There’s 78 minutes of material here, spread out over 12 tracks. The main album consists of the first eight songs, with the final four being bonus covers of Mayhem, Dissection, Dimmu Borgir, and Darkthrone songs. Continue reading “Mazikeen – The Solace of Death (Review)”
It seems a long time since 2013’s Blast into Oblivion came out, which of course is has been. Although the band have released a couple of splits and a demo in the intervening years, I haven’t heard them, so Caverns of Perdition is my first chance to catch up with them again. Continue reading “Reckless Manslaughter – Caverns of Perdition (Review)”
This is the follow up to the band’s debut release Narcissism, which was an enjoyable brief introduction to Strangle Wire’s brand of nastiness. They are now back, and I’ve pleased to say they have built on their initial promise. Both of the songs on the band’s first release have resurfaced on The Dark Triad, but now they’ve brought friends to the party too. Continue reading “Strangle Wire – The Dark Triad (Review)”
Infiltration play 90s-influenced death metal, with a focus on songs and destructive presence. Continue reading “Infiltration – Nuclear Strike Warning (Review)”
I thoroughly enjoyed Aposento’s debut album, but the Aposento of 2017 is a different beast. With a new singer and Continue reading “Aposento – Bleed to Death (Review)”
I enjoyed Crypt of the Devil, and Torment is the band’s latest forray into the killing pits. Having specialised in their own brand of death metal grooves for decades now, I always like to catch up with what Six Feet Under are doing. Continue reading “Six Feet Under – Torment (Review)”
Featuring members of Indecent Excision, Derogation, Fleshbomb and Six Feet Under, as well as guests from members of Gutrot, Churchburn, Abnormality, Six Feet Under and Malignancy, you know that this is going to be a professional and capable release before you even listen to it.
When you do, you’re confronted with Continue reading “Neurogenic – Ouroboric Stagnation (Review)”
Sometimes only Old-School Death Metal will do. Yes, it’s always nice to hear the latest in TechDeath fusion, or the latests sophisticated Avant-Garde Black Metal opus, or some new-fangled take on Doom…but sometimes you just want something primitive, ugly and swamped in Death Metal’s rich heritage. For times like that, there’s bands like this.
This is horror-inspired music, with each track finding inspiration in a different film.
With a decent sound that means the guitars sound good and heavy while the bass is actually audible, Dementia 13 take a festering, decaying sub-genre by storm and kick up some dust and muck while they’re at it.
This is a very satisfying release. The tasty riffs and deep, growling vocals hit the right spots and Ways of Enclosure is full of grim, filthy Death Metal that manages to capture the spirit of the Old-School style perfectly without sounding stale or tired, as so many do.
The singer’s voice is perfectly gruff but still surprisingly legible. His throaty growl tears along over the steady pace of the music, while the guitars throw out riff after riff and dark tidings aplenty.
Fans of Bolt Thrower, Massacre, Entombed, Autopsy and Six Feet Under will find a lot to enjoy with Dementia 13.
Ever since I first heard of this band I’ve been looking forward to hearing them as I really like their name.
This is Bolt Thrower-inspired War Metal that lives in the no man’s land between Bolt Thrower, Obituary and Six Feet Under. This is 38 minutes of carnage that carries off the familiar themes with a grim determination.
The formula may be recognisable, but one of the things I like about Mother War is that it has a certain youthful charm and energy about it. Sure, the War Metal sub-genre may be firmly rooted in the Death Metal Old-School, but this is played with such passion and enthusiasm that it seems to jump out at you, weapons in hand and ready to fight.
Although War Metal may not be as commonplace a thing as, say, Swedish Death Metal, it’s still a well-worn sub-genre and if you’ve had your fill of it I imagine you’ll stay away from Shrapnel Storm. This is a shame though, as there is a lot of enjoyment to be had on Mother War and I urge you to give it a try.
The production is solid and the riffs chunky. The singer has a decent growl and everything works together to bring the sounds of the battlefield alive with distortion and pounding drums. It ticks all of the boxes for this kind of music, but as I say; there’s something else here, animating this war-torn corpse with an unholy, unnatural life. Shrapnel Storm have come to make war and I won’t be standing in their way that’s for sure.
Top marks for this, I really enjoyed it.
This album is slightly different to previous releases as it’s somewhat of a collaboratively written effort between Six Feet Under main man Chris Barnes and Cannabis Corpse’s bassist/vocalist.
How has this changed things? At first glance not a lot, but on closer inspection there are some subtle alterations to Six Feet Under’s Death ‘n’ Groove style this time around.
Some of the riffs are a little more complicated, (just a little), there’s a little more aggression, a pinch of extra speed and a little more fun. Not fun in the ridiculous, novelty way, but fun in the Autopsy-covered-in-bowels style of macabre fun. You know, graveyard fun.
Also, some of the riffs just have a bit more Metal to them, Death-style almost. Not all, but it’s noticeable in places.
These ten tracks are catchy and laden with enough barbed hooks to stick into anything. The songs continue to batter and bruise their way through the running time with all of the finesse of a wrecking ball, of course. But would we want it any other way? No way.
Ultimately Six Feet Under are the kind of band you either take to or don’t. Of course you can realistically say that about any band, but Six Feet Under certainly do seem to be one of those groups that people either love or hate.
I think that Crypt of the Devil will do very little to convince those who have already decided they don’t like the band. For those of us who are fans though, it’s similar enough to the normal Six Feet Under output to sound reassuringly familiar; however the small but important alterations to their sound due to the collaborative songwriting mean that they come across fresher and hungrier than ever.
After two decades of Death Metal Six Feet Under are still going strong. Crypt of the Devil is yet another solid slab of mid-paced Death Metal that’s meaty enough to satisfy that craving for rotten, putrid flesh that I know you all crave.
Turn the volume up and get ready to bang your head once more.