Goregrind project I mixed for a couple friends. Tracks were raw and took a bit of work to get it this way.
Genre: Death Metal | Label: Cyclone Records
Location: Clifton, NJ| Listen: Bandcamp
If you were a death metal fan in the 2000’s, there’s a good chance you stumbled upon New Jersey’s Funebrarum. This American death metal group eschewed all modern death metal trends of that decade – you wouldn’t be labeling this as brutal or technical death metal, nor was it melodic like many of their Swedish counterparts. Instead, Funebrarum were at the forefront of a wave of bands that were playing dark and cavernous death metal with its influences in many early 90’s bands. As the decade closed, Funebrarum released their sophomore album in 2009, “The Sleep of Morbid Dreams,” which has certainly stood the test of time all these years later.
Funebrarum is from New Jersey, so it’s pretty easy to attribute their sound to the NYDM scene, and to a point that’s accurate. It is comparably dark to bands like Incantation, utilizing doom metal sections and inhumanly low vocals. However, it is Finnish death metal that seems to be the primary influence on “The Sleep of Morbid Dreams,” as they share a common sense of dark melody, rhythmic feels, and knack for hooks with their Finnish counterparts. It’s easy to hear bands like Abhorrence, Convulse, Disgrace, and many others in these low tuned riffs. Often, they’ll utilize an evil sounding melody that’s over a fairly simple chord progression, and the kind of scales they use really relate it back to these Finnish greats. Hell, there’s even a quirky, Demilich like riff before the doom part later in “Beyond Recognition.”
Among many of the bands playing cavernous death metal around this time, Funebrarum certainly had a knack for having hooks in their songs, and they would do this by pairing a riff with plenty of identity, with a simple repeated vocal pattern. “Grave Reaper,” a track from a previous split with Interment, is a fan favourite due to its caveman bounce and recognizable chorus. Meanwhile, other songs will pair these absolutely flesh ripping tremolo riffs that carve out infectious patterns with yet another catchy vocal pattern. “Incineration of Mortal Flesh” is a prime example of this, you won’t miss the title of the track if you didn’t read it before hand. Likewise, the epic track “Nex Monumentum” gets away with doing this on a couple different parts, and they both really hit that sweet spot of where death metal should hit.
While a lot of these low tuned, cavernous death metal bands of this time would purposely present their music with raw or murky production, this not the case with Funebrarum. This is by no means a “modern” sounding recording, as there are no typewriter drums to be heard here. That being said, it is a fairly clear recording, and despite the low tuning, it’s not hard to distinguish the powerful bass and the heavy guitars from one another. The kick drums are present without being distracting, and the the toms are really in your face too. There’s some nice production touches like the keys in “Nex Monumentum” which add to that gloomy Finnish atmosphere even more. Overall, this is a fantastic sounding record that emphasizes the power of the riffs and performances without sucking the life out of it or making it too murky.
It’s been a dozen years since “The Sleep of Morbid Dreams” came out, and further established Funebrarum as one of the premiere bands in this era of death metal. By taking a huge amount of Finnish death metal influence and some remnants of NYDM, this record has a sound that just hits right when it comes to death metal. Many fans, myself included, have been anxiously awaiting the follow up record, as the few shorter releases they’ve released in the meantime have only heightened the anticipation. As such, there’s no better time to give this record another listen if you haven’t in a while, and I’m sure you’ll find it’ll set the bar pretty high for the follow up record that’s due out this year.
Genre: Death Metal | Label: Nuclear War Now
Location: Melbourne, Australia| Listen: Bandcamp
The trajectory of death metal has taken many twists and turns over the years, with many off-shots becoming popular, while other styles dying and later being revitalized. Back in the mid 2000s, you could find many “death” metal bands pushing the style further into melodic, technical, or brutal realms. The more straightforward and “pure” sounding death metal bands either died off or just weren’t as prominent anymore. Not to say it was entirely dead, as bands like Incantation never strayed too far from their roots, but it sure felt like its heyday was over. This was soon to change later in the decade, as a lot of new bands started popping up that were highly influenced by the likes of the previously mentioned Incantation, focusing on dark and cavernous atmospheres. Once such band from Australia, Ignivomous, was at the forefront of this resurgence, and their debut album has held up extremely well over time.
“Death Transmutation” had a decent amount of hype before it came out. Ignivomous had previously released a demo to critical acclaim in the underground, and they dropped a 7″ the year before the album. Needless to say, the hype was well deserved, as not only does it capture that brooding atmosphere that is so often associated with the “caverncore” bands that started popping up at this time, but the focus of quality riffs is really what made Ignivomous worth coming back to time and time again. A high level of musicality is executed here, with a variety of riffs and feels. Take the title track, for example – a doom laden mid section (complete with the expected pinch harmonics) gives way to some layered guitars that create a feeling of spiraling into the abyss as they interact with each other.
Of course, the main appeal of death metal isn’t just how heavy it is, because ripping tremolo riffs at high speeds is just as crucial. “Noneuclidean Maelstrom,” for example, displays these riffs against a variety of drum beats, which are further varied to keep the songs from being monotonous. Chris Broadway employs a jackhammer style of blastbeats kind of like Suffocation, as opposed to the scissor blast that you’d hear in Incantation. He does a lot of double kick beats too while avoiding dragging things out, such as during the solo section in “The World Upon Nihil.” Again, songs like this employ some dual guitar work to create some tension and depth to the song. The band originally featured two guitarists, but one quit before the album, so Sean Hinds essentially pulls double duty by playing both parts.
One of the stand out features of “Death Transmutation” (and Ignivomous’ discography in general) is its disdain for modern production. This recording feels really honest – there’s not a lot of emphasis on clicky drums, the guitars have a natural air to them, and nothing seems like it’s been overly squashed. Don’t confuse this for an amateur recording – they seem to have been conscious enough to EQ out the undesirable elements that any professional would normally take care of, such as the hollow boxy tones that are usually found in the drums. You can still hear the kicks and everything, but it just sounds very natural, as if the band consciously wanted to defy the overly clinical sound that plagued so many brutal and technical death metal bands throughout the decade. Sometimes I wish the toms had a little more boom to them, but it’s by no means a deal breaker.
After all these years, I still find “Death Transmutation” just as enjoyable as I did when it first came out. Hell, maybe I like it even more now, because it stands as a cut above a lot of other cavernous death metal bands that were coming out at the same time, and that can be directly attributed to the strength of the music itself. Between the ripping fast tremolo riffs and doom sections, Ignivomous keeps a delicate balance in their songs, and the more raw approach to production gives it a suffocating atmosphere that is perfectly suited for evil death metal. I sometimes find myself forgetting I own this album because I have to store it with my 7″ records due to the extra large booklet, but whenever I do remember to bust this one out, the inner Incantation fanboy in me is completely satisfied. “Caverncore” often gets mentioned with an eye roll when discussing modern death metal, but I assure any curious readers that this album has stood up against the test of time and should be welcomed into any death metal fan’s collection.
Genre: Death/Thrash Metal | Label: JL America
Location: Burlington, NJ| Listen: YouTube
From the depths of New Jersey comes Nokturnel, a ripping fast death metal band that has ties to many other names in the death metal underground. Namely, it features Tom Stevens, who had been involved in death metal’s formative years since 1985 with the band Savage Death (which also featured drummer Erik Young). Eight years after starting his journey of pushing the extreme, Stevens’ finally released a full length with Nokturnel in 1993, entitled “Nothing but Hatred.” Pure speed and brutality take the forefront here, but they are steered by an equally wild force of creativity.
Everything is cranked to 11 on this record, and the songs are always verging into higher speeds as they develop. Stevens’ riffs are varied and pack a punch, as he plays lightning fast power chords that jump around along the fret board, but also incorporates quite a lot of quirky ideas. Much like fellow mid-Atlantic death metallers Deceased, Nokturnel has a knack for incorporating Voivod influenced sections throughout their songs. One of the best examples of this are the dissonant chords and jagged rhythms in the track “Global Suicide.” That song also features an excellent thrash break at the end that also reminds me of Deceased, and you could make the case that fans of “Luck of the Corpse” will find a lot to like about “Nothing but Hatred.”
Unlike Deceased, Nokturnel eschews heavy metal melody for much more chaotic lead playing. Quite honestly, Tom Stevens’ guitar playing is the highlight and overall driving force of this record. Much like his riffing, his lead playing is frantic and relentless. His solos are like a more virtuoso version of Slayer, as they’re pretty chromatic, but he employs incredibly smooth execution of tapping, sweeping, and even tremolo bar abuse. For a lack of a better term, Stevens is just metal as fuck on this record, and his bandmates are equally as skilled and unhinged as he is. The rhythm section is extremely tight, performing at full speed, but still allowing room to breath and build when appropriate. The bass sometimes simplifies the riffs without any tremolo picking, giving a more solid sense of rhythm. Furthermore, there’s some start/stop sections that are performed with absolute precision among all the madness, or things like quick shots and other nuances that give these songs a little something extra.
I’ve always found the production of this record to always be a little odd, but as each track goes by, I start to warm up to its sound. I think it comes down to the fact that the vocals are just too loud, as things seem to sit really well during some of the extended instrumental passages. The bass has a subtle overdrive that adds a mean edge to it, but it still maintains low end warmth. Meanwhile, the drums are standard early 90’s death metal affair, with lots of smack on the kick drum, but it seems to have a nice balance as the snare and toms retain a good natural sound and dynamic. Many of the lead guitar sections emphasize the fact the band is a three piece, as there will be no rhythm guitar under it, but it doesn’t sound empty, as the rhythm section is able retain a full sound with busy playing.
Death/thrash and NYDM fans who haven’t heard this record should do themselves a favor and give it a listen. Although it has plenty in common with their fellow New Jersey death/thrash bands like Ripping Corpse and Revenant, it doesn’t have the slamming breakdowns of the former nor the extravagant Morbid Angel moments of the latter. What it does have is Voivoid-esque fretboard wizardry, and an insatiable thirst for over the top speed. It’s a shame this record hasn’t been re-released at any point – maybe the cover is just a little too ridiculous for its own good – but as far as I’m concerned, this is up there with the other classic death metal bands mentioned in this review.
If there’s one positive about 2020, it was that I had ample time to listen to a lot of music. That being said, I still don’t check out new music like I did when I was younger. Hell, even just back in 2014, my year end list was huge (and thankfully most of it is still stuff I am listening to). These are the releases I enjoyed and listened to the most throughout the year. I narrowed it down to just ten albums and ten miscellaneous releases for simplicity, but there are plenty of honorable mentions. I’ve included links to each releases’ Bandcamp for ease of listening.
Top 10 Albums of 2020
AHNA – Crimson Dawn
The five year wait for AHNA’s death metal masterpiece, “Crimson Dawn” has finally ended, and it delivers the goods. Sinister, evil, and just fucking metal. The stenchcore and punk influences really play nice with the Autopsy and Bolt Thrower riffs. I’ll go as far to call this my favourite record of 2020.
Caustic Wound – Death Posture
Grindcore featuring 3/4 of Mortiferum in the vein of Repulsion but with heavier production. Absolutely relentless and full of riffs, it’ll surely satisfy old school grind fans as well as metal fans who are usually apprehensive about the genre.
Ceremonial Bloodbath – The Tides of Blood
Black/death metal that gets into war metal territory but never sacrifices the riff. Features members of Massgrave, AHNA, Radioactive Vomit, etc so it’s already rooted in tons of experience, no surprise it’s great. It’s the only thing this year that competes with AHNA in terms of how sinister it sounds.
Draghkar – At the Crossroads of Infinity
Full disclosure, the frontman of Draghkar is my bandmate in Azath. But holy shit, this is a great slab of melodic death metal that never loses sight of the fact it’s still death metal. Plenty of Greek black metal influence too, and an insane amount of guitar solos courtesy of Kelly from Drawn and Quartered.
Gorephilia – In the Eye of Nothing
This band has always been on my radar, but now I can definitely say I’m a fan. Combining Morbid Angel riffs with the general heaviness of Finnish death metal, it was a must buy record for me this year.
Napalm Death – Throes of Joy in the Jaws of Defeatism
It’s amazing how Napalm Death still manages to put out records that sound fresh but still like themselves. The increased amount of post-punk and noise-rock influences make for a dynamic album, while still giving us the grind we’d expect.
Necrot – Mortal
Necrot’s sophomore album gives us more meat and potatoes death metal, but does it with all the right elements. With great sounding production and riffs galore, this Oakland power trio has earned every bit of hype they’ve got. The guitar solos really add a classy element on top of everything.
VoidCeremony – Entropic Reflections Continuum: Dimensional Unravel
Weirdo death metal from Southern California that includes members that have been in bands like Ascended Dead. Features the Great Righteous Destroyer (StarGazer) on bass, who further adds to the progressive sound of VoidCeremony.
WAKE – Devouring Ruin
Calgary’s WAKE finally went all in on the black/death metal direction they’ve been pushing on the last two records, and actually recorded a full 45 minutes. They hinted at some of their abilities of riding out parts and exercising musicality within, but they fully realize it here, and there’s really none of the previous grindcore elements present. They released an EP in the fall that is highly recommended if you like where they are going on this release!
Warp Chamber – Implements of Excruciation
This was recommended to me on the grounds that it’s similar to Blood Incantation, and with just 4 songs at 30 minutes, it looks like that on the surface. They have a very similar riffing style which also features a lot of variations on a theme, but they don’t pull back into any atmospheric sections or clean guitar parts. In other words, it’s a relentless riff experience.
Special mention to two Canadian post-punk bands, Spectres (Vancouver) and Paradise (Calgary). Both put out excellent albums this year, with Spectres releasing their 4th and most “produced” sounding record to date, where as Paradise’s debut album has a grungier approach. Do not miss Spectres – Nostalgia or Paradise – Pariah if you’re looking for something dreamy.
Runners up include: Black Curse – Endless Wound; Faceless Burial – Speciation; Goden – Beyond Darkness; Incantation – Sect of Vile Divinities; Intellect Devourer – Demons of the Skull; Internal Rot – Grieving Birth; Ofermod – Pentagrammaton; Primitive Man – Immersion; Question – Reflections of the Void; Siege Column – Darkside Legions; Ulthar – Providence; Undeath – Lesions of a Different Kind; Undergang – Aldrig I Livet; Venomous Skeleton – Drowning in Circles; Void Rot – Descending Pillars
Top 10 EPs/Splits/Demos/Comps of 2020
Anhedonist/Spectral Voice split 7″
Two of the best death doom bands in the US, features an unreleased Anhedonist track that was recorded with their only album, and a new Spectral Voice song. The former was intended for an aborted split with Knelt Rote, where as the the latter gives us some really echoed out drums mid-song that sounds awesome.
Archagathus/Meat Spreader split 12″
Some of the most blast oriented Archagathus material to date, it sounds fantastic. Meanwhile, Meat Spreader sound like a combination of members’ former bands (Dead Infection and Squash Bowels) making for one mean slab of grindcore.
Atavisma/Void Rot split 12″
Void Rot’s album was pretty good but I was also enjoying this split quite a lot. The Minneapolis death/doomers teamed up with Atavisma from France who further supplement the style heard here with a little more weirdness (kind of like Swallowed but not quite as unhinged).
Auroch – Stolen Angelic Tongues EP
After the incredible “Mute Books” LP, Auroch returns with 18 minutes of music which was initially intended for a split, but ultimately was released as a stand alone EP. The recording here is a little more cavernous sounding than before but musically they continue their odd path of technical occult death metal. They’re now a fully fledged five piece, and there seems to be a lot more depth here than ever.
Come to Grief – Pray for the End EP
Grief are one of the most important sludge bands of all time, and I have to say I’m pleasantly surprised by how solid Come to Grief is. The name change is for the best, but it’s quite obviously in the same vein, and ultimately is a satisfying 3 songs of heavy sludge metal.
Lykotonen – Only Our Eyes Are Alive demo
A project featuring many familiar faces of the Denver metal scene, this is a strange piece of black/death metal with members of Blood Incantation and Wayfarer. The “interlude” track in the middle is a really well executed piece of atmospheric industrial music, and it stands out to me a lot.
Oxalate/Perpetuated/Blood Spore/Vivisect split
Four bands from the mid-Atlantic US teamed up for this split, each showcasing a track of their brand of death metal. All these bands are relatively new, but all seem to have a solid understanding of death metal. I’m already a big fan of Oxalate and Blood Spore, so this was kind of a no brainer to check out for me.
Scheme – s/t demo
Somewhat of a supergroup of Canadian punk bands, featuring members of Napalm Raid, Massgrave, Decontrol, and Phane. No surprise here, it’s catchy as fuck d-beat, presented with a professional sounding recording.
Spectral Voice – Necrotic Demos comp
Another entry for Spectral Voice this year, this comp is just too killer not to mention. It includes their demo and their contributions to 4 different split 7″ releases, one of which is listed here. They’re the best modern death/doom band, and having all these non-album tracks on a single CD was an instant buy for me.
Thou – Blessings of the Highest Order comp
These Louisiana sludge freaks released two compilations of covers in 2020, with this one consisting entirely of Nirvana songs. I never realized how badly I needed to hear these songs adapted to the sludge style – it’s seriously an awesome interpretation. I enjoyed this so much I ended up listening to a lot of Nirvana throughout the year as a result.
Genre: Power/Thrash Metal | Label: Self Released
Location: St John’s, NL| Listen: YouTube
St. John’s, Newfoundland is an isolated island city in eastern Canada that’s more known for its folk music (and distinct regional accent, for what it’s worth) than heavy metal. Yet, Fireign’s “Valley of Unrest” was the first metal album by a Canadian band to grace my ears, and I live all the way in the western prairies. As fate would have it, I knew some Newfies who were friends of these guys, and since I was a young teen getting into thrash metal, they couldn’t help but shove this down my throat. Although I don’t listen to this as much anymore, I still enjoy revisiting it from time to time, as many of the lead melodies are still engraved in my mind.
I feel like every young metal head starts a band that tries to do a marriage of Metallica and Iron Maiden, and that’s a good generalization of what’s going on with Fireign’s debut full length from 2002. Looking at the photo of these guys, they’re clearly no older than 21, but surprisingly, the songs presented here show a lot of musical depth and maturity for guys just trying to combine thrash riffs with power metal melodies. “Killer in the Night” establishes the album with a pretty hooky lead melody over top a simple galloped 4 chord progression. This is a formula that is present throughout the album, with some basic song structures to contain these ideas. Although this sounds fairly unremarkable, the fact that I’m still remembering these melodic hooks almost two decades later is a testament to their staying power. The next two songs really milk this approach, but have enough hooks with the vocals that they’ve got their own identity. The lyrics are kind of cheesy, and they’re done in a raspy black metal style, but it works.
“Deadtime,” after its intro, is the thrashiest tune on this record, and gets into some real riffage beyond the chord progressions. “Iron Stake” takes a similar approach with more emphasis on thrash riffs, and includes a solo that would make Kirk Hammett’s eyes pop. The highlight of this record perhaps lies in the title track, as it is the longest track on the record, and we really get to hear the full abilities of lead guitarist Trevor Leonard. His sense of melody and composition within his solos are brilliant, and really gives this album the majority of its character. He gets into plenty of interesting motifs here, and there’s even a second lead guitar layered in behind, playing harmonies or even filling in the spaces between. The clean guitar outro track, “What Lies Within Us” further demonstrates Leonard’s brilliant playing, creating mood and atmosphere on its own.
Despite their young age, Fireign were wise enough to get this recorded professionally, everything standing out pretty well in the mix. The drums have a nice amount of reverb on the snare, and when things get thrashing, they can really be felt. Everything is well balanced, and the lead guitars sound great, which is crucial since they play such a major part throughout the songs.
Reviewing this album has made me question if I’d like it if I was introduced to it today as opposed to 18 years ago. Like I said, this is a pretty basic album in terms of where it’s coming from, and there are some moments that kind of drag, like the snare roll section in “Soldiers of War.” The cheesy lyrics could very well turn me off, and maybe I’d wish it was a little riffier if I wasn’t already into this. But dammit, this was impactful to hear in my youth when I was convinced there was nothing better than the big four thrash bands and I didn’t know how cheesy power metal was outside of the first Blind Guardian record. There are plenty of other Canadian bands I’d recommend over Fireign, but “Valley of Unrest” is still a great record as far as I’m concerned.
Genre: Black Metal | Label: Black Raven Records
Location: Victoria, BC| Listen: Bandcamp
Another veteran group of the west Canada metal/punk scene, Iskra are band from Victoria, BC that are rooted in crust punk that plays very Scandinavian influenced black metal. The “European Tour Demo” release came out between the six year gap that separated their second and third albums, and contains songs that appeared on both. It marks the first material recorded entirely by drummer Cody Baresich, and was done so at the band’s rehearsal space. The results are great, and it was a great layover release between albums when it dropped in 2012.
The A side of this recording contains 4 tracks that would later appear on the band’s third album, “Ruins.” These songs continue in the direction set forth by the previous “Bureval” record, and eschew most of the thrashy crust punk influence that was present on the self titled debut. Here we are met with riffs that wouldn’t sound out of place on a record by Dissection or Marduk. There’s lots of tremolo picking around frosty black metal chord progressions, and they really flex their musicianship while doing so. Tracks like “Illegal” spiral around with the bass shining through nicely and further adding to the swirling feeling with some great lines in the outro of this song, as well as some pretty cool dive-bomb littered leads. There’s a pretty great sense of melody here as seen with the closing track “Traume” that balances out blistering speed of these songs. When this demo came out, it certainly added a lot of hype for the “Ruins” album, even though it would take another three years to come out.
Going back to the “Bureval” record, the B side of this demo contains three re-recordings of songs originally from that album. These tracks are kind of redundant in the sense that this is the third version of them, as “Bureval” also has its own demo version that was pressed to vinyl the year after this demo came out. However, these tracks do contain two different members (bassist JP and second guitarist Anatol), and the recording here is arguably better than the original album. “Kronstadt” stands out in particular with its sheer speed and catchy black metal riffs, but I could say the same of “Dubrovlag,” as it is also a choice song. The B side ends with a cover of Immortal’s “Cursed Realms of the Winter Demons,” and really fits in with the Scandinavian style of black metal that Iskra draws their sound from.
Despite being a demo, this is a really great sounding record. I gave praise to Baresich’s recording in a review for fellow Victoria band Six Brew Bantha, and although this is an earlier recording than that, it’s rather solid. Like I said, it’s arguably better than the “Bureval” recording, with the bass having a nice low end presence, and all the notes of the fast tremolo picking shine through from the guitars. The drums have a bit of a boxy sound to them at times, which is something that has much been improved in later recordings. This serves as an excellent bridge to the “Ruins” LP, which shows even further detail and improvement as far as production values go.
Even after 8 years, I quite enjoy this demo recording, and at 30 minutes, it’s more like a full length, especially with its quality recording. The Immortal cover being exclusive to it gives it that little extra something. There were an additional two tracks recorded with this demo – another new song and cover of Doom’s “Nazi Die” – which were later released on a split 7″. I often find myself listening to those tracks alongside this demo as they have the same production. This demo may not be essential for those who already have “Bureval” and “Ruins,” but it’s always stuck with me, especially because I gave it so many listens waiting for that third full length.
Genre: Grindcore | Label: To Live A Lie
Location: Victoria, BC| Listen: Bandcamp
From the sleepy island city of Victoria comes Six Brew Bantha, a hyper fast grindcore band, who have made their mark on the international grindcore scene through relentless touring and plenty of recorded material. “Blight” is the third album from these Canadian grinders, and it continues their trajectory with improved production and more intricate songwriting. Seeing as Victoria is only a province over from me, Six Brew Bantha have been on my radar for many years, and I’ve had the pleasure of watching them grow across numerous live performances. I can safely say that “Blight” is the best Six Brew Bantha release yet.
Six Brew Bantha’s albums are all short, this one clocking in at under 18 minutes. There are only six tracks here, meaning they have longer duration than usual, but don’t let that fool you – all the elements that has made the band great in the first place are still present. “Blight” plays out as one continuous piece of music, as there aren’t really any stops between tracks (aside from flipping the record), and upon further listening, the band brings back certain riffs and plays out variations on them throughout the record. There is quite a lot of guitar wizardry going on here, with riffs being all over the place, incorporating fast dissonant chords, tremolo picked patterns, and just being overall chaotic. Seeing as the band consists of only a vocalist, guitarist, and drummer, the latter two are incredibly locked in together, with the drums being equally as bombastic and varied. There’s plenty of hyper speed blasting, but just an overall insane drum performance all around the kit. There’s breathing room here, like on the end of “They Talk, We Die,” with a little more space between notes, but it still sounds pretty fast. Things get pretty spastic at times too, with some incredibly tight start/stop riffs that seemingly come out of nowhere and lead to the next part. The vocal performance lives up to the intensity of the music, and has enough variation in different kinds of screams that they aren’t monotonous.
As much as the songwriting has improved on this record, the production on this record is noticeably better than their previous two LPs. Recorded by Cody Baresich (of Iskra), he has handled much of Six Brew Bantha’s recording in the past, but has shown a huge leap in his audio engineering skills. Despite having no bassist, the band sounds full and heavy, and there’s a lot of clarity between the guitars and drums. The clarity achieved with such high speed drumming is impressive, especially since there is no modern typewriter trigger sound to be heard. In preparation for this review, I ended up listening to the other full lengths after listening to this one, and although I thought those records sounded pretty decent when they came out, it is a stark contrast with what was achieved on “Blight.”
Fans of more recent grindcore bands like Death Toll 80k, Insect Warfare, and P.L.F. ought to look into Six Brew Bantha if they haven’t already. “Blight” is their best record to date, and hopefully it won’t be their last, as the band is currently on hold at the time of writing this review. They’ve long been a staple of the Canadian grindcore scene, and as such, I made sure to buy this record when I saw them perform it in its entirety around the time of release, and I’ll never forget that set, with this record serving as a great way to recall it.
Genre: Death Metal | Label: Unspeakable Axe
Location: Winnipeg, MB| Listen: Bandcamp
Regurgitated Guts is yet another band featuring Dan Ryckman (of Archagathus and many more), this being one of his newer death metal projects. Prior to this, Dan and the two guitarists played in Sabbatory, a death/thrash band from Winnipeg that put out an incredible album in the vein of Morgoth/Pestilence. With Sabbatory seeming to die off, the death metal itch didn’t, and such Regurgitated Guts were completed with the inclusion of Joe Warkentin on bass, who collaborates with Ryckman on a regular basis. So far, they’ve only put out a single 7″, and the strength of the four songs contained on the “Esophageal Mutilation” EP shows a band that can create some truly excellent death metal.
Instead of the death/thrash direction of Sabbatory, Regurgitated Guts play death metal that’s very influenced by Finnish death metal. Traces of Convulse, Amorphis, Demigod, and many others can be found throughout the EP, especially in the vocals and the style of melody employed in both the guitar riffs and leads. The riffs have a lot of twisting finger patterns and tremolo picking, and are fairly nuanced. They have plenty to chew on, and they offer a variety of feels throughout the songs. The opening track, “Vermin Feast” offers a nice Finnish-Autopsy mashup as an intro, before getting into straight death metal. The title track has a stomping midsection that’s absolutely infectious, and concludes with some insane blastbeats. As one would expect, Ryckman’s vocals are incredibly sick on this recording, and he executes low death metal vocals in line with the Finnish influence. “Coffin Birth” especially has some character in this department, and that song also has a killer d-beat feel to it. Quite honestly, these songs sound like more detailed or elaborated Archagathus songs with that added Finnish melody, and I mean that in the best possible way.
Furthering the feel of old Finnish death metal, the recording is somewhat raw. If I’m not mistaken, the drums were recorded with minimal mics optimized in a position to get the best clarity. They actually sound really nice and natural, and still manage to be alive against the downtuned guitar and bass, which also sound purposely raw yet competently audible. The two sides must’ve been recorded in two different sessions, as the guitars sound slightly better on the B side. I think it’s perfectly fitting for this style of death metal, further showing the band knows exactly what they want.
There are a lot of great bands coming out of Winnipeg, and Regurgitated Guts has potential to be one of the premiere death metal bands in Canada. They need to get a full length out, as the 10 minutes of material presented here have left a strong impression. There’s zero bullshit in these 10 minutes, just proper Finnish influenced death metal.
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.