Dehuman are from Belgium and play Death Metal. This is their second album.
I enjoyed Dehuman’s 2012 début album Black Throne of All Creation and as such had high hopes for this new one as I first pressed play.
It did not disappoint.
This is solid Death Metal that flexes its musical muscles early and frequently. The band create an impressive racket.
Dehuman play classic Death Metal that has a timeless quality even though it’s delivered in a modern package.
Thick, heavy guitars blare out with spiky, take-no-prisoners riffs. The band are technically proficient in what they do and their songs reflect this. Riffs chop and change all over the shop and the occasional lightning speed solo, obscure lead or rare bout of melody strikes out from the coldly calculated mayhem to dazzle the listener.
Deep growls are shouted violently on top of this aggressive barrage and do their job well.
Dehuman have succeeded in creating an album of depth that has more than enough content to hold interest for repeated spins.
Ur Draugr are from Australia and this is their début EP.
This release is 20 minutes long and features Ur Draugr’s captivating take on Atmospheric Death Metal.
Unseen Golgotha is just under 7 minutes long and opens softly, with some light acoustic guitar guiding the way.
This slowly builds in atmosphere until the crashing guitars and thundering drums enter proceedings. Finally we get pitch-black growls entering the song and the dark atmosphere is ramped up by a factor of ten.
Tense melodies and charismatic music means that this song is an instant revelation.
Up next is the title track The Wretched Ascetic. This serves as the EP’s centrepiece at just over 10 minutes in length.
It’s a churning maelstrom of a song that builds like an oncoming storm with a heavily percussive backdrop and immense rhythms powering it along.
Like the first song, this second track is extremely impressive and ably showcases the band’s aesthetic of organic, atmospheric Death Metal that has some undertones of Black, Post- and Progressive Metal.
The final track on this wonderful début is Sombre Moribund. At 3 minutes in length it’s the shortest track here and serves as a gentle outro to the EP.
If you long for the olden days of classic Opeth but don’t want an Opeth rip-off band then Ur Draugr are the band for you.
This is a hugely impressive release. I can only imagine how good their eventual album will be. Here’s hoping and waiting expectantly.
This is the début album from Spanish band Deprive. They play Old School Death Metal. Actually I should say “he plays”, as Deprive is helmed by just one man.
Into Oblivion has a morbid, ancient sound that evokes images of graveyards in decades past. For all this though the production is still warm and suited to the feel of the band.
This is 90’s-style Death Metal with a sound that’s even older than that. There are some eerie, emotive melodies amongst the riffs and the mastermind behind the band also has a nice grasp on some Doom licks, which are spread out liberally around the tracks.
Blast beats, mid-paced sections and Doom riffs all coalesce in Deprive’s songs to produce an album that sounds both authentic and satisfying.
The singer has a quality voice that’s deep and aggressive yet still as old and as venerable as the music.
Sometimes I feel I’ve reached my saturation point with Old-School Death Metal, but then a band like Deprive comes along and I can’t help but totally dig it. Their incorporation of blasting aggression and Doom-inflected passages into the standard Old-School template makes Into Oblivion a compelling listen.
The best thing, of course, is the songs themselves; all of these different elements are arranged naturally so that the band end up with tracks that are actually song-based as opposed to a collection of knitted-together riffs.
Bloodscribe have a produced an extremely satisfying first album with Prologue to the Apocalypse. Spreading the word about his band and all things Bloodscribe is their vocalist Jasan…
For those who are unfamiliar with your band – introduce yourself!
We’re a 5 piece death metal band currently made up of Jasan (vocals), Joseph (Guitar), Michael (Guitar), Jesse (Drums), and Dennis (Bass).
Give us a bit of history to Bloodscribe
Bloodscribe was formed by Jesse and myself (Jasan) in 2004 strictly as a way for us to spend time and have fun with music, never did we imagine playing so many shows and getting as far as we have now. After a few member changes we seem to have reached a pretty solid line up that has giving the band the sound we have today.
Where does the name come from?
The name was actually completely made up by Jesse after skimming through and dictionary and seeing the word “describe” and simply added “blood” to it. There’s no real wow factor to the name and in no way is it related or influenced by Lamb of God.
What are your influences?
We all agree on 3 major influences, Dying Fetus, Disgorge, and The Black Dahlia Murder.
What are you listening to at the moment that you would like to recommend?
We all listen to different thing aside from metal if you’re open minded then definitely check out.
What did you want to achieve with your new album?
The goals for this album are endless and by no way have we set limits going in to this album but we definitely want to play some shows out of the country.
Are you happy with how it turned out?
We’re certainly happy with the end result but we have already raised the standards for the next album.
What can you tell us about the lyrics?
Well the lyrics are influenced by current events in society as well as ongoing ones, one big topic for us is religion and its weakening influence on its followers.
Give us a bit of information on the songwriting process.
We all tend to have our own unique ideas which we bring to practice to share and build on as a band. We usually pick one idea and grind it out till we’ve written something we all agree on.
What’s your favourite song on the album and why?
We all really took a liking on “Enslaved by Deceptions” because it really portrays the sound we are going for thus making it an easy choice for our first single and video.
How do you see your songs/direction developing in the future?
We’ve actually already started writing for the next album and feel we are headed towards a heavier and better plotted sound that will make an impact in the metal scene.
What’s next for Bloodscribe?
For now we plan on really pushing the album by promoting and touring as much as possible, while doing that we will continue to write and hopefully have some new material to go into the studio with in the near future.
This is the début Technical Death Metal album from US band Apocrophex.
Building on their short but very promising EP Wheels Within Wheels, Apocrophex are now back with a full album, one that I’ve been quite looking forward to.
Opening straight up with some dense widdling and technical mayhem, Apocrophex make a grand entrance. I love the fact that their sound is equal parts heavy brutality and technical mayhem.
But what’s this? There’s an increased depth and maturity of songwriting here that was absent on their first release. It lends these songs an air of gravitas as they are an impressively realised collection of Technical Death Metal tracks.
Importanly, the technicality never takes over from the songs themselves and there are some quality emotive passages and high energy riffs here amidst the chaos.
Some Technical bands concentrate too much on what the lead guitar is doing, leaving the rhythm essentially providing just filler material. Apocrophex do things differently though; they put just as much effort into the rhythm guitars as they do the complicated and flash leads/solos. The result is songs that marry the best of both worlds and Suspended from the Cosmic Altaar is a real gem of an album because of this.
The vocals are as equally impressive as the music. The deep growls have come a long way since the EP and are hugely satisfying. High screams accentuate the aggression and there are even some semi-clean shouts that rise up out of the carnage on occasion to really add emphasis where it’s needed.
I think I’ve just found my new favourite Technical Death Metal band.
Bloodscribe are from the US and this is their début album. They play Death Metal.
This is Brutal Death Metal that’s short, nasty, violent and infectious. At its core it has a purity of intent that’s a joy to hear.
The songs are a hearty mix of blast, chug and groove that’s guaranteed to get the blood pumping and the body slamming.
There are plenty of tasty riffs here as well as some squeals, breakdowns, and chug-fests. The band remind me of the older, Suffocation/Broken Hope style of Death Metal and they play it well.
At only 25 minutes in length the band get in, make a gloriously noisy mess and then exit again swiftly.
Bloodscribe have a hideously warm production that reeks of decaying organic matter whilst retaining a powerful presence.
The vocals are guttural delights; sickeningly deep without descending into ridiculous pignoise territory.
A very enjoyable way to spend almost half an hour. Gotta love groovy, heavy Death Metal.
Sarpanitum are a UK Death Metal band and this is their second album.
Sarpanitum take a three-pronged approach to their Death Metal that combines traditional Death Metal, melodic atmospheres and a touch of Black Metal’s heart of darkness.
The band’s melodic edge is a sharp one and it’s incorporated directly into their heaviness rather than seeming like an addition to it as is frequently the case with other bands that combine brutality and melodics.
Added keyboard sounds subtly enhance this already keen melodic sensibility they have and I really like the sense of atmospheric brutality that they create. There’s a Middle Eastern feel to a lot of the melodies that adds an exotic touch to the songs, as well as no small amount of epic grandeur.
The vocals are as dark as night; thick, deep, malevolent growls that are so low as to be akin to rumbling thunder.
Blessed Be My Brothers… has a thick, dense sound that’s uncompromising and combined with the band’s complicated riffing is impenetrable to the casual listener. This is Death Metal for real Death Metal fans who want something a bit more interesting than the standard generic fare.
This is the second album by this German Death Metal band.
Ingurgitating Oblivion is for lovers of dissonant, Doom-infected Death Metal replete with dark atmosphere and malevolent sounds. This is for fans of Gorguts, Morbid Angel, Immolation and other purveyors of interesting and atypical Death Metal.
That the band have talent and can play is apparent straight away. Add to this a production that settles nicely around the band like a foggy miasma and songwriting skills that have clearly been honed over time and you have an album that has all of the necessary ingredients for something truly special.
On first listen this is an album that gels together instantly and on repeated spins it merely settles deep into your conscious even more, like a welcome indoctrination. This, of course, assumes that this style of Death Metal is one that you can take; if not then there’s no hope for you really, and you’d be better off with something simpler and easier to absorb.
This is Progressive Death Metal without any trace of pretension. The songs exist not to satisfy the musings of the musicians but to satisfy themselves. They operate purely in their own right and owe nothing to anyone other than their own sense of internal aesthetics.
This really is a first-rate release. The songs have longevity and depth oozing out of them and you know this is going to be an album that you’ll keep returning to in the years to come.
I love music that is a bit different, has something extra to offer; Continuum of Absence definitely has this.
Fans of challenging and interesting Death Metal take note.
Dysnomia are a Spanish Melodic Death Metal band and this is their début album.
Featuring a strong sound and an unexpected level of aggressiveness, Dysnomia quickly make their presence felt.
Their sound has plenty of melodic leads and solos as well as a hearty keyboard accompaniment that adds another layer to their infectious sound.
All too frequently Melodic Death Metal simply means a watered down version of Death Metal, essentially a weakened version of the original. This is not the case with Dysnomia. It’s like they’ve taken the melodic aspect of the genre, wrapped it in some keyboards and catchy songs and somehow managed to retain the savagery of the original style. This gives their sound a very fresh, energetic sheen and I’ve really enjoyed listening to this.
There is also a Black Metal influence to their sound, with the keyboards essentially meaning that they have somewhat of a Symphonic Black Metal slant sometimes. It’s more of an enhancement to their core sound though than a true Blackened Death Metal merging of the two and it plays its part in what I like about the band.
This is a top quality listen. If high octane Melodic Death Metal is your thing then Dysnomia will definitely hit the spot for you.
This is the début album from Technical Death Metal band Ara.
This is Technical Death Metal with plenty of brutality. They may have the required complexity of a band playing this style but they’re not above just lashing out and shredding either.
A good sound means that everything is clear and you can appreciate the tightness of the band. The musicianship is a pleasure to listen to, especially when it’s wrapped up in such a destructive Death Metal package.
The singer has an expressive roar that reminds me of a mix of the singers of Malevolent Creation and Vader. He provides a charismatic focal point for the glistening, polished music.
Complicated riffs seem to lurk just behind the omnipresent drums, winding and striking with impunity. This might not be music that you can easily hum along to but it gets inside your skull regardless. Who knows what damage it’s doing in there?
Even when they take their collective feet off the accelerator they still write interesting riffs that refuse to sit still.
If you yearn for the kind of Technical Death Metal that the likes of Iniquity used to churn out then Ara will be right up your street.
Dehuman are from Belgium and play Death Metal. This is their second album.
Wonderbox Metal 