Death Metal – Page 144 – Wonderbox Metal

The Dead Goats – Don’t Go in the Tomb (Review)

The Dead Goats are a Death Metal band from Poland and this is their latest EP.

This short sub-12 minite EP features two original songs and a Repulsion cover.

As you can probably tell from the band logo, this is Death Metal of the definite Swedish variety.

Sporting a proper chainsaw sound, The Dead Goats proceed to impress with their mastery of this particular sub-genre.

Their take on the style is one that has a nice filthy Punk undertone and vocals that are slightly higher than the norm but still as nasty as Hell.

This is high-energy, high-excitement Swedish Death Metal that relies less on macabre melodies and groove than it does belligerent attitude and steamroller aggression.

Like all Swedish-styled Death Metal though the emphasis is on songs, and songs we get; simple but catchy, professionally performed, yet still reeking of the crypt.

The higher vocals and general elevated-aggression of these songs does mark them as a little different from the standard Swedish Death Metal band and all-in-all this is firmly in their favour.

This is a very impressive little EP. Make sure you get your hands on this and support the underground.

Eschaton – Sentinel Apocalypse (Review)

Eschaton are from the US and play Death Metal. This is their début album.

Eschaton play Technical Death Metal with roots that are firmly rooted in the New-School, Modern Death Metal camp.

Insane riffs and time signature changes merge with utterly inhuman drumming for a listening experience that’s as brutal as it is compelling. You’ve gotta love this kind of mayhem.

Things do slow down enough for the band to have some good old-fashioned chug-n-groove-n-squeal sections as well as more modern, rhythmical riffing. Even these are firmly embedded in a wider framework of frenzied musical exploration, however.

Leads and solos abound, all centred around the ridiculously surgical drumming. I feel like the drummer should be given a medal for his services to tub-thumping, or something. But then, when he’s a veteran of bands such as Incinerate, Pillory, Arsis and Vile, to name but a few, it’s no wonder he sounds like a serious player in the drumming world.

The rest of the musicians seem to be highly proficient in their trade too though. There’s the guitars of course, so many that we just seem to get extra guitars on top of guitars! In actuality there were only three members to Eschaton during this recording but the sound they make could easily lead you to believe this was a six-piece band.

We mustn’t forget the vocalist either. He has a throaty, guttural roar that focuses the chaos of the music as it rages around him. His voice is versatile enough to fit in with the extremity of the rest of the band and the consistency he provides acts as a grounding point to the swirling maelstrom of Eschaton’s delivery. He also branches out into high screams territory, and these are performed as equally well as the growls.

This is brutal, extreme music for fans of proper Technical Modern Death Metal. When confronted with music like this, most will falter. Will that be your fate, or will you be one of the elite and embrace Eschaton?

Destiny awaits.

Spawned from Hate – Accelerated Butchery (Review)

Spawned from Hate are a UK Death Metal band. This is their latest EP.

This is raw, evil Death Metal with an Old-School sound and enough brutality to kill 1000 pigs. (Poor pigs).

But the piggy sacrifice has at least resulted in some Death Metal capable of waking you up in the morning.

This may be from the UK but it has a distinct USDM feeling circa the mid 90’s.

I particularly enjoy the vocals, as they have the kind of ultra-deep growl that’s incredibly satisfying. It just sounds so prototypical and pleasing.

The archaic melodies and riffs may be rooted in an older pedigree but they’re delivered with a modern passion and lust for blood. This is such a pure stain of Death Metal, you can’t really go wrong with it.

If you’ve become jaded with the Death Metal scene then it’s unlikely that Accelerated Butchery will set your world fire. For the rest of us though who still love Death Metal in all of its wonderful, myriad forms, Spawned from Hate play a timeless Death Metal style and it’s hard not to enjoy it.

This is a very gratifying release and promises good things for the band in the future. If they can capitalise on this EP then I look forward to what their début album will bring.

For fans of Suffocation, Deeds of Flesh, Dying Fetus, Devourment, etc.

Disloyal – Godless (Review)

Disloyal are a Death Metal band from Poland. This is their fourth album.

Disloyal have a sound that’s nice and thick with the guitars sounding hard enough to break bones.

The riffs are brutal and groovy with enough speed to run their victims down and completely bulldoze them into nothing.

The songs are well-written and have some unexpected elements of interest here and there; a good example appears early on in the first song – a brief addition of subtle and effective keyboards to create an epic atmosphere.

The vocals are deep, dark growls that have a lot of character for the style. With the impressive nature of the music a genre-standard growl would only be disappointing, so the fact that they have a singer who injects his deathgrunts with a bit of charisma is most welcome.

Well this is very good. Songs, heaviness, brutality and intelligent delivery. Top class.

Disloyal have managed to produce what is essentially a Brutal Death Metal album but with personality and some added enhancements that lift them well above the mediocre.

Very highly recommended.

The Grotesquery – Curse of the Skinless Bride (Review)

This is the third album by this Death Metal supergroup, featuring members and ex-members of Massacre, Death, Edge of Sanity, Mantas, Bone Gnawer, Paganizer, Ribspreader, Liklukt and This Haven.

First off, I want to acknowledge the album title – now that’s a Metal album title. Top work!

But anyway…onto the music. Here we have some Old-School Death Metal with plenty of groove and mid-paced heaviness. This is 90’s-style Death Metal from an era when songs still mattered and each track was thought of in a holistic manner.

As such, the songwriting here befits the music and the Metal flows nicely from track to track. Or interlude, as the case may be. This is a Horror-themed release so there are numerous interludes to progress the story.

The guitar riffs are appropriate to the style, of course, but the melodies and riffs chosen also seem to further the atmosphere as espoused by the narrative. The result is not just a trip down Death Metal memory lane but an immersive experience into the realms of Horror Metal.

Good sound, good Metal. Here’s to The Grotesquery.

Irreversible Mechanism – Infinite Fields (Review)

Hailing from Belarus, Irreversible Mechanism play Progressive/Technical Death Metal and this is their début album.

Here we have some super-sexy Technical Death Metal with equal parts Progressive and Modern Death Metal as well as elements of Melodic/Symphonic Death/Black Metal. If that sounds quite intimidating then don’t let it be; Irreversible Mechanism have the talent to bring it all together and make it work.

The band have a lot of technical ability and there’s no shortage of fretboard wizardry on display here.

Lots of solos and leads as well as time signature changes are included and although they are the norm for Technical Death Metal, here the Progressive elements of the band and their songwriting skills stop things from becoming overbearing in this regard.

Irreversible Mechanism may be ambitious with their songs, as well they should be, but they always remember that the needs of the song come first and it’s not just enough to string riffs together. Dynamics, pacing, energy and composition are all important and these songs are surprisingly memorable.

Heavy use is made of synthesizers to add extra layers of feelings to the tracks. Do you know what? It works. These sounds add to the overall atmosphere of the album and adds a strong melodic edge to the band’s assault.

Vocally the singer shifts between traditional growling and higher screams. The screams in particular are notable as, combined with the hyperspeed music and symphonic elements, they lend the music a Blackened edge on occasion.

Infinite Fields is a very impressive release. Kind of like a Technical Death Metal version of Dimmu Borgir; the grandeur and the violence.

Definitely be sure to check this out, you won’t be disappointed.

Apophys – Prime Incursion (Review)

This is the début album from Apophys. They are from the Netherlands and play Death Metal.

I enjoy an album that has no pointless intro and starts off as it means to go on – brutal and direct. It’s uncompromising, harsh, and just how I like my Death Metal in the morning.

This is professionally played Death Metal that knows a thing or two about the genre, (featuring members and ex-members of a whole slew of other bands), and sets out from the start to blast and batter you into the ground.

The riffs are dark and brutal and the drums form a constantly aggressive backdrop. It’s largely high-energy, high-hostility stuff, and you wouldn’t want to get caught standing in front of it when it’s at full speed.

There are some nicely melodic solos included which flow like liquid gold through the jaggedly brutal riffs of the rhythm guitars.

The style is predominantly a US-influenced one, (think Morbid Angel-esque), mixed with a bit of a modern groove for some additional flavour. It works a treat and the songs sit well on their throne of xenos skulls.

At just under 40 minutes in length this is an enjoyable and satisfying blast of Death Metal that should fill that need for violent carnage that I know you have deep down. Turn this up and watch everything around you wilt and die under Apophys’ relentless assault.

Invigorating.

Dawn of Azazel – The Tides of Damocles (Review)

Dawn of Azazel are from New Zealand and play Death Metal. This is their fourth album.

Dawn of Azazel play Progressive Death Metal with enough brutality to keep people happy.

They have a very satisfying production with the guitars sounding heavily distorted and full of fuzz. Combined with the blasting drums and vocals it’s a good solid sound.

The vocalist has a the kind of shouted growl that’s forceful and savage. His voice tears out of the music with fury.

Their music is a wonderful combination of the Progressive, Modern and Brutal Death Metal subgenres, so much so that there’s a lot on offer on The Tides of Damocles.

A multitude of inventive riffs and interesting ideas are tried and tested throughout these 10 songs. It’s an impressive melting pot that the band create and they forge it into a cohesive attack over the course of just over 48 minutes.

The guitars are a highlight for me as they lead the assault and you never quite know what they’re going to do next. That’s not to imply that they’re a hyper-chaotic Techdeath mess, far from it; it’s just that Dawn of Azazel pour so many different riffing styles into the mix that you might be listening to a Morbid Angel section at one point only to have it change into something Meshuggah-inspired, or maybe a riff Immolation would be proud of.

Ultimately though it all flows together quite naturally and The Tides of Damocles is a very striking record.

Yes, I look forward to listening to this more and more over the years and getting to know it really, really well. This one’s a keeper.

Vasomortus – Instrument Torture of Pyramid (Review)

This is the début album by Indonesian Death Metallers Vasomortus.

Vasomortus play Death Metal that’s raw and brutal. There’s no subtlety, nuance, niceness or any form of nod to anything progressive or forward thinking; this is relentlessly ugly, aggressive Death Metal. Vasomortus’ only concern is a murderous assault and how much damage they can do.

This takes me back to mid-90’s USDM and the album has a production to match. Everything about this band harks back to this time really and the brutality is completely authentic. For fans of Suffocation, Deeds of Flesh, Devourment, etc.

Blasting riffs, chugging heaviness and groovy carnage are the meat and potatoes of the band, so it’s time to tuck in and get your fill.

Eschewing any shades of colour in the form of solos or leads, and stripped of technicality, progressive elements, modern polish, etc. this is Death Metal that is utterly single minded in its intention. What we’re left with is Brutal Death Metal that only cares about brutality and death-dealing, nothing more.

Although this does leave Vasomortus sounding a bit one-dimensional compared to a lot of other Death Metal bands who may have more variety in their attack, it does mean that they are free to focus purely on what they do best – embodying underground brutality.

For times when only pure barbarity will do.

Six Feet Under – Crypt of the Devil (Review)

Six Feet Under are a Death Metal band from the US, although it’s highly likely that they need no introduction. This is their eleventh album.

This album is slightly different to previous releases as it’s somewhat of a collaboratively written effort between Six Feet Under main man Chris Barnes and Cannabis Corpse’s bassist/vocalist.

How has this changed things? At first glance not a lot, but on closer inspection there are some subtle alterations to Six Feet Under’s Death ‘n’ Groove style this time around.

Some of the riffs are a little more complicated, (just a little), there’s a little more aggression, a pinch of extra speed and a little more fun. Not fun in the ridiculous, novelty way, but fun in the Autopsy-covered-in-bowels style of macabre fun. You know, graveyard fun.

Also, some of the riffs just have a bit more Metal to them, Death-style almost. Not all, but it’s noticeable in places.

These ten tracks are catchy and laden with enough barbed hooks to stick into anything. The songs continue to batter and bruise their way through the running time with all of the finesse of a wrecking ball, of course. But would we want it any other way? No way.

Ultimately Six Feet Under are the kind of band you either take to or don’t. Of course you can realistically say that about any band, but Six Feet Under certainly do seem to be one of those groups that people either love or hate.

I think that Crypt of the Devil will do very little to convince those who have already decided they don’t like the band. For those of us who are fans though, it’s similar enough to the normal Six Feet Under output to sound reassuringly familiar; however the small but important alterations to their sound due to the collaborative songwriting mean that they come across fresher and hungrier than ever.

After two decades of Death Metal Six Feet Under are still going strong. Crypt of the Devil is yet another solid slab of mid-paced Death Metal that’s meaty enough to satisfy that craving for rotten, putrid flesh that I know you all crave.

Turn the volume up and get ready to bang your head once more.