection? Unless you’re a diehard Napalm Death fan that has to collect all their releases, it’s not something you need to hunt down. Thankfully, the two exclusive tracks are available on the extended edition of “Utopia Banished,” along with another 4 bonus tracks, making it a 21 track album. If you really want to hunt down the version of the title track that’s on this EP, it appears on the “Noise for Music’s Sake” compilation. I would certainly pick up the stand alone EP if I found it for cheap, as the artwork has always been striking, but I’m in no rush to hunt for it.
Genre: Death/Doom Metal | Label: Dark Descent Records Location: Denver, CO | Listen:Bandcamp
Death and doom metal are the two genres that when combined can create some of the gloomiest, most ethereal sounding atmospheres in all of metal. The great diSEMBOWELMENT is a shining example of how dynamic the combination can be, as well as how truly desolate it can sound. Their landmark album in 1993 set the bar as far as I’m concerned, and very few bands come close to achieving such monumental music. One of the bands that does justice to the sound is Denver’s Spectral Voice, and their debut album “Eroded Corridors of Unbeing” is by far one of the finest examples of the genre in modern times.
Spectral Voice formed in 2012, breaking out with their 2015 demo in addition to a couple split 7 inches before unleashing their debut album in 2017. In the three years since has come out, I’ve yet to get bored of it. For its genre, the five songs clocking in at 45 minutes is lean, but I feel they greatly benefit by not overplaying their hand. That being said, the second track is 14.5 minutes, so there’s no shortage of embellishment here.
Quite honestly, it’s no surprise that this album is great, considering 3 of the members are also in Blood Incantation. The songwriting is vastly different here, as there is obviously more focus on atmosphere, but there’s no shortage of riffs, nuances, and creepy melodies. Much like diSEMBOWELMENT, there is a variety of stuff going on here. From full out blasting tremolo death metal riffs, all the way slow sections with clean guitars, Spectral Voice commits fully to the exact kind of characteristics that make death/doom so great, and do so with convincing execution.
The aforementioned longest track, “Visions of Psychic Dismemberment,” covers plenty of territory over its lengthy duration. There’s some cool vocal effects that pop up here and there to compliment the tortured vocals of drummer Eli Wendler. He hits some deathly lows, but varies it up with yells, moans and almost chant like sounds, helping create a lot of dynamics. This kind of variety is echoed in the various textures of the guitars. As mentioned, they utilize clean guitars in some parts that sound really desolate. There’s also lots of lead melodies that have a nice use of modulation effects and echoes/delays. These effects make for such a rich listening experience and really help the band dive deep into the depths of doom.
“Eroded Corridors of Unbeing” was recorded at World Famous Studio in Denver, the same place that their sibling band Blood Incantation has been recording at. The record sounds massive, but it has a certain dark rawness to it, especially the drums. The kicks aren’t clicky like a lot of modern death metal records, and it feels like there’s a lot of room echo coming out nicely from the kit. A more polished drum sound would just not work as well. There’s also quite a lot of layering going on at times through out this record as songs build up, with different melodies and effects on top of each other. It comes out clear and smooth, so credit to the engineer for a job well done.
It’s one thing to play slow, but it’s another to understand how to integrate hooks into dismal music like this. Spectral Voice sprinkle in a ton of lead melodies in these songs, and that’s apparent with the instrumental track “Lurking Gloom,” as they hit us with some real cold and creepy leads one after another. The final track, “Dissolution,” displays this a lot as well, and again they do some multiple layers as the song approaches its end. They couldn’t have picked a better track to close the album out, the last couple minutes are pure death/doom ecstasy.
I can say without hesitation that this is one of my favourite records of the 2010’s, and as much as I enjoy Blood Incantation, I’ve found myself enamored with Spectral Voice. Comparison between the two bands isn’t really fair, and I wouldn’t entertain the thought if they didn’t share three members. It would be more fair to compare them to some of the excellent death/doom bands we’ve had in the last decade like Anhedonist, Krypts, Sinistrous Diabolus, and Void Rot. All those bands have made some powerful death/doom records, but I think Spectral Voice has best captured the essence of the genre that diSEMBOWELMENT laid out so many years ago.
If there’s a single band that sums up what heavy metal and underground music is all about, Deceased surely takes that title. Forming in 1984 before death metal was even a thing, this Virginian band has been pumping out horrifying songs into the metal underground since. The core of their sound is quite obviously based in death/thrash metal, but they were never shy about incorporating heavy metal melodies and punk intensity (and ethos) into their songs. Over the course of their 30+ year existence, they’ve managed to release 7 LPs, a few EPs, several demos, and some choice compilations. I won’t be going into detail of all of these releases, but I’ll mention the cream of the crop in terms of their non album material here.
Full Lengths & Select EPs
Luck of the Corpse (1991)
After releasing five demos, Deceased finally got signed to a label, which was a new, unknown label called Relapse Records. After releasing a 7″ the same year, their debut record “Luck of the Corpse” dropped. Composed mostly of songs from their demo era, frontman King Fowley has not been shy about his dissatisfaction of this record due to its production. That being said, it is a hell of a debut – it is the most “pure” death metal sounding record in their discography. The songs are generally much faster than their demo versions, creeping into grindcore speeds and sounding like Repulsion’s east coast sibling. King also hasn’t developed his signature vocal style yet, and has a much lower death metal style of vocals here. Plenty of these tunes are still in their live set, a testament to how classic this record is.
13 Frightened Souls (EP, 1993)
Original guitarist Doug Souther left Deceased immediately after their debut LP, and Mike Smith was brought in. This was a huge turning point for Deceased’s sound, as Mike Smith helped harness the heavy metal lead work that the band would later be known for throughout the rest of their discography. They recorded this EP as a layover between albums. It features one new song (the title track), 3 songs from their demo era, and a Voivod cover. King’s drumming is absolutely bonkers on this recording, and is not to be missed. This EP was later re-released (with their debut album) on a compilation called “Corpses, Souls and other Strangeness” in the early 2000s.
The Blueprints for Madness (1995)
Deceased’s sound started to open up with their sophomore effort. Compared to their debut, their songwriting had grown much more complex, with longer songs to flex their instrumental prowess, and includes the addition of synthesizers for extra texture. Odd rhythms inspired by two classic Canadian bands, Rush and Voivod, can be found throughout the record, making their death/thrash sound more unique than ever. Mike Smith’s influence creeps its way in here with the heavy metal lead playing throughout the record, and it can be heard right from the get go with “Morbid Shape in Black.” The original release of this album sounds pretty amateur as it was self produced, but later re-releases have been remixed/remastered for an improved experience.
Fearless Undead Machines (1997)
Wasting no time, Deceased unleashed their third LP just two years after the previous. Many fans consider this the album where Deceased settled into their signature sound. Lead guitar melodies were emphasized more so on this album, meshing flawlessly with their already established death/thrash sound. The production is professional and on point. Furthermore, the band committed fully to their horror themed lyrics by making this a concept album about zombies. King’s story telling ability is on vibrant display, even going as far as narrating parts rather than yelling/screaming the whole thing. This record is quite lengthy, clocking in at 68 minutes. But there’s plenty of gold to be found, and the songs are diverse enough that it doesn’t drag on. The track “Graphic Repulsion” right in the middle is some of their finest work!
Supernatural Addiction (2000)
At the turn of the millennium, Deceased put out their fourth record. As with each Deceased record, there are signs of maturity over the previous release. The most important, in this case, is the overall length. Clocking in a whole 20 minutes shorter than “Fearless Undead Machines,” I personally feel they executed this album in flawless fashion. There are some big melodic hooks here (“The Premonition” and “The Hanging Soldier” will be in your head for days), but they don’t sacrifice the speed or intensity that has always been the foundation of their sound. King once again knocks it out of the park with his horror themed lyrics, and instead of a concept album, each song is based off a different film or piece of literature.
Behind the Mourner’s Veil (EP, 2001)
Fans were treated to this EP just a year after “Supernatural Addiction.” This is no throwaway release either – with 7 tracks clocking in at 27 minutes, it’s a worthwhile release and features some absolute bangers. In addition to four cover songs, there are three original Deceased tunes that are just as strong as any of their LP material. The highlight is perhaps the final track, a 10 minute, five part epic about the West Memphis Three, a group of teenage murderers. This real life story is filled with Satanic themes and is perfect for a metal band like Deceased to write about.
As the Weird Travel On (2005)
Change was on the horizon for Deceased in the new millennium. King Fowley suffered a stroke which left him with nerve damage that affected his drumming. Dave Castillo, who was in October 31 with King, took over as a studio drummer (with Eric Mayes handling live drums). Despite this major change, Deceased’s fifth album is yet another classic banger. This was actually the first Deceased record I heard, as it was fairly new at the time, and I was instantly impressed with their ability to write heavy metal hooks within death metal songs. King wrote all the drum parts, and it certainly feels like the logical step after “Supernatural Addiction.” The songwriting here is spectacular, with a few tracks running around the 8 minute mark that never become boring or dull. Perhaps due to only performing vocals, some of the hooks are in King’s vocal deliveries (see “The Funeral Parlour’s Secret”). This was also Deceased’s first album to not be released by Relapse, but luckily the production didn’t suffer any setbacks with this move.
Surreal Overdose (2011)
More big changes arrived for Deceased with the release of their sixth album. Original guitarist Mark Adams decided to step down from the band, and his fellow axeman Mike Smith stepped down from playing live shows (but still was involved in songwriting and recording). However, King made his return behind the drum kit for this record (which currently stands as his last release where he played drums). Voivod inspired riffs dominate this record, which worked well with the science fiction themes within the lyrics. New guitarist Shane Fuegel may have injected some new life into Deceased, as this record is fresh but true to everything Deceased stands for. They also released this album independently, which is kind of a surprising move for a band of their status, but nothing seems to stop Deceased.
Ghostly White (2018)
After seven long years, Deceased finally dropped their seventh album (after years of talking about it) on Hell’s Headbangers. Here we have another 8 song affair, this time a little longer than the previous two albums – one of the tracks exceeds 13 minutes, which is their longest song yet. Of course, there’s nothing to worry about here, as Deceased flawlessly performs their brand of horror filled metal like you’d expect them too. This album is still growing on me but it has managed to keep me coming back. The Voivod influence seems to be dialed back from the last LP in favour of more heavy metal melodies. King also gave the drum throne back to Dave Castillo for this record – unfortunately, Dave passed away just prior to the official release date. So crank this record in remembrance of a killer drummer. It is truly impressive that a band with career spanning over three decades still manages to stay true to their sound with new releases.
Select Compilations
Worship the Coffin (2009)
I didn’t want to break down all of Deceased’s demos, nor do I really want to go over all their compilations that put together various demo releases of theirs. However, this 2xCD demo compilation is worth mentioning. The first disc contains the unreleased “Luck of the Corpse” demo which is pretty poor quality, but in contrast has the amazing “Nuclear Exorcist” demo alongside a live set in Washington, DC from ’89. The “Nuclear Excorcist” demo alone is worth hunting down. Disc two contains the “Birth by Radiation” demo (which is pretty good), their debut demo “Evil Side of Religion”, plus two rehearsal tapes from ’84 & ’85. There’s some real history on this compilation. If you are on the hunt for Deceased demos, this is one of the better compilations of that material.
Cadaver Traditions (2015)
Ever heard of a compilation of compilations? Because that’s what this 2xCD set is. In the early 2000s, Deceased released two different cover compilations – Zombie Hymns (2002) and Rotten to the Core (2004). The former is comprised of metal covers, and the latter is punk covers, giving fans an opportunity to see the wide array of influences that have made Deceased such a unique band throughout their long career. There’s also an additional 17 tracks that were previously unreleased. From Iron Maiden, to Venom, to Cro-Mags, to DRI, and everything in between, Deceased crushes every performance on here.
I hope this article inspires some folks to really sink their teeth into Deceased. They are an important cornerstone of underground metal that has stood the test of time, doing things on their own terms and never succumbing to any trends. I fully recommend listening to their full lengths in chronological order if you’re new to this band, as you’ll really get to see their musical evolution and maturity from release to release. Up the tombstones!
