Old-School Death Metal – Page 46

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.

Gravehill – Death Curse (Review)

This is US band Gravehill’s third full length album, and they play Old-School Death Metal with a nice bit of Thrash and Black Metal added into the mix as well.

After the usual perfunctory intro we get blasted into the action with the album title track.

The band play their Death Metal morbid, primitive and ancient. The vocalist sounds like a long-dead corpse who has risen up to assault the living with tales of what they have to look forward to when they die. Both high screams and deeper growls are used, with the higher vocals sounding particularly deranged.

Gravehill combine fast and slow riffs with their twin-pronged vocal assault to create unexpectedly catchy songs, a consequence of their Thrash influence creeping into the mouldy Death Metal. The guitars are solid and heavy with momentum and aggression but also a good bit of crusty Thrash melody, while the solos are whipped out at hyper-speed and get the job done.

A thoroughly enjoyable album full of catchy hooks and memorable riffs. Let Gravehill’s festering carcass enter your life and take a good long whiff.

Cleric – Gratum Inferno (Review)

Cleric are from the US and play a distinctly Swedish brand of Old-School Death Metal.

From the start it’s obvious that the band worship at the altar of the Swedish Gods of Death Metal. This is no bad thing.

Over time it’s dawned on me that I really am quite partial to this style of Death Metal. Something about the generally slow, lumbering heaviness of the riffs combined with that chainsaw-guitar sound seems to do it for me quite nicely.

Cleric have this sound in spades, and embody it whether they are crushingly slow, moderately demolishing or speedily blasting. This is 29 minutes of hero worship that I’m quite happy to listen to.

The vocalist doesn’t let the side down either, with a voice like gravel that belches out blasphemy and death.

If you know your Swedish Death Metal, (even if it’s not Swedish), then you’ll know what to expect here, and you’ll either like it or not. I like it.

Human Decay – Figli Di Dio (Review)

This is the first release from Italian Death Metallers Human Decay; a 3 track EP clocking in at just over 14 minutes.

The cover primes you to expect Old-School Death Metal and that’s exactly what you get.

The EP has a fantastically grimy DIY sound that doesn’t detract from the songs, instead it gives them a feeling of vintage and character. There’s even some bass. And some solos, can’t forget about them.

The vocals are Old-School Death Metal vocals, which are aggressive but remain legible. Well, if you speak Italian they are. Which I don’t, but you can hear what he’s saying for the most part anyway.

The songs show good awareness of pacing and variety and I can almost visualise the band playing their songs as I hear them; the sound of a real, living band doing what they love is that authentic and obvious.

This is a good first EP to break out into the Metal world with. Time to support a new band.

Graveyard Ghoul – The Living Cemetery (Review)

This is the second full length album from Germany’s Graveyard Ghoul, who specialise in primitive Death Metal of the ugliest type.

This is Old-School to the chewed-on bone but don’t let that fool you into thinking it has nothing to offer. This album contains 31 minutes worth of thoroughly enjoyable romps through the graveyard.

If you take Autopsy as the starting point you’re in a good place, and Graveyard Ghoul embody their Death Metal ideals to perfection.

The songs use the guitars well and have a penchant for the slower, doomier riffs as well as the faster, more brutal parts.

Harking back to a pre-sanitised/sterilised Death Metal era, The Living Cemetery is completely untouched by any and all trends and corruptions of the genre that have occurred through the years.

It’s with hand on gravestone that I firmly recommend you add this album to your collection.

Decomposed – Devouring (Review)

Decomposed are a Swedish Death Metal band.

Devouring is rooted in the Old-School and the band have a fair grasp of what makes a compelling record from back then.

Reminiscent of many from that era in Swedish Death Metal history, (Dismember, Grave, Unleashed, etc.); they pile them all into a pot, boil them alive and use the remains to create an enjoyable album of putrid riffing and foetid tones.

Decomposed take a methodical approach to their slaughter; slicing through flesh and hacking off limbs with efficiency and glee. They do take the time to smell the corpses however, as evidenced by the slower and more introspective parts of the songs.

The guitars roll and heave, while the drums smack down hard and the vocalist roars with all of his might. A passion for Death Metal is clear from the start and combined with a good ear for songwriting it makes Devouring a solid listen.

The more I listen to this the more I enjoy it. Get yourself a healthy blast of Old-School Swedish assault and listen to Decomposed.

Morfin – Inoculation (Review)

Morfin are from the US and play straight-up classic Death Metal.

We get 10 tracks, including a Death cover; which should give you a good idea of where Morfin’s loyalties lie in the Death Metal hierarchy. In fact if you like Death, (and who doesn’t?), then you should like this also.

From the album cover to the album production this screams Old-School at the top of its diseased lungs and then falls to the floor to devour a fresh corpse once it has done so.

Somehow Morfin appear to have captured and bottled early Death Metal and are swigging liberally from it regularly. Rather than sounding derivative, tired and old though it somehow has a rejuvenating effect and this sounds as fresh as it did back in the day. Morfin may have a bit of Death hero-worship going on but when they have the formula this right who cares?

Importantly it’s not just the feel and style of the album that they have the secret ingredient for, but they also have the songs to back it all up. The tracks rumble away one after another and before you know it all 45 minutes have expired and you’re sitting there with a rictus grin on your face wondering where you got the blood on your hands from.

So join me now; shout it loud and proud – MORFIN!!!

Megascavenger – At the Plateaus of Leng (Review)

The latest Megascavenger album, (a project of Rogga Johansson), contains quite the list of guest vocalists – just have a look at the line up, (taken from the promo blurb) –

1. At The Plateaus Of Leng (Vocals by DAVE INGRAM of Bolt Thrower/Benediction)

2. The Festered Earth (Vocals by KAM LEE of Massacre)

3. And Then The Death Sets In (Vocals by AAD KLOOSTERWAARD of Sinister)

4. The Mucus Man (Vocals by MARTIN VAN DRUNEN of Asphyx/Hail of Bullets)

5. Like Comets Burn The Ether (Vocals by DAVE ROTTEN of Avulsed)

6. When Death Kills The Silence (Vocals by FELIX STASS of Crematory)

7. The Hand Of Bereavment (Vocals by ILKKA JARVENPÄÄ of National Napalm Syndicate)

8. Back To The Ancient (Vocals by BRYNJAR HELGETUN of Crypticus)

9. Night Of The Grand Obscenity (Vocals by ROGGA JOHANSSON)

If that’s not enough to get expectations running high I don’t know what is.

This album is full of melodic Old-School Death Metal goodness, but also a few unexpected turns such as the clean vocals/keyboard side of The Festered Earth, or the cleans of The Hand of Bereavement. Variety is a good thing however and these little flourishes and touches just enhance the album as a whole.

At the Plateaus of Leng is crushing and without mercy, stomping and stamping on all who oppose. But more than brutality these songs are surprisingly melodic and succeed well in hooking the listener. The tracks march along easily enough, propelled by the mid-paced barrage of the drums and carried aloft by the tuneful guitars. Each song is well-written, being identifiable from the last and not just because of the different vocals. This is an album of songs rather than just a collection of tracks, and there are catchy moments in great supply.

All of the vocalists do a sterling job and add their own personality and character into each of the compositions. Each song may have a different vocalist but the album flows nicely and doesn’t sound disjointed or like a compilation album, even when they veer into more Heavy Metal territory with clean singing it still holds together well as a package.

A very accomplished release, chock full of classic Death Metal songs, each one as enjoyable as the last.

Brutally Deceased – Dead Lovers’ Guide (Review)

From the Czech Republic Brutally Deceased play Old-School Death Metal in the Swedish style.

Instantly bringing to mind acts such as Dismember and Grave, as well as the fact that the last song on the album is a Dismember cover and they’re named after a Grave song; you’ll soon realise that this band like their Swedish Death Metal. A lot. Added to the fact that the album has that Swedish sound and you’ll soon be unpacking that old chainsaw and setting it to work once more.

Like rediscovering a lost friend, the album explodes out of the speakers with the chainsaw buzz-riffs sawing away at your ears while the short, sharp vocals bite deep into your flesh.

This may not be highly original, but what it lacks in originality it makes up for in passion and enthusiasm. If you’re looking for the very latest in new things then look away as this is not for you, but if you like a solid slab of hero-worship and can’t get enough of classic Swedish Death Metal then you should definitely check this out. The fact that the band don’t actually come from Sweden is irrelevant.

A highly enjoyable trek down memory lane. Taken by itself this is a strong Old-School Death Metal album. The guitars roar, the drums pound and the vocals damage. They’ve succeeded in getting me moving; check them out and see if they can do the same for you.

Trenchrot – Necronomic Warfare (Review)

Straight off this is easily identifiable as Old-School Death Metal from these US bruisers. All of the trademark signatures are in place – fans of Obituary, Bolt Thrower and more modern war-themed bands like Hail of Bullets should feel right at home here.

This is mainly, (but not always), mid-paced and takes no prisoners. The feeling of an endless battlefield covered in the corpses of countless forgotten enemies pervades this release, as does the feeling of belonging to an earlier age of Metal. This is Old-School to the core with an even Older-School album cover.

This kind of retro-Death Metal can sound stale if handled incorrectly, but Trenchrot know their weapons and pick only the best and most destructive from the armoury. Clearly passionate about what they do, I can’t help but get swept along with the Death Metal mayhem contained within Necronomic Warfare – the heavy, thick tone of the guitars; the agonised, hoarse, barkings of the singer as he rallies the troops for another offensive; the firm pounding of the drums that lead the willing to war; the wailing, emphatic solos that inspire and rouse. It’s all very stirring.

A thoroughly enjoyable release perfect for charging headstrong into the melee. A snapshot of a time when being Death Metal was enough, and no add-ons or exaggerations to the sound were needed.

As the band say themselves –

“TrenchRot make music within the stricture of two rules:
1. Play Death Metal
2. Crush posers”

Couldn’t have said it better myself.