Sometimes you just want a hit of something thunderously heavy. 2019’s Tyrannotophia was one such hit, (more like a smash), so when Dawn of Corruption was unveiled, I knew I was in for a fresh beating. Continue reading “Distant – Dawn of Corruption (Review)”
Following on from 2018’s The Level Above Human, Where Only Gods May Tread finds the band on top form, and continuing to develop their sound to incorporate wider elements, while still mainly providing the sheer bludgeoning that made Continue reading “Ingested – Where Only Gods May Tread (Review)”
2016’s Gravenous Hour was a superior release, and now Terra Mortuus Est continues the band’s developmental pathway that they are on. Katalepsy play the sort of modern death metal that grabs you by the throat and squeezes hard right before the beating starts. These guys don’t mess around. Continue reading “Katalepsy – Terra Mortuus Est (Review)”
2016’s In the Name of Chaos was solid, muscular death metal, the type that took influence from classic death metal and then gave it a modern slant. 646965 can be roughly described the same way, but with the modern side of the equation ramped up some. Continue reading “Omophagia – 646965 (Review)”
Tyrannotophia combines underground slam-infused death metal with brutal deathcore. It’s easy to be lazy with this sort of thing and end up with a generic record, but Tyrannotophia is definitely an above-standard release. Continue reading “Distant – Tyrannotophia (Review)”
Tonight’s sold out show offers up a double hit of extremity, with the sheer brutality of Ingested and the hooked melodic aggression of The Black Dahlia Murder. Continue reading “The Black Dahlia Murder/Ingested – Rebellion, Manchester – 10/04/19 (Live Review)”
After hugely enjoying 2017’s You Owe You Pay, this new 10-minute EP was well-received by yours truly. It’s great to hear more of the band’s crushing modern death metal. Continue reading “Carnal Decay – When Push Comes to Shove (Review)”
Although I’ve seen Ingested live, this is my first encounter with their recorded material. They sound pretty much exactly like I thought they would, and I mean that in a very good way. I enjoyed them live, and The Level Above Human manages to capture the massive sound of the band’s performance with crushing precision. Continue reading “Ingested – The Level Above Human (Review)”
The UK’s Damnation Festival is fast approaching. Saturday 5th November will see a plethora of top metal bands, large and small, take to the stage in Leeds to show off their music, and there’s a lot to be excited about.
With a whopping 4 stages and a wealth of metal talent spread across many genres and drawn from all over the globe, there’s bound to be something here to satiate even the most jaded of metal tastes. There’s a very good reason it’s my favourite UK festival and seems to only be going from strength to strength every year. Continue reading “Damnation Festival Preview”
I like Sound Control as a venue, and tonight, even though I’ve definitely seen it busier, there’s still a decent amount of people here and the place has a good atmosphere.
I think I’ve seen Ingested before. Maybe. If I have, it was a long time ago and neither the band or the details left too much of an impression. Tonight changed all that. It seems they’ve either come a long way or I just wasn’t paying close enough attention. Probably both.
So, as you’ve probably gathered I arrived in time to catch Ingested, and I’m eternally grateful I did. They positively explode out of the stage, full of high energy, revelling in their status as show-openers and doing a damn good job at it.
Ingested’s slamming Death Metal deals in plenty of blasting and groove. They’re essentially slam machines with colossal breakdowns that somehow fail to sound one dimensional. The singer has a voice like a demon and bellows, roars and screams himself into fits of slamcore delirium.
Tonight they benefit from a huge clear sound, which is downright shocking for an opening band and allows them to display what they do best at full power. They got me moving which is more than most support bands do.
Mixing parts of Despised Icon, The Red Chord and Dying Fetus, Ingested just destroy the stage. Their music is clearly designed with mosh pits in mind, and the crowd give a suitably good account of themselves throughout.
The set ends and most people seem happy. Me? I’m very happy.
After Ingested’s impressive performance, Benighted had their work cut out for them, or so I thought.
Being unfamiliar with Benighted, I was not sure what to expect, (except in general terms), but they rose to the challenge nicely.
Like Ingested’s set, we are treated to another strong sound; the venue should be proud of itself and tonight it appears to be support band heaven in this regard.
Benighted are aggressive and sharp, with a more focused, refined assault than that of Ingested’s raw muscularity, although that’s not to say they lack direct brutality or strength; far from it.
Their polished and professional style takes modern Death Metal and dips it in an impassioned performance. The band’s twisted melodics and grooving blasts come from the same school of nastiness as Cattle Decapitation and Aborted, combining quality musicianship with streamlined brutality. Elements of their sound have a tribal, rhythmic quality, frequently interrupted by a tirade of blast beats for maximum effect.
They make quite the impression and it’s clear that they have more than a few fans in the crowd, and there’s plenty of movement too. The groovy parts get the bodies moving hard and the fast, blasting sections just demolish. In fact, I particularly like it when they play fast. The evening’s first stage diver even makes an appearance mid-way though the set. He looks like he’s enjoying himself.
The singer has a commanding presence and a great voice. He also looks like a smaller version of powerlifter Jeremy “Couch” Hamilton, which keeps me amused the entire set. The bassist has an infectious grin and even indulges in a bit of Steve-Harris-from-Iron-Maiden-machine-gunning, which is always nice.
Their penultimate song starts with a sample of an alarm clock that sounds exactly the same as mine and freaks me the fuck out. What follows is much better than what usually follows though.
At the end of their set me and a large chunk of the crowd are left with smiles as large as the bassist’s. Nice.
And now for the band everyone’s been waiting for, the USA’s premier Melodic Death Metal masters.
I’ve seen The Black Dahlia Murder before, but they were playing in a support capacity and were marred by a weak, muddy sound. In keeping with the theme of the evening so far though, there are no such problems tonight, and the band absolutely slay. Boasting a crystal clear sound that demonstrates a band at the top of their game, the band’s performance tonight is exemplary.
When the bassists asks if we wanna hear a very fast new song, you know we do.
The major selling point of The Black Dahlia Murder for me is their peerless brand of fast, razor-sharp melodicism, and tonight it’s on such fine display that I’m amazed I don’t leave with lacerations.
Opening with Receipt off their latest album, they power through a veritable greatest hits package. Although, like any greatest hits collection, you can’t please everyone, (I was hoping for Climactic Degradation…). However, there are enough quality songs here to please, spanning the band’s entire discography. Vlad, Son of the Dragon makes a welcome appearance and Moonlight Equillibrium (about a werewolf that eats English breakfasts, apparently) is a particular favourite. Abysmal, the title track from their latest album, sounds even better and more savage live than it does on record, and then Funeral Thirst absolutely just melts faces. Raped in Hatred by Vines of Thorn, (about the Evil Dead, he tells us), is a real catchy crowd-pleaser, as is Statutory Ape. They end with the one-two punch of Deathmask Divine and the iconic I Will Remain, which features one of the best intros and outros to any song. And the bit in the middle isn’t bad either.
The band themselves are on fine form, and focus inevitably finds itself being directed towards their charismatic frontman; he attacks the songs with such enthusiasm it’s palpable, sometimes seeming to take the role of a mad conductor.
As befitting the band’s status, the crowd have a strong reaction to the songs and there is stage diving and moshing in abundance, including some relatively immense circle pits. One stagediver arrives on stage just after a song finishes and gets to be interviewed by the band, (his name is Lawrence, and he likes slam). At the behest of the band the audience give a good attempt to carry him to the back of the venue during the next song, but he doesn’t quite make it. It’s a valiant effort though.
When a crowd casualty seems to occur, the band take the time to make sure everything’s okay, and also lead a chant of “Live! Live! Live!” which is most amusing.
After this long in their career The Black Dahlia Murder are a well oiled machine live, but it’s good to see that they aren’t just going through the motions and there’s real passion here.
This was genuinely one of the best shows I’ve been to in a long time. All three bands did themselves proud and I am left with nothing but fond memories and a slightly tired neck, exactly as it should be.