Proud to announce that Begrime Exemious will be hitting the road to join Ares Kingdom for three exclusive dates in western Canada this summer.
June 1st – Edmonton, AB @ The Mercury Room w/ Pathetic, Phylactery
June 2nd – Calgary, AB @ The Distortion, w/ Pathetic, + TBA
June 3rd – Vancouver, BC @ Pats Pub, w/ Assimilation, Pathetic
Brutal Alberta and Famine Fest have collaborated to make this possible. I look forward to seeing some maniacs on the road in June!
Another year has come and gone, and regardless of how you experienced the year, there’s been plenty of quality releases from a variety of bands this year. Here is my list of music I enjoyed this year, separated by full lengths vs demos/EPs/splits, and organized alphabetically.
Full Lengths
Altered Dead – s/t
Death Metal | Victoria, BC | Cavernous Records | Bandcamp
If you’re looking for death metal with a massive guitar tone, look no further than the debut full length from Altered Dead. This death metal duo from Victoria, BC spew forth exceptionally heavy riffs in the vein of Autopsy. The production of this album is fantastic, benefiting from an excellent recording/mixing job by Cody of Iskra.
Auroch – Mute Books
Black/Death Metal | Vancouver, BC | Profound Lore | Bandcamp
Vancouver’s Auroch return with their third full length, and manage to spew out a vast array of styles under the guise of death metal in just 30 minutes. Their sophomore LP was excellent, and foreshadows where the band would take their frantic paced music to next.
The Bellicose Minds – The Creature
Post-Punk | Portland, OR | Black Water Records | Bandcamp
Post-punk from Portland, the Bellicose Minds take huge influence from the Chameleons to make dark yet energizing music. Their sophomore album contains everything I liked about their previous material and shows that the Bellicose Minds are one of the better modern post-punk bands.
Blood Incantation – Starspawn
Death Metal | Boulder, CO | Dark Descent Records | Bandcamp
Arguably, this is the album of the year. Based out of Colorado, these death metal maniacs flex their technical musicianship with copious amounts of marijuana to create a record that fans of all types of death metal from Demilich to Morbid Angel will eat up. It’s only 35 minutes but it reaches heights of epic proportions. The space themes further make Blood Incantation’s debut full length enjoyable to me as a sci-fi nerd.
Chthe’ilist – Le dernier crépuscule
Death Metal | Montreal, QC | Profound Lore/Dark Descent | Bandcamp
Speaking of Demilich, this Quebecois death metal act certainly has earned a lot of comparisons to the classic Finnish band. Much like Blood Incantation, Chthe’ilist are technically proficient but never let that take prominence over the all mighty riff. Aside from the obvious Lovecraftian themes, they even turn to video games (namely, the Legend of Zelda) for lyrical influence. It’s a pretty nerdy LP but you can’t deny how crushing songs like “Voidspawn” are!
Church of Disgust – Veneration of Filth
Death Metal | San Marcos, TX | Memento Mori | Bandcamp
Disgusting death metal out of Texas, these guys play raw death metal in the vein of Autopsy and Morpheus Descends. I had not heard this band prior to this album, but it’s certainly a strong release that will cater to those who like their death metal on the filthy side. A few guest vocalists appear on this record, including a member from Sewercide (who are also on this list) and Mike Browning from Nocturnus/Morbid Angel fame.
Czarface – A Fistful of Peril
Hip-Hop | Brooklyn, NY | Silver Age | YouTube
Inspectah Deck (of the Wu-Tang Clan) returns with his collaborators 7L & Esoteric for the third Czarface LP. I personally love hip hop uses comic book imagery/allusions as its backbone (something that Inspectah Deck himself has done in the past), and Czarface manage to stay fun and fresh with each release. Fans of the last two LPs will love this, but may note there aren’t any guest appearances by other Wu-Tang members. I can understand that the group probably wants to stand on its own without relying on the Wu-Tang connections that much, and indeed this LP does. As many of you know, I’m a huge basketball fan and I can’t help but get stoked when I hear all the basketball references in these raps.
Deathspell Omega – The Synarchy of Molten Bones
Black Metal | France | Norma Evangelium Diaboli | Bandcamp
The French black metal masters of dissonance return with their shortest full length to date – 4 songs clocking in at only 30 minutes. They’ve had EPs longer than this, but let’s not get distracted by what is an extremely solid effort by a band that’s been consistently putting out quality material for over a decade. This is a lot more aggressive than the “Drought” EP, and ends on such an ominous note that I have to listen to it over and over.
Howls of Ebb – Cursus Impasse: The Pendlomic Vows
Black/Death Metal | San Fransisco, CA | I, Voidhanger | Bandcamp
Howls of Ebb’s second album is my first experience with this bizarre black/death metal band. This album is really unique, it’s almost like the soundtrack to a predator stalking its prey, as it dances in the shadows and lunges in for the kill with grace, embracing the chaos that comes with death. Not much compares to this, so if you like eerie and quirky riffs in your death metal, get this now!
Inverloch – Distance | Collapsed
Death/Doom Metal | Australia | Relapse Records | Bandcamp
Inverloch is essentially the rebirth of the greatest death/doom band of all time, diSEMBOWELMENT. After releasing an EP, Inverloch has graced us with a full length album. Obviously, people are going to compare this to their former band, and although this isn’t on the same level as the legendary “Transcendence into the Peripheral,” it does have many of the same characteristics and overall similar atmosphere. If you like those sombre moments of pure desolation that diSEMBOWELMENT does so well between massive death metal riffs, Inverloch will surely satisfy.
Krypts – Remnants of Expansion
Black/Death Metal | Finland | Dark Descent Records | Bandcamp
From Finland comes Krypts, and they’ve certainly outdone themselves on this full length. Although I got some enjoyment out of “Unending Degradation,” this album breathes a lot more than their debut, controlling the pace much better. Listening to this album is like being crushed by the cosmos itself. I can’t stress how much of a leap Krypts has made with this record, it’s phenomenal black/death metal.
Massgrave – The Absurdity of Humanity
Crust/Grindcore | Vancouver, BC | Haunted Hotel | Bandcamp
Massgrave are the greatest crust band in Canada, period. Taking the core of their sound from crust/grind legends Disrupt, Massgrave have been delivering the goods for a decade and a half. This is their third LP and they show no signs of slowing down. “RCMPig” is likely the best punk song of the year.
Necrot – The Labyrinth
Death Metal | Oakland, CA | Tank Crimes | Bandcamp
This is technically a compilation of three demos from the last few years but it’s all new to me, so I’ve included it on this list. Necrot are from the Bay Area, and share members with a lot of incredible death metal acts including Vastum, Acephalix, and Rude. Here we get nothing but filthy riffs performed in relentless fashion with a tinge of punk influence. Here’s hoping a proper album is in the works!
Nucleus – Sentient
Death Metal | Chicago, IL | Unspeakable Axe | Bandcamp
Technical death metal appears to be having a resurgence this year, and Nucleus are another band that will appeal to fans of Timeghoul and Demilich. Unlike Chthe’ilist, the songs here are shorter and to the point, but still feature some whacky ideas that give the songs some twists and turns. Lyrically, the band takes influence from plenty of classic sci fi novels, and combined with the Dan Seagrave artwork, it’s definitely something that resounds with my inner nerdy death metal fan boy.
Phobocosm – Bringer of Drought
Death Metal | Montreal, QC | Dark Descent Records | Bandcamp
Coming from Montreal, Phobocosm’s first LP didn’t really make a huge impression on me. Quite honestly, this one didn’t either, but as the year progressed I came back to it a couple times, and found myself more pleased with it each time. Although this band is generally touted as a black/death metal band, Phobocosm is really doomy. The four tracks presented here are paced with ominious intent, building up to faster parts which release to open space.
Putresence – Voiding upon the Pulverized
Death Metal/Grindcore | Winnipeg, MB | Unholy Anarchy/Fatss | Bandcamp
Winnipeg’s Putrescence decided to call it a day this year with the release of their fifth, and most powerful album. Bluntly put, I consider these guys close friends and am very happy to see this line up execute such a stellar mix of death metal and goregrind. The two guitar players had not played on any releases for the band prior, but you couldn’t tell as they churn out neck breaking riffs like absolute pros. I feel this album will fly under the radar for a lot of folks, but if you’re a fan of stuff like Carcass, do not let this one slip by!
Ripper – Experiment of Existence
Death/Thrash Metal | Chile | Unspeakable Axe | Bandcamp
Apparently, the Chilean death/thrashers Ripper have been the fastest selling act on Unspeakable Axe records. That shouldn’t be a surprise to anyone who’s listened to this LP – it’s absolutely furious! The classic South American sound that so many greats from Sepultura to Pentagram possessed is on full display here, with their bassist leading the charge of this thrashing masterpiece. This is an album that old school fans and newcomers alike will want to give repeated listens to.
Ruinous – Graves of Ceaseless Death
Death Metal | New Jersey | Dark Descent Records | Bandcamp
Ruinous are a band composed entirely of former members of Funebrarum (as well as Goraphobia, Incantation, and many others). With names like that, expectations were high about this album, and Ruinous has certainly delivered a a dynamic death metal record. Don’t expect cavernous death metal with this release, as this is definitely more in the death/thrash vein, but there are also moments utilizing punk beats and slower death/doom passages. If you’re craving some riffs, Ruinous will satisfy.
Scorched – Echoes of Dismemberment
Death Metal | Delaware | Unspeakable Axe | Bandcamp
Hailing from Delaware, Scorched combat the boredom of the state with no identity by combining their love for horror films and mid paced death metal. There’s a lot of things about this record that remind me of Bay Area starwalts Vastum, from the mid-tempo Bolt Thrower riffs right down to the vocal style. But these guys aren’t a rip of by any means, as they manage to change it up with all the slashser film themes scattered throughout the record.
Sewercide – Immortalized in Suffering
Death Metal | Melbourne, Australia | Unspeakable Axe | Bandcamp
Thrashing old school death metal right out of Australia, and another offering from Unspeakable Axe Records makes it on my list. These guys are absolutely savage and it’s a real treat to see their debut full length come out strong. Sewercide’s previous split 7 inches and EP held my interest, and this full length is an endless barrage of brutal riffs. Any fan of proper death metal will have plenty to sink their teeth into.
Soft Kill – Choke
Post-Punk | Portland, OR | Profound Lore | Bandcamp
Canadian metal label Profound Lore took a chance signing synthwave/post-punk act Soft Kill. All weirdness of that aside, this is a fantastic album full of lush dirges and dark waves of synthesized euphoria. Mark Burgess of the Chameleons even makes an appearance as a guest vocalist.
Spectres – Utopia
Post-Punk | Vancouver, BC | Deranged Records| Bandcamp
Vancouver post-punk titans Spectres released their third full length. They’ve expanded their sound to new heights compared to this album’s gloomy predecesor, “Nothing to Nowhere.” There’s more shades and colours present in the material here, and the vocal performance is better executed than ever. There are some massive hooks in the songs that will get stuck in your head for days.
Underpass – Red Reflection
Post-Punk | San Diego, CA | No Sun Recordings | Bandcamp
More new post-punk made its way into my listening habits with Underpass’ debut full length. They take a more minimalistic approach with their music (ie: the drums are literally a floor tom and a snare), but it allows for huge soundscapes in their guitar/bass work. Songs like “Whitest Light” and the title track are absolutely fantastic and the type of songs you’ll keep coming back to this album for.
WAKE – Sowing the Seeds of a Worthless Tomorrow
Grindcore | Calgary, AB | Nerve Altar | Bandcamp
Hatred oozes its way out of Calgary, AB in the form of Canadian grinders WAKE. Their third full length shows the band is stronger than ever, as they blast through 8 songs in a mere 20 minutes. WAKE stand out from the grindcore crowd by mixing equal parts of Nasum with unsettling chord work in the vein of Deathspell Omega.
EPs/Demos/Splits
Auroch/Mitochondrion – In Cronian Hour
Death Metal | Vancouver, BC | Dark Descent/Hellthrasher | Bandcamp
Auroch makes an appearance again on this list, this time on a split 7″ with their sister band Mitochondrion. Mitochondrion has been relatively silent in terms of new music since the release of “Parasignosis,” teasing us with another 7″ a few years ago. This is a great 7″ but it’s a shame it’s not a full 12″ collaboration as it’s apparent both bands are able to mesh well together.
Cemetery Filth/Ectovoid/Sabbatory/Trenchrot – 4 Doors to Death
Death Metal | USA/Canada | Unspeakable Axe | Bandcamp
I gave high praises to this 4 way split earlier this year, and it’s still holding up well. Each of these bands play a convincing style of death metal influenced by the classics, and compliment each other well over the duration of this split. Hats of to Unspeakable Axe for doing such a bang up job for such an ambitious release.
Drawn & Quartered – Proliferation of Disease
Death Metal | Seattle, WA | Self Released | Bandcamp
Seattle’s own cavernous death metal masters Drawn & Quartered haven’t put out anything since their 2012 album, which I’m sure has a lot to do with getting a new drummer. That being said, they’ve certainly struck gold with the latest addition to the band, and this demo proves just that. This is essentially a full length but it’s got a charming demo quality to it.
Gorguts – Pleiades’ Dust
Death Metal | Montreal, QC | Season of Mist | Bandcamp
Canada’s masters of avantgarde death metal have followed up their reunion album with a single song, 30 minute EP. There are clearly peaks and valleys with definite movements within, much like Edge of Sanity’s single song Crimson albums. The band seems to be locked in with the addition of Patrice Hamelin behind the drum kit (who took over for John Longstreth during the touring for “Colored Sands”).
Gruesome – Dimensions of Horror
Death Metal |Arroyo Grande, CA/Miami, FL | Relapse Records | Bandcamp
Matt Harvey and company return with another 6 songs of Death-worshipping metal. While their debut LP “Savage Land” was shameless in its approach of regurgitating classic Death songs, “Dimensions of Horror” has a little more of its own identity and proves to be a fun and disgusting listen. If you just can’t get enough Death in you life, Gruesome is there for you.
Messiahlator – Doom Forever
Death Metal/Crust | Edmonton, AB | Self Released | Bandcamp
Full discolsure: I recorded these tracks for Messiahlator a couple years ago as part of a larger session, and finally they have been pressed on a 7″ released by the band. They are one of the strongest metal acts in Edmonton, perfectly blending their crust and Eyehategod influences into their Swedish death metal fandom.
Necrosic – Putrid Decimation
Death Metal | Oakland, CA | Nuclear War Now! Productions | Bandcamp
Necrosic is a supergroup from the Bay Area featuring members of Autopsy, Impaled, Scolex, Funebrarum, Gravehill, etc. There’s not much here that will surprise anyone, as it sounds like Autopsy and friends making quality death metal. The four songs on this mLP cut deep, and one can only hope a full length is next on Necrosic’s radar.
Paroxsihzem – Abyss of Excruciating Hexes
Black/Death Metal | Toronto, ON | Hellthrasher Productions | Bandcamp
Toronto’s black/death entity known as Paroxsihzem have certainly been coming into their own over the last few years. After releasing a full length in 2012, the band struck back with even stronger material on a split with fellow Toronto act Adversarial. They’ve upped the ante once again with a new mLP, performed by the band’s new full line up. The Akhon Infaustus cover at the end wraps things up suitably.
Spectral Voice/Phrenelith split 7″
Death/Doom Metal | Denver, CO/Denmark | Iron Bonehead | Bandcamp
Spectral Voice is a death/doom band featuring most members of Blood Incantation, and Phrenelith is a Danish death/doom act with members of Undergang. Do I need to explain things further? This 7″ is a solid slab of wax, and it’s increasing my hunger for a full length from Spectral Voice.
Teitanblood – Accursed Skin
Black/Death Metal | Spain | Norma Evangelium Diaboli | Bandcamp
Spain’s most menacing death duo returns with a new EP that features a new 14 minute track alongside a previously released CD-only track. So there’s not much new here, but it is a damn fine piece of filthy death metal. More importantly, this confirms the band is working towards another LP, and this is a fine way to tide over fans in the meantime.
Temple of Abandonment – From Outer Spheres… Death
Doom Metal | Vancovuer, BC | Self Released | Bandcamp
Temple of Abandonment took the underground by storm this year with this single track, 30 minute demo. The Vancouver quartet features members of some of my favourite acts in that city (AHNA, Chapel, etc) playing some of the most desolate death/doom I’ve heard in years. Sounds of mourning, anguish, and sorrow cut through in slow, pummeling waves. It’s no wonder this tape sold out immediately.
Genre: Black/Death | Label: Iron Bonehead Productions
Location: Zurich, Switzerland | Listen: YouTube
The Swiss-based duo known as Bölzer have certainly been making waves over the last few years thanks to the strength of their 2013 EP, “Aura.” Their demo and follow-up EP also have helped create quite a lot of hype for the band. With performances across the globe, the question still remained: could Bölzer capture the magic of their shorter releases and create a full length worthy of the hype? Fans have spent the last two years longing to hear this black/death metal’s massive riffage take over with a long playing format, but ultimately, they were not able to meet their goal.
First, let’s discuss the production here: it’s a very professional sounding recording that’s well balanced, giving space to all the instruments, especially giving the drums room to resonate and a gnarly tone to the guitars. This wasn’t a huge surprise for me, although I’m sure some fans will dislike the cleaner approach compared to the EPs.
The reason Bölzer’s EPs got so hyped is really simple: their riffs are colossally heavy. There are some moments of that here on “Hero,” however, a lot of these riffs fall short of the standard the band gave us initially. Instead, the band’s writing has shifted from stellar riffs to making the vocals the focal point. To me, this is what separates metal/punk/extreme music in general from pop music, and Bölzer have done themselves a huge disservice with this approach. Throughout this record, I found myself cringing at the clean singing. This isn’t to say I think clean singing has no place in extreme music. Bands like Paradise Lost or even more recent acts like Vastum have managed to utilize interesting types of clean vocals that are dark and add so much more to their music. Perhaps Bölzer could’ve got away with what they’ve done here if they added more delay/reverb to these parts, but I think more importantly, the riffs aren’t there to support such experimentation in the vocal department.
Indeed, the first couple tracks, “Archer” and “Hero,” did not give me much hope for this record. Both songs are pretty mid-paced and meander around with their choruses sounding like fingernails on chalkboard. Some may feel the singing to be out of tune/key, but most will agree it’s strange either way. In fact, these two songs make the clean singing on the album’s initial premiere track, “I Am III” sound not so ridiculous. At least that track has some interesting riffage, where as these first two songs do not.
“Phosphor” is by far the best track on this album, and it’s no coincidence it doesn’t feature any off-kilter vocals at all. In fact, it’s pretty minimal on the vocals (which are mostly aggressively shouted). The tempo of this song is more lively too which lends to my enjoyment of it. “Spiritual Athleticism” is the next best track on this album, and again, it has to do with the quicker pace, and the clean vocals on this track are probably the best ones on the album.
So just as this album starts to feel like it’s not a total let down, it teases the listener by saving the worst song for last, “Chlorophyllia.” The song does start off promising by having the only blast beat on the record. But right away, it descends into just down right silliness with an “OOH-AH!” chorus over some pretty stale riffing. Just before you start thinking that the song couldn’t get worse, it does, with some generic “see you on the other side” lyrics and the cringiest clean singing on the whole album.
I really wanted to like “Hero.” A lot of fans wrote the album off after hearing the first single, but I didn’t want that kind of hive mind to keep me away from the full album. However, after hearing it the first time, I was let down, and subsequent listens have been a chore and ultimately an undesirable listening experience. Honestly, after reviewing this LP, I don’t think I’ll be listening to it again. Bölzer came up short here, and you’re better off sticking to their EPs/demo. I’m not normally the kind of person who gets turned off by vocal experimentation when it comes to metal, but when that’s the focus of the record and the riffs take the backseat, that’s the result. Maybe Bölzer can redeem themselves in the future, whether they stick to short formats or by taking more time when it comes to a full length.
30%
In support of our new full length, Begrime Exemious will be crossing the border once again to play a string of shows on the west coast US/Canada.
September 1 – Kamloops, BC @ The Office w/ Watchdog, Wormhold
September 2 – Vancouver BC @ Astoria w/ TBA
September 3 – Seattle, WA @ The Highline w/ Drawn & Quartered, Oxygen Destroyer
September 4 – Portland, OR @ The Panic Room w/ Petrifacation
September 5 – Salem, OR @ The Space
September 6 – Sacramento, CA @ The Starlight Lounge w/ Crawl
September 7 – Santa Cruz, CA @ The Blue Lagoon w/ Gloam, Moirai
September 8 – San Diego, CA @ Brick By Brick w/ Seraphic Disgust, Xantam
September 9 – Los Angeles, CA @ The 5 Star Bar
September 10 – Oakland, CA @ The Golden Bull
September 11 – Eugene, OR @ Old Nick’s w/ Mortuary Drape, Predatory Light
The third Begrime Exemious album, “The Enslavement Conquest,” will be released this March on CD/LP/digital on Dark Descent Records. It features 9 brand new songs of savage thrashing death metal in addition to an Incantation cover. Listen to “Noose for a Monarch,” which is streaming online courtesy of Decibel Magazine.
Track List:
1. Cradled in Our Hands
2. Overpowered (Under Siege)
3. Transcendence
4. Rat Amongst the Herd
5. Conscription Woes
6. Subconscious Nemesis
7. Noose for a Monarch
8. Impending Diabolical Conquest (Incantation cover)
9. Crusade Towards Self Devolution
10. When the Vultures Leave
Lineup:
D. Orthner – Vocals, Guitar
F. Thibaudeau – Guitar, Vocals
A. Rintoul – Bass
L. Norland – Drums
“The Enslavement Conquest” was recorded in the first half of 2015 by Lee Norland, mixed by Derek Orthner, mastered by Dan Lowndes at Resonance Sound Studio (UK), with artwork by Mark Riddick.
I’ve never been more proud of anything I’ve ever done, musically or otherwise. This is the first album we’ve done with myself handling lead vocals and penning all the lyrics. I was also responsible for all the mixing and the layouts for the CD/LP. The LP will be available in both black and gold wax. Shows in west Canada and a tour of the west coast US will be executed throughout 2016 in support of “The Enslavement Conquest.”
Genre: Death Metal | Label: Unspeakable Axe Records
Location: Various| Listen: Bandcamp
Unspeakable Axe Records has been making quite a splash in the metal underground over the past few years. The Dark Descent sub-label has been releasing quality death and thrash metal in the old school vein since their inception. Their latest release, “4 Doors to Death,” features four ripping death metal bands across ten tracks that comes together as the first worthwhile release I’ve heard this year.
The first three tracks are by Cemetery Filth, who have recently emerged out of Tennessee. Their songs are full of furious death/thrash riffs that stem out of the Morbid Angel school. I wasn’t really aware of these guys until this split was announced, and they only had a lone demo prior to this release. Needless to say, what these guys are doing is pretty exciting. The riffs are drenched in evil, and are sure to satisfy any old school death metal fan. Even the production sounds like Mike Browning era Morbid Angel. This is old school death metal to the bone, and Cemetery Filth will hopefully put out a full length if these songs are any indication of what to expect in the future.
Coming next is Ectovoid, a dark death metal band from Alabama. They’ve put out a couple of albums, and much like Cemetery Filth, I was inclined to check some of their material out in anticipation of this split. The two tracks they present on the split are very dark, which becomes apparent within seconds. The first track will satisfy Incantation/Disciples of Mockery fans with it’s contrast of blasts and churning death/doom sections. Ectovoid’s second offering switching gears to a looser Autopsy feel, complete with infectiously evil melodies. These are probably the “rawest” sounding songs on the split, but by no means is that a negative. It fits the cavernous style these guys are going on, and helps muster up a suffocating atmosphere.
The main reason I was anticipating “4 Doors to Death” has to do with the next two bands. Sabbatory’s debut album was one of my favourites of 2014, as it was morbid journey of twisted riffs in the vein of Morgoth. These Canadians from Winnipeg return with a new track and a cover. The band hits full throttle with their first track, displaying more and more ferocity as the song goes on. Sabbatory’s riffs morph by way of rhythmic variety (punk beats, blasts, pummeling double kick work, etc), and are successful due to tight interplay between the drums and guitar picking. The vocals sound more like Martin van Drunen than ever, and Asphyx/Pestilence also appear to have their influence in the riffs. Their Mortuary Drape cover is savage, and if you weren’t aware that it was a cover, you’d think this was one of their own songs. These are probably the best sounding tracks on the split, and the sheer energy of the performances makes it the highlight for me.
The final three songs belong to Philadelphia’s Trenchrot. Trenchrot obviously worship Bolt Thrower and various other death metal classics, and their 2014 album was another favourite from that year. Here we get more of the same, starting off with a slow riff that builds up into a warlike blitzkrieg of death metal. Plenty of midpaced grooves with double kick work break up the songs, and this is definitely where the Bolt Thrower influence is apparent. My only complaint about Trenchrot’s recording is that the kick drum sounds odd. On previous recordings, the drums have always been really loud, but here it just sounds overly compressed. That aside, these are some seriously solid slabs of death metal, complete with some top notch lead guitar and a Death cover to boot.
Label head Eric Musall really did a wonderful job putting together this split. Anyone who’s ever been involved in a split can tell you the potential for headaches in regards to coordinating more than one band for a release, and in this case, we have four bands that all managed to put forth quality material. If that doesn’t earn him any credit, you have to give it up to him for contributing artwork (the Sabbatory one in particular is incredible), layouts, and even some audio engineering. “4 Doors to Death” is home run, and it’s great to see a project of this scope come out so well.
85%
Genre: Death Metal | Label: Dark Descent Records
Location: Boulder, CO, USA | Listen: Bandcamp
Technical death metal is a genre that’s very hit or miss, with many bands missing the mark by a long shot. When I was a teenager, I became quite obsessed with the style, as the level of musicianship is a step above what most people can play. However, I found that the more bands I checked out, the more they just blended together into a mess of technical wankery in which nothing really stood out. The riff was lost, and eventually, so was my interest in this style of death metal.
Colorado’s Blood Incantation, however, have proved to me that quality technical death metal still exists. After releasing a trio of demos, these Rocky Mountain dwellers have teamed up with Dark Descent Records (who are also located in Colorado) for their debut EP. “Interdimensional Extinction” combines dazzling fretwork and science fiction themes into an old school death metal framework to create four memorable songs.
As stated, my biggest problem with a lot of technical death metal is that it just becomes an unmemorable mess. Blood Incantation, although technically proficient, do not sacrifice riffs to display their skill. Rather, their musical prowess enhances the riffs to give them that extra flair that’ll keep them in your mind. Listen to that death/thrash riff that comes up halfway through “Obfuscating the Linear Threshold” and you’ll see what I mean. These riffs induce some serious neck snapping, and that’s what death metal should be all about.
Blood Incantation’s songs are full of dynamics that are well arranged, giving each song it’s own identity. The opening track, “The Vth Tablet (Of Enûma Eliš),” has a break into a sweeping guitar lead, which is obviously dangerous territory where many bands would fall into a endless string of uninspired notes. However, these guys manage to make the lead guitars catchy, and that particular sweep will be stuck in your head for days. The second track features some death/doom breaks that balance out the speedier parts of the song. Catch and release songwriting is utilized very well on this EP.
“Hovering Lifeless” is perhaps the most standout track on this release. The intro is open and eerie, and allows the fretless bass to really shine. On that note, Damon Good (aka the Great Righteous Destroyer of StarGazer and several other quality Australian bands) fills in as a session member, and does a fantastic job doing so.
The EP ends off with its longest track, “Subterranean Aeon,” which again sees the band twisting their fingers around and turning the tempos on a dime without it feeling awkward. The outro utilizes some melodic playing on the fretless bass, and wraps up this 18 minute slab of music very nicely.
I really wish this EP was longer, as it seems to whiz by before you know it. It demands further listening, not because it’s difficult to comprehend, but because it’s just that addicting to listen to. That being said, it is understood that Blood Incantation has a full length in the works, which should be on everyone’s radar after listening to “Interdimensional Extinction.” Damian Herring (of Horrendous) once again did a wonderful job of making this release fulfill its potential in the production department. Blood Incantation has a very promising future, and anyone who enjoys classic technical death metal like Gorguts, Demilich, and Timeghoul should give this a listen if they haven’t already.
85%
Genre: Death/Thrash Metal | Label: Nuclear War Now! Productions
Location: Kansas City, MO, USA | Listen: Bandcamp
Ares Kingdom should pretty much be a household name now in underground metal, considering they’ve been around for almost 20 years, and members were also part of the legendary death metal band Order From Chaos. 2015 sees the band releasing their third full length album, meaning it’s been a good five years since their last one. However, Ares Kingdom have not been silent over that time frame – they released an album of cover songs that also acted as a “studio experiment” in terms of the band increasing their knowledge in the audio production side of things. “The Unburiable Dead” benefits greatly from the time spent learning new production techniques, and stands proudly among the rest of the band’s discography.
Obviously, people are going to be comparing this record to “Incendiary” (which is a masterpiece) and “Return to Dust.” First, “The Unburiable Dead” only contains seven tracks, but also features the longest Ares Kingdom song to date. There’s some epic songwriting to be heard, as songs build up mid-paced tempos to more frantic parts. The album opens up with its second longest track, “Ubique,” and after a few minutes of opening riffing, Alex Blume’s toxic vocals rip through some manic thrash riffs. At this point, it’s clear that fans of the previous two records won’t be disappointed.
Chuck Keller is on top of his lead playing on this record. He’s ripped some amazing leads throughout the years, and all those years of experience seem to shine through here, if the first track doesn’t give that away already. His sense of melody and phrasing are on point, and to me are exactly what a metal lead guitar is all about.
There’s a great variety of tempos on this record. It seems to me like the mid-pace tempo is a little more prominent here than on previous Ares Kingdom releases, but don’t let that fool you. Songs like “Nom de Guerre” and “Demoralize” are pure thrashers, filled to the brim with riffs that have all sorts of twists and turns. Listen to some of those picking patterns within – the main riff in the title track has this great part that varies between down picking and tremolo picking, and it’s some serious neck snapping stuff.
Mike Miller’s drum performance is also great on this – he’s always been a master at creating grooves within chaotic thrashing riffs, and he certainly has maintained that skill throughout the years. His kick patterns are never stagnant, and thanks to the solid production job, you can really hear that he’s hammering the shit out of that kit with some heart.
Once again, I have to come back to the production of this record. I’ve always appreciated the fact that Ares Kingdom self produce their music. Furthermore, it’s apparent they’ve become better with it over time. The guitar tone is dense with gain and truly massive, but you can still make out the notes even on speedier riffs that dance around the fretboard. But perhaps maybe the greatest part of this record’s sound is how warm and natural it sounds together. There’s no ridiculous modern production techniques here.
The album closes off with another epic tune, and as I mentioned, is the longest song in Ares Kingdom history, clocking in at over 10 minutes. There is no stagnation as the song plays through, and once again, it’s due to a great variety of riffs and feels. There’s even a blastbeat on this song, something that wasn’t even present in the Order From Chaos days. The closing riff itself seems very appropriate, as it feels victorious yet has a sense of desolation, much like the end of a long fought war.
It’s hard to say what the best Ares Kingdom record is at this point, because all of them are solid thrashing death metal records. It’s great that a band can have this kind of consistency in the quality of their music, and even better than they’ve managed to improve recording quality through the years. If you like what Ares Kingdom has done before, this album will satisfy you without a doubt. There are no bands that sound like Ares Kingdom, and I can only hope they continue to unleash pure metal warfare for years to come.
85%
Genre: Death Metal | Label: Dark Descent Records
Location: New Orleans, LA, USA | Listen: Bandcamp
Five years ago, and when they were based in Montgomery, death metal mongers Grave Ritual released their debut album, “Euphoric Hymns from the Altar of Death.” Prior to that, they released a handful of splits and demos under the moniker Meathole Infection. After five years of silence, the band has relocated to New Orleans, and have released their most punishing slab of death metal to date. “Morbid Throne” combines massive death metal hooks with a clear-yet-suffocating sound, making this album a clear winner.
Grave Ritual’s main appeal has always been the quality of their riffs. Not only are they dark and evil, but they manage to make a lot of catchy riffs. While some bands might only have one “big riff” per song, Grave Ritual delivers riff after riff of proper death metal. Even when they were known as Meathole Infection, these guys churned out some proper riffs. “Morbid Throne” continues this trend flawlessly.
Most of the songs on this album are around the three minute mark, which means there really is no time for filler. The band pushes a variety of musical feels with each song, further cementing an identity for each track. The opening track does a great job kicking off the album with some mid paced riffing and desolate lead playing. For those who’ve been following the band’s progress since the Meathole Infection days, some of these songs may sound familiar. “Baleful Aversion” is a reworking of “Satan’s Supper” from the split with Violent Gorge, and “Adversary Crown” is “The Stench of Rot” from the split with Necrovorous. There may be a couple more re-recordings that I’m not aware of, but either way, these old songs (with new lyrics) sound better than ever and show that Grave Ritual are serious death metal worshipers.
As I mentioned earlier, the production of “Morbid Throne” is definitely the best that Grave Ritual’s ever had. The guitar tone is very well balanced. It’s heavy, but it cuts like a fresh razor blade through flesh. The drums sound nice and thick, and don’t have any unnatural tones. Dan Lowndes (of Cruciamentum) mixed and mastered this record, and his work always manages to create a thick sound without being too murky.
Although Grave Ritual clearly has the Incantation influence in their sound, they don’t sound like a clone band to me. To me, it’s just proper old school death metal that wastes no time. I hear some other influences seeping in, such as Carcass in the way they build up and break down riff segments. Overall, this is a fantastic death metal LP with no frills, just riffs soaked in evil with deathly vocals roaring over top.
85%
Genre: Death Metal/Crust | Label: Neanderthal Stench/Choking Hazard
Location: Vancouver, BC, Canada | Listen: Bandcamp
Constantly evolving and pushing their sounds, AHNA from Vancouver are a band that have been reinventing themselves several times throughout their existence. Over the last few years, their sound has been leaning towards the death metal spectrum, with crust punk undertones seeping their way through the band’s performances. Last year, AHNA released three incredible splits that each proved to be a crushing slab of music. This year, the band returns with a mini-LP that manages to reach sinister sounds beyond the aforementioned splits.
Right away, AHNA declares musical warfare with a nice tremolo Bolt Thrower-esque riff. Much like the sound of bomber jets overhead, it can only imply imminent destruction, and the drums come in like the blast of a bomb. The thrashing pace continues, revealing great riff development therein. The drums have a clear punk foundation to them, and keep a furious momentum to drive the riffs. Following the blitzkrieg speedy riffs, the song breaks down into slow, eerie territory, creating a distinct balance within the song.
These elements are present throughout the mLP, especially the concept of balance. Not only do we get the balance of tempos, but there’s a distinct balance of overall mood. The death metal parts are frantic and pumping with adrenaline. The slow parts are sinister and pulsing. Furthermore, the usage of dual vocals creates another dynamic in AHNA’s music. Both the drummer and guitarist have distinct voices, one being a punkier shout, the other being a morbid death metal roar.
In addition to the unique contrast in vocal styles, AHNA utilizes another stand out technique throughout the album with the usage of lead guitars. In essence, they are often times not really “leads,” but rather a texture that creates an eerie atmosphere that is often unparalleled with bands that play crusty death metal. There are a couple traditional solos here and there, but mostly the lead guitar lets the riffs do the talking.
“Perpetual Warfare” benefits greatly from its on point production. Jesse Gander of RainCity Studios always does a great job with heavy music for bands in Vancouver and beyond, and AHNA’s sound has never been better. The band included a “demo” track from their upcoming full length as a bonus track on the vinyl version of this release, and it really makes it apparent how great the production is on the five tracks from the EP’s recording session.
Death metal fans, especially those who enjoy Autopsy and Bolt Thrower, will get much enjoyment from this release. Fans of Axegrinder, Sacrilege, and other metallic crust will also appreciate what AHNA is doing. Personally, this is my favourite EP from 2015, and I can’t get enough of what this band has been doing the past couple years. If this mLP is any indication, and as evident with the bonus demo track, AHNA’s upcoming LP is going to do some damage. That is, if there’s any survivors left from the onslaught of “Perpetual Warfare.”
87%