Death Metal – Page 221 – Wonderbox Metal

Interview with Gravehill

Gravehill will shortly be releasing their new album Death Curse which is chock full of top quality Death Metal riffage and mouldy corpse-bothering. I asked some questions while Thorgrimm and Abominator stank up the place…

Hi, for people unfamiliar with your band – introduce yourself.

Originally formed in 2001 as a three piece and within the same year recorded “The Practitioners of Fell Sorcery” demo and as quickly as it began, the original line-up disbanded soon after the début demo. In 2006 GRAVEHILL reformed with original drummer & founder Rhett “THORGRIMM” Davis and vocalist Mike Abominator, “the brains and heart of the current GRAVEHILL.” Over the course of 2007-2009 GRAVEHILL released 2 CDs with ENUCLEATION Records… the “Metal of Death” / “The Advocation of Murder and Suicide” CD/EP and the “RITES OF THE PENTAGRAM” CD. Soon after the RotP CD release with ENUCLEATION Records, the label folded, leaving both releases free. They were later given to IBEX MOON Records for a combined release of “Metal of Death / Advocation & Rites of the Pentagram” CDs adding a live DVD to the package as well!

By the summer of 2010 GRAVEHILL toured the U.S., added a new guitarist Matt “Hellfiend” Harvey (EXHUMED, DEKAPITATOR, REPULSION) to the line-up and by 2011 played the 9th annual Maryland Death Fest supporting their sophomore record “When All Roads lead to Hell” CD with DARK DESCENT Records (www.darkdescentrecords.com).

2012 began with a line-up change, by adding 2 new full-time guitarists known only as CC DeKill & Hell Messiah to replace Matt Hellfiend & Bodybag Bob due to their momentous touring schedule for EXHUMED.

2014 sees GRAVEHILL deliver their most stripped down and powerful release to date. On April 1st, 2014, GRAVEHILL’S “Death Curse” will be unleashed on CD/Digital formats (vinyl soon after) through DARK DESCENT Records. Over 35 minutes of powerful death metal in the old vein including guest appearances from some of the biggest legends of death metal (Chris Reifert and Eric Cutler of Autopsy and Kam Lee (Massacre, Death and Bone Gnawer). “Death Curse” includes artwork by another legend, Christopher Moyen (Incantation, Blasphemy and more).
<ABOMINATOR> Thorgrimm just put our “BIO” here because we are dead tired of answering this question…….. NEXT!

What are your influences?

<THORGRIMM> VENOM, AUTOPSY, MASSACRE, HELLHAMMER, BATHORY, SODOM, 80’s SLAYER, etc. We are influenced mostly by 80’s and early 90’s Heavy Metal, Speed Metal, Thrash Metal, Death Metal, Black Metal, Punk and Crust Punk. In most reviews we are called “Black/Thrash Death” or some variation of that. We just call ourselves Death Metal, everything we play is that to us, but call it whatever you want.
<ABOMINATOR> We are the FLEETWOOD MAC of death metal. Except we aren’t witches dancing around in sequenced moo-moo dresses and we don’t get fucked by penises dipped in cocaine like good Ol’ Stevie Nicks. I would say that I have a better voice than that stuffy ass, friend egg tits Christine McVie as well. Although it would be pretty cool to have a 34 inch cock like Mick Fleetwood. I think he fucked Stevie, Christine AND Lindsay Buckingham all at the same time didn’t he? Maybe even got a piece of that John Weasel Wort or whatever his name was on bass. Wasn’t that fucker in those Harry Potter movies?

What are you listening to at the moment that you want to recommend?

<THORGRIMM> Autopsy – The Headless Ritual / Rose Tattoo- Assault & Battery / Hail of Bullets – The Rommel Chronicles / Venom – Possessed / In Solitude – Sister / Wasp – Inside the Electric Circus / Behold! The Monolith – Defender/Redeemist / The Upper Crust – Let Them Eat Rock
<ABOMINATOR> Axegrinder-Rise of the Serpent Men/ Rea Respirator-Slapp Loss Alla Band Tape/ GBH-City Babies Attacked By Rats/ Tygers of Pan Tang-Wild Cat/ Demigod-Slumber of Sullen Eyes/ Sweet Savage-Take No Prisoners/ Scholastic Deth-Book Attack/ Lubricant-Swallow the Symetric Swab demo/ Bloody Phoenix-Ode to Death/ Peter Gabriel-So/ Warsore-ALL/ Roky Erickson-Don’t Slander Me/ Machetazo-Ruin/ Hellnation-Thrash or Die/ Nuclear Death-Wake Me When I’m Dead demo/ Agathocles-VNA split/ Mastication demo ’91.

Give us a bit of background to your latest album.

<THORGRIMM> We started the writing for the album in mid-2012′ after we got things rolling with CC & Hell on guitars. The songs came together pretty quickly, and by early 2013′ we had the entire album written along with jamming some cover songs we’d been doing for fun. We recorded all the drums with John Haddad at Trench Studios (who had recorded us in one way or another on our first 2 albums), we recorded all guitars, bass and vocals in our home studio with our guitarist CC at the helm and gave the final tracks to Dan Ochoa to mix and master. We took more of an active role in this album than all previous, we had the opportunity to take advantage of what we couldn’t before. We tried for a couple years to get art from Moyen and had the cover done by him a year before the album was done simply cuz he was available then, again we took whatever advantage we could when we could.
<ABOMINATOR> Right now we can tell you that it’s the best thing that we have ever done. Until we get sick and tired of it and the next album comes out. Wait, we are already sick and tired of these songs. Oh well. Just go buy the fucker so we can take our drugs and fuck our hookers.

How are the songs written?

<THORGRIMM> Unconventionally. Most bands have a chief writer or a writing team or whatever. We just get together in rehearsal, and start woodshedding ideas. Starts with one idea/riff and then we all contribute to that idea/riff, somehow a song gets arranged out of it. Hopefully one day we can just sit around, drink beer, listen to AUTOPSY, GG ALLIN & SODOM and write an entire record in one afternoon. Maybe the next one?
<ABOMINATOR> We can shit and fart out ideas all day and night. Oh and puke them out too. Death Metal should be done this way and THIS way only. Some of these new “death metal” bands sound like they come up with their 137 ideas in some fancy lab of some sorts. Carefully piece stuff together with a fine toothed comb. We just use the blood and semen that’s on our hands, rub it in your face and start the fucking heavy metal. Our songs smell worse than we do.

Tell us about the lyrics.

<ABOMINATOR> My diatribes that I put together for this band keeps me out of prison. That being said, I’m not “singing” about butterflies, saving the world or my failed relationships from 1998 that I still cry about. It’s a heavy dose of hell, throw in some Satan and top it off with a lot of cursing and there you have it. This shit just spews out of me like a puss filled zit. I then spread that pus all around until everything is covered. God loves ugly. Good thing God also fails and I don’t give a fuck what he loves. I LOVE TO SMELL MY OWN FARTS.

Are you pleased with the way Death Curse ended up sounding?

<THORGRIMM> I think it is closest to what we wanted to achieve then what we’ve done before. We want the drums to sound like drums, the bass is in the mix, and the guitars are heavy and raw. Having better gear helped this time out also, as well as not cutting corners on what sound we want to hear. Also the recording work CC contributed was a major factor also.

How do you think you fit in with the Death Metal scene as a whole?

<THORGRIMM> We don’t fit into any “scene”, in fact is there really a “scene”? There is an ongoing misunderstanding of what “Death Metal” is, due to so many stupid sub genre’s, the whole genre is confusing and overrun by hipsters with opinions I could give 2 shits about hearing. Nothing against the DIY collective, all those who bust their ass to get headbangers in the door, buying the merch and keeping the gigs alive, all the power to them. I’m just one of many in a band in the Greater Los Angeles area who is a part of the madness. Does GRAVEHILL have anything to prove? No. We are exactly what we are, Death Metal. If anyone feels the need to challenge that, go for it and eat a dick while you’re at it.
<ABOMINATOR> FUCK THE DEATH METAL SCENE AND FUCK ALL SCENES!!!!!!!!!!!!!!!!!!!!!!!

Do you think there’s life in the maggot-ridden corpse of Old-School Death Metal yet?

<THORGRIMM> I’m a long time fan of Motorhead and AC/DC, which at one time or another have been bad mouthed by the media (past & present). Words like “Boring”, “Unimaginative”, “Unskilled”, “Barbaric”, “Primitive”, “Raw”, etc… These 2 bands haven’t reinvented the wheel. They are the fucking wheel! These bands don’t need to apologize for who they are, they do what they do and do it well and are happy doing it. That’s my point of view, GRAVEHILL is not here to provide something new, something innovative. We let the jazz pussy’s do that. So to answer your question more directly… don’t care.
<ABOMINATOR> DEATH METAL ETERNAL!!!!!!!!!! LIFE SUCKS SCUM FUCK!!!!!!!!!!!!! We will fuck and eat the pussy of that corpse. WE LOVE OLDER WOMEN!!!!!!!!!!!!!!

What does the future hold for Gravehill?

<THORGRIMM> Gigs to support the release, we have a short run with DIOCLETIAN in May booked so far. We plan on making a pro music video for one of the songs on “Death Curse” next month. We’d like to release our own 7″ EP and a split 7″ EP in the future also but circumstances have prevented that by no fault of our own, but we will not stop trying. Any labels and bands interested, come our way.
<ABOMINATOR> I look forward to a really good shit in about 30 minutes from now.

Nice.

Cauldron Black Ram – Stalagmire (Review)

This is the third album from Australian Death Metal band Cauldron Black Ram.

The band have a very striking sound that instantly forces you to sit up and pay attention. Sort of like Six Feet Under crossed with Venom and Celtic Frost.

There is an air of Sludge to the songs; a foetid whiff of mouldy corpses long sealed in a basement. Add to this a decent Black Metal influence on occasion, and you have a bumpy ride over the screaming bodies of countless poor passers by as this Metal juggernaut rolls into town.

They have a very fluid sound in the sense that the songs can morph into different shades of Metal quite quickly, with different riffs, vocals and drumming patterns all asserting themselves dominantly depending on the song. All of this happens within the Death/Black/Sludge Metal framework of course, but it does mean that there’s never any chance to get bored when the band have so many tools to club their way into your attention.

Although I wouldn’t call them Old-School per se, there is a definite Old-School streak to them and they even have some prime Heavy Metal, almost Iron Maiden-type moments now and again.

This is an interesting and gratifying Metal album. All the more so for the fact that it’s a little different from the norm. A lot of talent and effort has gone into these songs, and it shows.

Get your fix of Cauldron Black Ram today.

Terminal Prospect – Redefine Existence (Review)

Time for a bit of Swedish Melodic Death Metal in the form of Terminal Prospect and their second album Redefine Existence.

At 11 tracks in 34 minutes, most of the songs are quite short and to the point. This is from the same school of Metal as The Haunted, early In Flames, Darkane, At The Gates, etc. and it’s better than you probably imagine.

The album starts with the high-pitched screams of the singer, whose vocals appear to be designed to scratch at the brain while the music batters your chest. He screams and shrieks his way through the songs in an effective manner, and it works particularly well when he locks into a rhythm with the guitars and they work together as one.

The songs are streamlined and full of melodic flourish, while still keeping the Thrash feel of the riffs alive and well. There are some nice guitar parts and the band have a vibrant feeling to a lot of the riffs. This vibrant feeling is important; it would be easy for a band like this to have tired-sounding guitars. Although it’s exceptionally hard for any group to have completely unique riffs, melodies etc., and Terminal Prospect don’t fall into this category, (as most bands don’t); at least they still sound young, fresh and full of life. There is no going-through-the-motions here, it’s all done for the love of Metal.

A quality album that is easy to digest and leaves a pleasant taste in the mouth. Recommended.

Avulsed – Ritual Zombi (Review)

This is Avulsed’s sixth album and the veteran Death Metal juggernaut shows no sign of let up in either the aggression or quality departments.

If you haven’t encountered Avulsed before then I heartily recommend you get hold of their entire back catalogue as they have released some great Death Metal over the years.

Their style is brutality spiced up with unexpected moments of melody and a large degree of catchiness. Yes; Death Metal with songs!

Their latest album is no different; here we get ultra-heavy song-based Death Metal with a production that melts faces all delivered by a band who have made Metal their true calling in life. This passion shines through and I think is one of the reasons that Avulsed are so good at what they do.

They’ve never shied away from the odd unexpected moment either; the odd keyboard-enhanced section or Spanish guitar track has been known to make it through the mincer on occasion to throw in a bit of light in all of the gore-drenched chaos. This is the exception of course, as the vast majority is pure unadulterated Death Metal.

This zombie-themed album smashes skulls and scores kill-shots with every song. Vocalist Dave Rotten once again putting in a stellar performance with guttural, bowel-loosening growls honed through decades of use.

There is also a cover of Death’s Zombie Ritual to chew on.

Avulsed continue to be one of the best Death Metal bands around. This album is expertly crafted, proficiently played and staunchly Death Metal; any fan of brutality should have this in their collection.

Alterbeast – Immortal (Review)

Alterbeast are from the US and on this their début album they treat us to a Technical Death Metal showcase.

Immortal is 8 tracks in just under 30 minutes of a band showing that they can not only play insanely well but that they can craft enjoyable Metal while they do it.

It shreds, rips, blasts and batters in all the right ways and at the end of it you’re left wondering what the Hell just happened. And where did your teeth go?

Their sheer wanton love of Brutal Death Metal and technical proficiency combines effortlessly to produce one hell of an album. Alterbeast manage to straddle both brutality and technicality at the same time so that one doesn’t overpower the other. This effortless sewing together of the two sub-genres of Death metal means that Immortal is a very complete album with both songs and fretboard domination. They can also be surprisingly melodic whent hey want to be, further emphasizing their advanced songwriting skills.

The singer has an amazing voice whether he is growling deeply or screaming his lungs out; either way he stays on top of the melodically-chaotic mayhem and demonstrates a gleeful attitude to his attack.

The sound of the album is just immense; all of the instruments are crystal clear and the guitars have a great heaviness to them that translates into molten gold when the solos and leads appear. As for the drummer he is technically precise without sounding sterile and forms a real backdrop to the carnage that the guitars wreak and the aggression spewed by the singer.

I won’t hide my love for this kind of ultra-modern, ultra-slick Death Metal. This is essential.

Chaos Plague – Chaos Plague (Review)

Chaos Plague are from Italy and this is their first EP of Progressive Death Metal.

The music is technical as you would imagine, with interesting riffs and arrangements for each of the three songs on this EP.

This is a combination of Death Metal and Progressive Metal which means we get the Death Metal parts with angular riffing, but we also get more relaxed and calmer moments with clean vocals. These clear vocals are competent enough but for me the growling steals the show as these deeper grunts sound like monolithic stone slabs dragging against each other.

Apart from the angular fretwork the drums are exercises in precision and the bass is much more audible than the norm.

The 17 minutes of Metal on this EP hits the spot and hopefully they can develop their style even further for their next release. Very promising indeed.

Insain – Enlightening the Unknown (Review)

French band Insain play Brutal Death Metal.

Sadly they are no longer with us, but even with only a small number of releases they have left a powerful legacy and an enduring mark on the face of French Death Metal.

Their first album Spiritual Rebirth was a thoroughly enjoyable and satisfying listen in the way that only the best Death Metal can be. Now with this final EP we’ll never know the heights they might have ascended to, but we are left with a new release that meets and even exceeds the standards set with their début.

The sound is huge and immense, like heightened gravity crushing down on you. The songs blast and bruise with the best of them, making full use of the sonic clarity to batter and beat you into submission.

The drums sound especially meaty. Double bass sections twist and turn with the guitars while blast beats overpower everything in sight by sheer force of inertia.

The deep grunting vocals are highlighted by the occasional scream and are utterly relentless and unforgiving in their delivery.

Although this is Brutal Death Metal the band are not adverse to injecting a bit of lonesome melody into the mix; a lead here, a solo there. It all adds a splash of colour to the brutality and demonstrates why Insain are so good at what they do. Or were, at least.

At 25 minutes in length there is no chance for it to get old, and every chance for savage aural pleasure. If only there was more where this came from! A must have.

Craving – At Dawn (Review)

Craving are from Germany and play lengthy Death Metal with Folk and Black Metal influences.

This is their second album and Craving are really coming into their own. Combining brutality, melody and Folk harmonies the band have produced 66 minutes of music that transport the listener back in time and away from the hum drum pace of normal life.

There is a medieval vibe permeating the songs, although this is juxtaposed against the heavier more brutal Death Metal parts. Sort of like a more aggressive Amon Amarth mixed with Korpiklaani or Finntroll.

Each of the long songs is a combination of the aforementioned styles, and across the album we get a bit of everything; Melodic Death Metal, Folk Metal, some Black Metal riffs…it creates an enticing package and manages to stay interesting for the entire running length.

The songs are memorable and the band effortlessly play both brutal and melodic parts with abandon. The ease in which they can transition from heavy, blasting sections into melodic, atmospheric moods is a pleasure to behold.

The vocals are mainly guttural Death Metal vocals, although on occasion Black Metal screams punctuate the blasting. On top of this there are also Folky cleans, some of which are rousing, heroic and quite epic in nature.

This is a Melodic Death Metal album that manages to embrace its Folk side without sacrificing its teeth, and for that reason alone is worthy of being listened to. Add to that the fact that it’s a very enjoyable album that stirs the Metal heart…well we have a keeper here.

Mass Infection – For I Am Genocide (Review)

This is Greek band Mass Infection’s third album full of Brutal Death Metal treats.

Soundwise we’re immediately treated to a prime recording with everything sounding as it should and with all instruments ready to pulverise on command. The band play their Death Metal fast and rhythmical; a blend of Malevolent Creation and Hate Eternal let’s say.

The drums fly by at escape velocity while the guitars shred anything in sight. The songs are not overtly technical but neither are they simply constructed; the musicians know how to play that much is certain, but they never put showing off above a good riff. There are even some almost, dare I say it, hooks here; Hierarchy of the Highest Abomination contains bits that easily stick in the mind, for example.

The songs are written well and at 36 minutes it doesn’t outstay its welcome.

The vocals are nice and deep just as we like it, and the singer growls his way through the tracks like his life depends on it. Who knows, maybe it does?

For I Am Genocide is an album that’s hard to fault played by a band at the height of their powers. Mandatory listening for every Death Metalhead out there.

Enthrallment – The Voice of Human Perversity (Review)

Enthrallment are from Bulgaria and play Brutal Death Metal. This is the fourth album from these veterans.

The riffs roll over the drums like a sinuous reptilian in search of a fresh kill. The sense of flowing, lean musculature and predatory instinct is strong with this one.

Speed and technicality are not the be all and end all of Death Metal, (although they certainly have their place in The Voice of Human Perversity), and Enthrallment seem well aware of this fact. More important to them are the songs themselves and a heavy, catchy riff. Of the former we get 8 hymns to brutality in just under 35 minutes, and of the latter we get absolutely bucketfuls.

Interesting and darkly passionate; the riffs slide out of the speakers and into the wound. The solos are equally penetrating and the bass is vibrant, clear and utilised fully; the benefits of a quality recording.

The singer treats us to a nice deep grunt that works with the music to bring the songs to life. He has vocals that fully engage; rhythmic and brutal without sacrificing delivery.

This is a compelling offering that has a timeless quality; the kind of album you could imagine listening to when Death Metal was fresh and new to you, but conversely still sounds fresh now even though you’re a jaded Death Metal warrior.

This is why Metal will never die and inspires such passion in its adherents. Is there any better form of music? The answer is no. No there isn’t. Enthrallment embody this indomitable spirit.