Death Metal – Page 184 – Wonderbox Metal

Inverloch – Distance | Collapsed (Review)

This is the début album from Australian Doom/Death band Inverloch.

Featuring members of the legendary Disembowelment, this is a highly anticipated release in some quarters that lives up to the lofty expectations laid upon it, for the most part.

Here we have a flawless blend of Doom and Death Metal, so much so that you could almost classify the band as one or the other, really, if the Doom aspect wasn’t quite so all-pervading.

Inverloch are heavy, nasty and clearly know what they’re doing. Also, did I mention they’re heavy? The songs chug, blast and DOOOOOM their way through the 39 minutes of ugly misery contained on this release, and it’s barely contained at that.

It’s easy to like these songs, as whether the band are playing at a snail’s pace or blasting out with furious mayhem, it’s all done extremely well.

More than just a collection of devastating riffs and deep growls, (although there’s more than enough of both), Distance | Collapsed has an emotional resonance and depth that is surprising in its effectiveness, considering how harrowing and mind-numbingly dark these songs actually are.

The riffs are ominous, unsettling and frequently more than a little bit scary. To say Inverloch are an imposing proposition is putting it mildly. There’s just something about the darkened auras that they create… In some ways these tracks are like scraping at a raw wound; you know you shouldn’t, but it just feels so damn good. Or something. Oh I dunno, just listen to Inverloch, it’s worth it in every way.

Interview with Abyssus

Abyssus have been taking the underground old-school Death Metal scene by storm in recent years, culminating in their début album Into the Abyss and their recent compilation Once Entombed…. Fast becoming one of my favourite old-school Death Metal bands, I wanted to know more about these Greek death-dealers…

For those who are unfamiliar with your band – introduce yourself!

Greetings!! I am Panos Gkourmpaliotis, the guitarist of Abyssus, an old school death metal band from Greece. Abyssus formed in 2011 by the vocalist Kostas Analytis, just to glorify the Metal of Death!!! I entered the band in 2012 and Kostas Ragiadakos (bass) joined us in 2015. Abyssus is just our passion for 80s and 90s Death/Thrash Metal.

Give us a bit of background to Abyssus

After the release of our first EP “Monarch to the Kingdom of the Dead” (2011) it was about time for the band to have a solid line up. We played some live shows and we recorded a few split releases (No Life in the Coffin with legendary Nocturnal Vomit in 2013 , “From the Abyss Raised the Morbid” with mighty Morbider in 2014 and “Obscure” with Slaktgrav in 2014). The songs included in the split with Morbider were remixed and remastered because we were completely disappointed with the sound of that release. The result was “Summon the Dead” in 2014 , an EP released only on tape. For many years we were giving final form to our style. In 2015 we entered Unreal Studios, one of the best studios in Athens and we recorded our début album entitled “Into the Abyss” (released in 2015 via Memento Mori) and some split releases that already came in 2016 and some others that will follow soon.

What are your influences?

Our influences are all those epic bands from 80s and 90s that served old school Metal with respect and passion. Bands like Bolt Thrower, Death, Asphyx, Autopsy, Obituary, Possessed, Massacre, Benediction, Death Strike, Cancer, Slayer, Sodom, Hellhammer, Celtic Frost, Venom, Bathory.

What are you listening to at the moment that you would like to recommend?

This period am listening to Rapture’s début album called “Crimes Against Humanity” and “Ways of Enclosure” by Dementia 13. Both are great albums! Don’t forget to bang your heads with “Exterminate!! Annihilate! Destroy! by Down Among The Dead Men. Hail to Dave Ingram , one of the best Death Metal vocalists ever!!!! Bow to none!!!!

Give us a bit of background to Once Entombed… – as a collection of your older work, how did this release come about?

Memento Mori and Κunal of Transcending Obscurity cooperate on album promotions. So we met him! Transcending Obscurity celebrates with us and honours our first days with “Once Entombed…”, a compilation that shows the evolution of the band through the years. Most of our early releases are difficult to find, so it is a good opportunity for someone who wants to get in touch with that stuff. So far our collaboration with Transcending Obscurity has been more than excellent. Kunal is a metal maniac and we couldn’t be more satisfied with the result !!!

How do you go about writing your songs – has this changed over time?

Me and Kostas Analytis write our own stuff and then we shall get in touch to play to each other the new ideas.. We are partners in crime!! Until “Summon the dead” Kostas Analytis was the main composer of the band and I had less responsibility on that material. That was something that changed after “Summon the Dead” so to speak , as and I am responsible for the biggest part of “Into the Abyss”.

To me, your EP Monarch to the Kingdom of the Dead is stylistically and sonically different to what came after – what prompted this?

Our first EP “Monarch to the Kingdom of the Dead” released in 2011 and as I talked, when Abyssus began to act was just an one man band. As it is logical Kostas Analytis had a different view from me. But we found a common path somewhere in the middle and this is the so called evolution of Abyssus from “No Life in the Coffin” till now.

What’s your favourite song on your début album and why?

My favorite song off “Into the Abyss” is “Echoes of Desolation”. It’s probably the most “epic” song on the album , so to speak! The one that evokes more emotions and makes you get into a different kind of dimension.

What does the future hold for Abyssus?

Right now we are working on new material! Very soon our début album “Into the Abyss will be released on vinyl format via Floga Records and a 4-way split on 7” vinyl, with Death Courier / Slaughtered Priest / DreamLongDead. Also we’d like to play live our music in the near future , as two years have gone since our last live performance!

And finally – how ace is Death Metal?

After a long time that passed from the glorious 90s, prevailed mediocrity in all genres of metal music!!! As Asphyx said on “Deathhammer”, pollution begins!!!! Decades after, we see the streams of great releases coming out one after another and we are really excited about that. We believe that Death Metal must remain pure and old school as it had begun!! We respect and we admire so many legendary bands that kill again and of course new bands that defend the old sound with passion and true inspiration! Hail true Death Metal.

Virulency – The Anthropodermic Manuscript of Retribution (Review)

This is the début album from Spanish Brutal Death Metal band Virulency.

I really enjoyed their 2012 début EP, Unbearable Martyrdom Landscapes, so when this much-anticipated début album found its way to me, I knew I had to give it a thorough listening as soon as I could.

First impressions – I like the album cover as it just screams BRUTAL DEATH METAL at the top of its blood-ridden lungs. Nice.

So, delve into the pit of Virulency and what do we get? We get ultra-brutal Death Metal that’s nicely heavy and suitably extreme. This is not the kind of thing that Joe Public would like. At all.

Elements of Grindcore and the slam-Death Metal styles are to be heard scattered throughout these tracks and the relentless hammering of the music definitely hits the spot.

They have retained the tasty sound that they had on their EP, with a satisfying guitar tone and nicely balanced drums. You can even hear the bass, which is always good, especially as it is played well and does some interesting things; it adds a strangely-tense undertone to the music and is a welcome constant companion as you tour these depths of corruption and mutation.

The only real disappointment for me is the vocals, as these appear to have gone a bit more into the realms of pignoise squeals than previously. This is not a vocal style I massively enjoy as when it’s over-used it tends to rob a singer of all of their power when compared to actual growls. To be fair to the singer though, his vocals tread just the right side of ridiculous, and he retains enough vestigial strength in his voice to just about pull it off, which I’m very grateful for. It’s just that, for me, in an ideal world, actual growls would have been so much better. On the odd occasion that growls do appear on these tracks it’s like a filter has been removed and all of a sudden the band are complete. But hey, that’s just my taste.

Overall, slight vocal issues aside, this is still a very satisfyingly brutal 29 minutes, one that I heartily recommend you check out.

Blade of Horus – Monumental Massacre (Review)

Blade of Horus are an Australian Death Metal band and this is their début EP.

Now I don’t know about you, but with a name like Blade of Horus and furnished with the kind of exotic album cover that Monumental Massacre has, I have certain expectations of the band before I even hear a note.

At 22 minutes in length, this is a decent intro to the band and definitely leaves me wanting to hear more in the future.

Growls, shrieks and pig-squeals are the order of business for their vocalist, with the band sounding like they’re whipping him to ever greater heights of fury and devotion with every beat of the drum and pluck of the string.

The band combine brutality and technicality with some minor Deathcore influences to produce short and succinct tracks that go straight for the throat, yet also have enough about them to take the time to consider alternative ways of improving their murderous assault.

The songs are brutal enough to absolutely slay, but technical and complex enough to add a certain level of restrained chaos and further depth to the band’s impressive noise. Interesting riffs and ideas are showcased easily, and there’s a fair amount of stuff going on here despite the short length. Huge chugging riffs in the style of Dying Fetus effortlessly share space with complicated guitar-widdling the likes of Nile would be proud of.

Extra impressive is their ability to add in small sections of atmosphere into these crowded tracks, allowing them the space to incorporate melody and mood into the music, to great effect.

All of this helps create the impression of a band who really do have a lot to offer the discerning Metal fan.

So here we have another band who have seemingly come out of nowhere to impressively crush listeners everywhere with their enjoyable take on Extreme Metal.

Expectations met. Expectations exceeded, in fact.

Absolution – Temptations of the Flesh (Review)

This is the first EP from UK Death Metallers Absolution.

Having first formed in 1991, with a demo in 1992, this début EP is well overdue. This is Death Metal played with a love of the old-school, tempered by those who were there at the time and birthed into the present with a passion for the style.

These three tracks are song-based and take the time to select the most suitable riffs and beats for the music, rather than focusing purely on speed, technicality or anything else. The music gives the impression that a lot of consideration has gone into it.

Boasting a satisfyingly gritty production, this is on the rawer side than a lot of the more polished bands out there these days, but not so raw as to harm the impact of the music. I particularly like the drum sound and the drumming in general; it also makes me quite nostalgic, although I can’t quite put my finger on why, oddly.

The singer has a charismatic bark and draws out his screams quite nicely in addition to the more clipped shouts.

A short, enjoyable re-introduction to the Death Metal scene for the band; hopefully we’ll hear more from them in the future.

Omnihility – Dominion of Misery (Review)

This is the third album from US Technical Death Metal band Omnihility.

Their second album Deathscapes of the Subconscious stuck out in my mind for it’s complex blend of technicality and brutality, and this newest release follows the same path.

After an extremely atmospheric intro track that does absolutely nothing to prepare you for the coming onslaught, (although it is pretty damn good), Omnihility start as they mean to go on with ultra-technical Death Metal that doesn’t slack in the brutality department at all.

These songs are complex and punishing, pushing the extremes of the style to the limit, all the time demonstrating virtuoso playing and a keen eye for intelligent butchery.

The blast beats and double bass are physical enough to knock you down while the guitars attempt to play ALL OF THE NOTES AT THE SAME TIME. It’s a testament to the band’s ability that it’s not just one horrendous mess; instead we get well-thought out Technical Death Metal that hits all of the right spots.

Of course, once you get past my exaggerations in the previous paragraph, (only a bit…), Omnihility aren’t quite as insanely chaotic as some bands that play this style. The core brutality of the band keeps things from going too off the rails and there are enough simpler, heavier, groovier riffs plugged into the chaos here and there to make for songs that stay focused on the task at hand – ripping your face off.

Similar to the intro, there’s a break for the listener to catch their breath mid-album, with the track Within Shadows, which once again showcases the band’s atmospheric side.

The singer’s gruff, guttural growl continues to bounce like reflected lightning off the supersonic riffs, barking out from the music at a high speed. His is a very satisfying growl and one that allows the listener a constant focal point amidst the changing tides of rampant guitars and light speed drumming.

Phew. After 42 minutes off this you’ll need a sit down and a stiff drink.

Highly recommended.

Interview with Communal Grave

Communal Grave’s recently released début album Solace in Violencia is chock full of melodic Death Metal with absolutely bowel-loosening vocals and a decent Thrash influence. I caught up with frontman Jamail to dig a bit deeper into the history of the band…

For those who are unfamiliar with your band – introduce yourself!

Hello Nigel I hope you are well, I’m Jamail Rafi the main man of Communal Grave. I do vocals, bass, lyrics and songwriting for the band.

Give us a bit of background to Communal Grave

We started back in 2006 in Karachi, Pakistan. It started with 5 guys but now only I, Nabeel (Guitars) and Asas (Drums) are the one carrying the metal movement forward. In the start we had no idea what to sound like; we just wanted to play metal. I remember our main influence was Pantera. We tried so hard to sound like Pantera in the beginning but fell on our collective asses (Haha). So naturally we gravitated towards a sound which combined Death Metal and Thrash Metal which came naturally to us. We made a song called “Anomaly” which became sort of like the anthem of the Karachi Underground. I remember everyone used to sing the song along with us and it was a time where bands didn’t do originals here. We played in the Karachi underground scene from 2006-2009 but after a while the gigs became scarce and the whole scene became a joke. We took a really long break after that and now are back to unleash our fury hehe.

What are your influences?

My influences are mainly 80s US/ German Thrash and a lot of Old School Swedish Death Metal, Swedish Thrash and the Gothenberg scene bands. Bolt Thrower, Hail of Bullets, Testament, Megadeth, Slayer, Kreator, Entombed, Dismember, Grave, Bloodbath, Unleashed, At the Gates, Arch Enemy (stigmata and burning bridges still kicks ass to this day!), Darkane, The Haunted, Carnal Forge etc. The list is really long but I have a deep affection for the nation of Sweden when it comes to metal.

What are you listening to at the moment that you would like to recommend?

Well last night I was streaming Brujeria live at hellfest 2012, it kicked mighty ass! Currently listening to Bloodbath – Grand Morbid Funeral, Firespawn – Shadow Realms, Insision – Terminal Reckoning, Bold Thrower – Those Once Loyal (a fucking classic).

How do you feel that you fit into the wider Metal scene?

As far as the whole metal scene is concerned, there are so many bands now that it’s easy to get lost in the abyss. But I would like to keep the focus on changing the Metal landscape of my own country and be a strong inspiration for the non-existent metal community here. I want Communal Grave to be a strong metal band to represent Pakistan.

Give us a bit of background to Solace in Violencia – any particular concepts or ideas you want to discuss?

We started working on the album back in 2008 or 09 but went on a hiatus. The album has a loose concept to it but it does not extend to the whole of the album. “The Killing of the Kings/ all of Monarchy” is the concept that I incorporated into the album. The Last Gasp of the Beardsman is about Saddam Hussein. Tormentor of Agonopolis is about Idid Amin Dada. Heavy Lies the Crown is about Bahadur Shah Zafar (Mughal Empire). The Protruding Tomb is about Peter Ludwig von der Pahlen and the assassination of Paul I of Russia.

Tell us about the album artwork

The artwork was done by me. It shows an amputated corpse suspended in mid-air in a black hole with the black hole/emptiness still eating and feeding off of him.

How do you go about writing your songs?

Well I write constantly. Sometimes an interesting riff comes to me then I start writing the progression of that riff and take the whole writing from there. Once the song is musically created I attach an idea behind it and write the lyrics. I ponder a lot on musical arrangements and the arrangement of different parts in the song. Being a sole songwriter on the band, it definitely has a draining effect on you but nonetheless a very satisfying experience too.

How did the recording process go?

It did not go very smoothly. I experimented a lot with different mics, different distortions, bass amplifiers to find the right sound. As I am the producer on the record I had to make sure that the sound is not comprised in any way. It took me 2-3 months just to find the right sound for this particular record. Juggling a day job and then recording on my free time.

What’s your favourite song on the album and why?

Heavy Lies the Crown because whenever we have played it live the crowd goes fucking nuts. It always becomes a pit of moshing chaos. The energy it channels the audience is just amazing.

What does the future hold for Communal Grave?

As for me I’m already working with my homie Nabeel’s band called Cardinal Sin which is a sister band of ours so be sure to check out Cardinal Sin’s début this year! And already working on Communal Grave’s follow-up full-length called “Preacher of Darkness” due to be out in 2017. So stay tuned and thanks for this wonderful interview Nigel.

Lycus – Chasms (Review)

This is the second album from US Doom band Lycus.

Lycus play the kind of hugely impressive and accomplished Doom that makes being into this kind of music worth it. Chasms is heavy, slow, full of dark atmosphere and is the kind of thing you can just get lost in.

The band combine Sludge, Funeral Doom, Post-Metal, Death Metal and Black Metal into their sprawling Doom-drenched sound.

The emotive guitars are frequently designed to wring out every last drop of negative emotion from the listener, dragging them deep down into Lycus’ gloom-lit domain.

Deep growling vocals sound huge and intimidating, while lonesome cleans add another aspect to the band’s delivery and allow them to explore other moods and feelings that wouldn’t necessarily fit well with growls.

The dark, doomy worlds that the band effortlessly paint across these 44 minutes are punctuated with moments of Black Metal violence that manage to not feel out of place at all, despite the change in speed and feeling.

A cello also appears infrequently, highlighting another sonic string to their bow, adding another layer of depth to their encompassing sound.

It’s these kind of touches that allow Lycus the freedom to do what they want and create the soundscapes that they feel reflect what they are trying to say. The fact that they do all of this exceedingly well is a huge bonus for the listener, of course.

It’s emotionally stirring stuff, and it’s hard not to get lost in the maelstrom and transported to the grim realms in which Lycus inhabit.

Despite how immediately enjoyable it certainly is, it’s very definitely a grower of an album though, requiring multiple sittings to properly appreciate its subtle and seductive charms. Once it has its claws in you though, there’s no escape. Into the chasms you go.

Fleshgod Apocalypse – King (Review)

This is the fourth album from this Italian Death Metal juggernaut.

If you haven’t encountered Fleshgod Apocalypse before, apart from having an extremely striking band name, they play an exciting and intriguing blend of symphonic and brutal Death Metal that has few peers and really does get the juices flowing.

There’s a lot of content on this release, lasting almost an hour in total. Now fully embracing their Classical influences, the songs on King merge both symphonic and Extreme Metal worlds in ways that very few bands could pull off. Septic Flesh, Therion and a handful of others are in the same league, but for outright speed and brutality combined with Classical influences, none really come close to Fleshgod Apocalypse, none that I’ve heard at any rate.

This is high operatic art, as applied to the realm of Extreme Metal. With a bombastic production the band’s compositions are nuanced and subtle, all hiding behind a ostentatious veneer of brutal Metal. Strength and power are exemplified on these tracks.

The deep growling vocals keep the aggressive elements at the forefront of their sound, while the soaring cleans make for uplifting and powerful additions. These clean vocals masterfully avoid the commercially-tinged climes of bands that usually incorporate them into an Extreme Metal framework and instead allow them to enhance and merge with the busy, complex music. Operative female cleans also appear in places, further impressing.

The symphonic elements are ubiquitous and relentless, providing an epic backdrop onto which the Metal is writ large. This is more than just one style being added to the other though, as the merging appears to take place at the cellular level, with both styles embracing each other. In places this even verges on the kind of symphonic territory that certain strains of Heavy/Power Metal have occupied so well over the years.

All of this on its own would be impressive enough, but the real test of longevity is the quality of the songs. After all, if it was all flashy style and no substance, then sure it would sound impressive on first listen, but it would soon get old. All of this is, I suppose, a rather long-winded way of saying that the songs are well-written in addition to everything else, and it is this more than anything else that will allow King to pass the test of time and multiple listens. These songs work, and work very well.

King demonstrates a band at the peak of their creative powers in many ways, and it will be interesting to see what paths they tread in the future. I personally hope they take the Classical/operatic angle even further and become even more epic in scope. We’ll see. For now though, King is a suitably majestic release for something that bears such an appellation, one that I insist you listen to as soon as you can.

Essential.

Kataklysm/Septic Flesh/Aborted – Sound Control, Manchester – 19/02/16 (Live Review)

When I first saw this tour advertised I couldn’t quite believe it, such a ridiculously strong lineup featuring three high-profile acts, any of which could probably headline here in their own right, at least to my mind. This is the very definition of an unmissable tour to me.

So here I am. It couldn’t be any other way. Continue reading “Kataklysm/Septic Flesh/Aborted – Sound Control, Manchester – 19/02/16 (Live Review)”