This is Experimental Black Metal with an Industrial feel. The sound is a very nice one; warm and deep but tinged with a rougher, almost creepy vibe that complements what the band is doing well.
The dark and menacing guitars combine piercing, angular riffs with fuller sounding sections to have a good mix of the both. They seem to creep around the songs with nary a care in the world.
Slouching, at ease; this is Black Metal that’s unhurried and almost free form in its composition in some respects, although everything is held together by the drums on one side and the electronics/effects on the other.
Vocally we have sub-audible mutterings that, like the guitars, only loosely follow what is going on with the rest of the track. Like the guitars though, this lends things a feeling of freedom to explore the surroundings while the aforementioned percussion and noises stop things from wandering off too far.
This is the sound of a band experimenting with Black Metal; exploring the ruins at the base of the genre, collecting what remains of past travellers and using them as a basis for reanimation and a new creation.
I don’t know what they will end up with eventually but I’m quite happy to spend time with them as they build it.
This is the début album from Brutal Death Metal band Infecting the Swarm, who hail from Germany.
This is Death Metal with a sci-fi theme, and a suitable cover to match.
But what of the music? Well this is pure, unbridled, undiluted brutality and sheer wanton carnage. With a production as heavy as it is crushing the band tear through these nine tracks with all the subtlety of an explosion. A big explosion.
Vocally they follow suit with absolute pig-noise vocals that are so extreme they’re bound to divide. A lot of the time I find these kind of vocals awful and I can’t help but feel that the band in question would be better off with a different singer. Why? It’s because most of the time these pig-noise vocals just sound like deep belching and they just suck all of the brutality out of it for me.
Thankfully the vocals on Pathogenesis, although definitely teetering on the line, manage to keep an air of aggression to them and therefore don’t ruin what is, musically, brutal as Hell. It is a very fine line though, and although I can’t help but feel the songs might be improved by a proper savage bellowing I still find myself on the right side, (just), of approval, largely because the music is so ferocious that it carries them nicely.
And besides, sometimes it just works, you know?
So, vocal misgivings aside; this is brutal, (have I mentioned that word yet?), savage, brutal, heavy, brutal, crushing and brutal again.
This hits the spot for me. For the times when you absolutely need the most brutal, destructive music you can get, Infecting the Swarm are there for you.
Brutal Blues are a Grindcore band from Norway and this is their first release.
The band play ferociously aggressive Grind that feels unhinged and dangerous. The music seems refined to the point of Mathcore and the musical assault is relentless.
The vocals are demented and inhuman, sounding as if someone is strangling a murderous clown in someone else’s nightmare and the howls and screams are bleeding through into your consciousness.
Coming across like a more maniacal mix of Discordance Axis and Association Area with a hint of early The Dillinger Escape Plan; Brutal Blues provide a hypnotically mental 15 minutes of inventive, interesting and effective Grind.
I haven’t heard anyone really play this style of music that became quite popular in the early 2000’s for quite a while. I’m reminded of bands like Botch, Luddite Clone, Uphill Battle, etc. only more extreme. It’s a welcome reminder of something I was heavily into at one point, always seeking out the latest band at the time, and I’m very happy to see that the style is alive and well in the hands of Brutal Blues.
A blast from the past and a warning shot to the future.
This is their début album, almost 49 minutes of music – 8 originals and a Bolt Thrower cover.
When it starts it’s immediately impressive with the sheer musicality and flowing riffs; then the brutality kicks in and everything shifts up a gear.
Konkeror merge Death Metal with a Progressive/Thrash influence that allows the songs to have technical flourishes and melodic edges concurrently occupying the same space.
The songs are catchy and have lots of hooks, proving that just because a song might be Brutal or Technical doesn’t mean it has to sacrifice song structures in order to be so.
The recording perfectly balances a band that play both brutally heavy and subtly melodic. Everything sounds great and the sound allows the musicians the freedom to do what they do best.
The most enjoyable thing about this album is just how Metal it is; they are clearly Death Metal but add sprinklings of Progressive, Technical and Thrash Metal into the melting pot. Mix these all up with some great songwriting skills and all that’s left to do is sit back an enjoy as the band shred, rip and dazzle with the songs.
The songs are all of a decent enough length so that you have time to get your teeth into them, (or the other way around…), and there’s abundant opportunities for the band to demonstrate just how good they are.
Once you know about this album it’s important that you get it. If you’re into Death Metal and don’t get this album…well…I’m not sure how that’s possible…
Deep In Hate are about to release their colossal new album Chronicles of Oblivion in the very near future and with this firmly establishing themselves as a force to be reckoned with amongst premier Death Metal. With this in mind it’s the perfect time to find out a bit more about this exciting band…
Tell us all about Deep in Hate and where you came from
Florian (Guitars) : Hi ! Thanks for the interview !
Deep In Hate is a band from Paris and its near suburbs, founded in 2004 by Vince (lead guitar) and Bastos (drums).
The band experienced some changes of line-up before it stabilized for the release of the band’s second album Origins of Inequality in 2011.
Now, we are about to release our new record Chronicles of Oblivion on June 3rd, and are really excited about it !
What are your influences?
Amongst our shared influences in the band, but limited to the « Death » metal scene, we can quote Behemoth, Whitechapel, Despised Icon, Gojira, Beneath the Massacre, The Black Dahlia Murder but also Decapitated or Dying Fetus.
It’s actually a blend between modern and ‘older’ influences, as you can see.
What are you listening to at the moment that you would like to recommend?
At the moment I am listening to the last Aborted, The Necrotic Manifesto, that I am really digging, and enjoying the last Structures and Architects albums. Not totally my style, but good ones ! For the « non Metal » part, it’s Steel Panther’s All You Can Eat album, my little weakness !
How did you decide on the style of Death Metal that you wanted to play?
The first musical direction, being a « Brutal Death » band was given when the band was founded by Vince and Bastos, I was not in it at the time. Then, as the line-up changed, the addition of new blood gave the music a more modern approach.
Finally, the last conscious decision was to go more into a ‘song-oriented’ Death metal, where riffing, melody and groove are what matters most, with plainer structures but with the aim of enhancing the core of the music.
How do you feel about the current Death Metal scene? Where do you feel you fit in?
Where do I feel I fit in ? One of the most dreadful questions you could ask ! Honestly I do not know. I would like to think we have done something special, with an unique Deep In Hate flavour to it, but in the end I am the worst person to answer that question. Even when you love the music you are doing and are expressing yourself with all your guts, you might remain that kid that plays without knowing what he is exactly doing here.
In my review I note that you have a winning brutality-to-melody ratio – how do you temper the two?
By being a Libra maybe ? (laughs)
Seriously though, the fact that we are two main composers (with Vince the lead guitarist) is part of the answer.
Moreover, I have always loved bands that balance the two, and « beauty », even in the most aggressive parts, is fundamental.
I do not say we achieved it, but it is part of what we are.
And actually balance is in itself beautiful, isn’t it ?
Do you have any goals for your album?
The goals for our album are the ‘’highest’’ goals possible obviously.
I mean, we have put so much work and energy in it, we hope it will resonate in people the way it does with us. Our aim being to play live shows the more we can, the more people will love the album, the better, because it will mean a new audience for us and more shows !
Is there anything on the album you’re not satisfied with?
Not at the moment. We have had the chance to do what we wanted to do, and reach the result we aimed at.
The only negative feeling I sometimes experience is the ‘’we could have gone deeper’’ syndrome… But it is abstract, I do not know where or how, for now.
I hope it will become clearer for the next albums and that it will help getting even more mature eventually!
Do you want to discuss any of the lyrics on the album and any themes/hidden meanings/etc. that might be there?
The lyrics are written like episodes of a History in a post-apocalyptic world.
They are rather straight-forward at first, but of course we hope that they will not only be read for their literal meaning. The stories take place in a fictional world but they do emphasize some aspects of the human nature whatever the times.
For example, the fact that Men can be whether powerful and brave when in group, or stupid and coward.
Also, the notion of « cycle » is very important, as if human History is only virtually going forward, because it keeps repeating itself.
Humans are immature, at the scale of the world, and only when they evolve will they break this cycle.
What’s your songwriting process?
Vince does almost all the preliminary work. He creates riffs and melodies that go along well, and it gives us our primary material. I basically come and arrange his material into songs, and the work with the drums and bass guitar begins here. I fill the gaps when necessary and, since it is much more inspiring for me to work with something that already exists, I may add extra things to the songs.
It has to be approved by all the members at each step, and finally when the instrumental is almost finished, we work on the vocals, with the lyrics previously written.
How do you see your songs/direction developing in the future?
In the same direction we have taken with this album.
If I may repeat myself, I see ourselves going more and more towards ‘’a ‘song-oriented’ Death metal, where riffing, melody and groove are what matters most.
Modern metal is cool, and is more catchy than ever, but sometimes melody and especially atmosphere are not that much emphasized on. I mean, the music is in those cases really good, but the ‘‘taste’’of it does not last long.
I think music has evolved with the way people listen to it : it has to quickly retain your attention, give you immediate pleasure or else you will not give it a second listen. So if a band succeeds in proposing that, and at the same time a music that is better each time you listen to it… It’s perfect.
What does the future hold for Deep in Hate?
The best, I hope. It is time now with this new album to reach a new level. We have gained over the years more and more support from professionals, and with their help we will bring our music over to a maximum of metalheads, even if some may have never heard of us before.
I do not know what else to say right now, we will see how the new album is received, but we will keep going forward anyway!
Thanks for the chance to answer those questions, hope you guys reading this will enjoy the record.
Abbey ov Thelema are from Slovakia and this is their second album.
They play experimental, avant garde Black Metal. Highly orchestrated and complex, this is ambitious and bold as only the best Black Metal can be. Although saying that, Black Metal may be the underpinning starting point but it’s mutated and morphed far from it’s original format.
The tracks can be both chaotic and coherent; energetic and subdued; eclectic and considered. Sometimes it sounds as if The Dillinger Escape Plan had been consumed by Ebony Lake with Arcturus and Dødheimsgard overseeing proceedings.
There is clearly a lot of high class musicianship at play here, with everything arranged to exacting standards to create a whirling maelstrom of conflicting soundscapes that approach like furious waves and lash at the listener, never letting them rest or prepare for what comes next; the moment one onslaught of musical might crashes by the next tsunami of sound is about to hit.
It’s not all about the, (barely), controlled chaos of course, they also have calmer moments. These lulls act like buffers between the oncoming storms that they irregularly unleash.
This is not a band that will appeal to lovers of standard song structures and musical rules, but people who are looking for something a bit more adventurous should definitely check this out.
Ultimately this is a very hard album to describe as mere words don’t adequately do it justice. Abbey ov Thelema create a sort of demented majesty that really needs to be heard to fully appreciate what they’re about.
So strap yourself in, don the safety goggles, brace yourself and play at top volume.
Well, well, well, if this isn’t some of the angriest, most abrasive Grind I’ve heard in a while. The relatively serene album art doesn’t really prepare you for the face-melting assault that lies within. It’s an impressively savage assault that’s clearly taking no prisoners.
The ferocity is allowed to reign freely and only tempered by the occasional more methodical passage where the savagery gives way to a more focussed and merciless heaviness that is no less murderous than the free-form viciousness that makes up the body of their work. Canon Cast is a good example of this as here the guitars slow down and are on a constant killing pace setting whilst the vocals spew hatred and the drums are doing all kinds of crazy stuff.
No, this isn’t pure speed, as that would be too easy; as fully paid up and qualified Grindsters they are well aware of the need for dynamics and variety in their songwriting and these tracks fulfil these requirements perfectly.
Even on the slower parts though the band never relinquishes the harsh nature of their being. No matter how fast or how seemingly uncontrolled they become they’re always focussed on the aggression; no matter how slow or how refined they play they’re always focussed on making the song nastier and heavier – there’s no Post-Grind here, just unrelenting musical destruction.
If you want my advice, and I know you do, go and get this now. Play it loud and become one with the frenzy.
After listening to the rather impressive Thunderwar EP The Birth of Thunder, I thought it best to quiz the band about it and find out a little bit more…
For those that are unfamiliar with your band – introduce yourself! Give us a bit of background to Thunderwar.
Hi there!
My name’s Witold Ustapiuk and I’m the lead guitarist at Thunderwar. We play old-school Death Metal, combining the non-compromising feel of the American scene with the atmosphere of the Swedish one, adding a little Black Metal flavour to it.
Give us a bit of background to Thunderwar.
My band has a short, but turbulent history. In July 2012, we released the first single, containing the song “Eagle of Glory”, which we again placed on “The Birth of Thunder” EP, as a bonus track. After sometime we decided to change our name, due to various, more or less significant, reasons. In the beginning of 2013 we went into the studio to record our début album, but were not satisfied with the final effect of the session, so we made a a decision not to publish the material. Towards the end of 2013 we released “The Birth of Thunder” with our own means.
What are your influences?
For me, the greatest inspiration are the Heavy Metal classics. They are the ones that taught me to view the genre in a conscious way. While creating the songs I mostly get inspired by what I’m currently listening to and it doesn’t necessarily have to be Metal. Still it doesn’t mean that I want to have elements like The Devil’s Blood or Blue Öyster Cult, smuggled into Thunderwar. I try to convey a certain emotional content through my music and to introduce the listener to a certain atmosphere.
What are you listening to at the moment that you want to recommend?
At present, I’ve been completely blown away by the latest Inquisition album called “Obscure Verses of the Multiverse”. Consistent, mature and with an original sound. This album puts me into a metaphysical trance from the first till the last second. I’d also like to recommend bands like Tribulation and Cult of Fire.
Your first EP is very accomplished – how did the songs come about?
Thunderwar’s songs are usually created over a long stretch of time. I bring the ready riffs to our practice room, and together with the band, we work on them and get them in order. We try to get all the details perfect and think the whole arrangement through. It gives us a lot of satisfaction, since, as we can see, this system pays off. Our EP’s met with lots of enthusiasm of critics from all around the world.
Tell us a bit more about the lyrics to the songs.
Our lyrics tell mostly about ancient beliefs and religions, forbidden cosmic cults and blasphemous rituals. Using different metaphors we intend to pay homage to our gods and convey ideas, which are very important to us. For example the lyrics to the song Vimana are based upon the themes from the Hindu manuscript “Mahabharatha”.
Are you happy with how the EP ended up?
In spite of the many complications and problems connected to the finishing of the EP, I can say, that finally we did everything, within our powers, to achieve the best effect possible. Our music now, reaches to the regions we would have never thought of. We consider this a great success.
What’s next for Thunderwar?
At present we’re engrossed in the work on the record and the band’s image. Towards the end of the year, we’re going into the Hertz studio to record the full album.
In three weeks we’re supporting Obituary, and this will probably be the last show before the releasing of the record, unless of course we receive proposals to play some bigger gigs before we find the record label.
This is heavy stuff, in the style of Botch, early Cave In, Knut, Zao, et al. This style hit its biggest point in the late 90’s/early 00’s and Teeph sound like they would have fit in just right back then.
Solid Jobs burns with a refined anger and a timeless appeal of pure heaviosity. The songs are impressive and gather influences from a range of sources, merging them into a cohesive whole.
As well as the loud and heavy parts they also know enough about their genre to add in slower, more introspective sections so that they use light and shade to maximum effect.
Teeph also show a bit of a Sludge influence to some of their riffs, greatly enhancing their songs. There is even the odd Stoner riff detectable, such as at the end of Marijuana Chaos.
Vocally the shouting is strong and deeply satisfying; the singer rages and snarls and really hits the spot.
This kind of music takes me back and it’s great to hear a band do it so well. This is an outstanding EP – it’s like listening to an old favourite for the first time.
This is the début album from French Black Metallers Malhkebre.
Underground Orthodox Black Metal played with spite and venom.
The vocals are traditional Black Metal croaks that mix in some occasional chants and more ritualistic utterances and hymns to create an overall impression of worship or summoning of some hideous deity.
Revelation is ugly and unhinged, sounding only one step removed from losing its identity in a feral nightmare of debauchery and twisted filth. There’s nothing pretty or romantic about this form of Black Metal. This is all about the dark side, the underbelly of the scene. The occult feeling is strong but in a base, sacrificial way; rather than being shrouded in mystery or fog it’s shrouded in blood and gore.
For all of this though the band don’t truly lose themselves in a frenzy as they’re more than capable of holding back when necessary and playing slower, no less warped riffs and passages; Hystérie Révélatrice (Part II) is a perfect example of this.
Utterly devoted releases like Revelation are surprisingly rare these days. If you like your Black Metal primal and unadorned then this is for you.
Strafk are from Russia and play Black Metal.
Wonderbox Metal 