Benighted impressed the Hell out of me when I managed to catch them live supporting The Black Dahlia Murder, (whose singer guests on this album), so it’s with a palpable sense of excitement that I press play on Necrobreed. After a typically throwaway intro, the Continue reading
After the promise shown on 2014’s Free from the Clutches of Gods, Hybrid Sheep have now returned with another instalment of their modern death metal, and have showed some nice progress since their first opening release. Continue reading
Are you in the market for some fast, melodic, cutting death metal? Well look no further! Continue reading
This is a split release between Bent Sea and To Dust, both of which play grindcore and both of which feature a plethora of members/ex-members of bands such as Aborted, Megadeth, Soilwork, Napalm Death, (Bent Sea), and Abigail Williams, Vintage Warlords, Humanity Is Cancer, Grave Plague, Fountain of Piss, Severed Remains, The Black Dahlia Murder and Phobia, (To Dust).
Phew. As you can see, there’s a lot of experience here.
The first half of the split is provided by Bent Sea, who give us almost 10 minutes of state-of-the-art ferocity. Continue reading
Gargantua play Progressive Metal that combines some quite eclectic influences to produce a 26 minute calling card that shows off what they can do quite effectively.
To give you a flavour of their style, imagine a mix of The Meads of Asphodel, Sigh, The Black Dahlia Murder and Akercocke, among others. It’s essentially a form of melodic Death Metal with added folk, avant-garde and progressive influences, allowing the band a freedom to experiment and be playful with their influences.
The keyboard and accordion aspect of their sound is quirky and endearing. While not as completely over-the-top as some of the stuff that Sigh get up to, this part of their sound can still be demanding and attention-seeking.
The more aggressive Metal that lays the foundation of their music is tempered by their other influences so that the majority of the riffs have a lot of other stuff going on; the avant-garde and more-emotive aspects of their style are never too far away.
Thrash Metal-esque shouted growls, barely-holding-it-together screams, progressive cleans, operatic choral parts, emotive theatrics; there’s a plethora of different styles employed on Avant-Propos via four of the various band members.
A very promising first release. While not perfect, it shows a creative band willing and able to push boundaries to achieve the sound they want. With a few tweaks here and there to tighten the songwriting up, they could become quite a fearsome proposition in the future.
Check them out.
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.
Necrocosm play Melodic Death Metal with plenty of riffs, licks and shredding leads. The music is fast, furious and has bite. Think a more modern spin on the style, à la The Black Dahlia Murder, mixed with a bit of Aborted and even some Dying Fetus.
The band have a strong sound and the guitars sound nicely meaty for a band of this style. Everything sounds slick, professional and honed to a killing edge.
The vocals follow the style of a band like Aborted; deep growls backed up with more of a shouted bark and the odd scream.
These songs have been written with high-energy in mind and manage to keep the aggression and intensity up for these 45 minutes. I like fast music with a sharp melodic edge and Necrocosm have certainly produced an album that does what it sets out to do very nicely indeed.
Who said Melodic Death Metal had to be weak and wishy-washy? Anyone? No, that’s right.
Looking at the album cover and knowing the band’s name, you’d probably never guess that they play Death Metal. But they do; Experimental/Atmospheric Death Metal/Deathcore.
This is sickeningly heavy with grooves and breakdowns aplenty. Speed and brutality are also present, as are pignoise vocals and scathing screams.
There’s a Djent aspect to their sound too, which seems to go hand-in-hand with a lot of Deathcore.
The band also include orchestral interludes, atmospheric sections and the like in their sound, which immediately makes them more interesting and raises their game.
Deathcore and Djent are two sub-genres that can get very stale, very quickly, if not handled well. The Big Jazz Duo avoid this trap by mixing these up with more traditional Death Metal and a melodic edge, as well as the more experimental aspects of their sound.
The songs are well written and the band understand the need for dynamics and pacing. A very polished and strong production rounds off the package and ensures that the songs have the best chance to shine.
These songs may be largely quite short but they’re packed to the rafters with goodies. Heavy groove, blasting carnage and atmosphere all merge together to create a listening experience that, in all honestly, makes me really fucking happy. I can always tell when I’m getting into an album when I start spontaneously bouncing along to it without realising. As you do.
If you imagine a cross between The Black Dahlia Murder, All Shall Perish and Xehanort then you’ll be on the right lines.
So, Brutal Death Metal, Djent, Deathcore, melody, atmosphere, orchestration…all in 31 minutes and all very well-written? I’m sold!
An extremely impressive album, especially considering the oft-dreaded Deathcore/Djent aspects of their sound.
Very highly recommended.
This is modern Brutal Death Metal/Deathcore
The vocals consist of pig squeals, deathgrunts, screaming and even the odd semi-clean.
The songs blend blasting brutality with breakdowns and the odd melodic passage. While it’s modern and energetic, unlike a lot of Deathcore bands The Juliet Massacre remember the Death Metal side of the Deathcore equation.
This will probably be a bit too “-core” for a lot of pure Death Metal fans, which is a shame as there’s a decent amount of brutality to be had here. The songs don’t let up and the album supplies the requisite hit of aggression.
I enjoyed this. With a slightly stronger sound and a little tightening up in the songwriting department The Juliet Massacre could easily ascend to the big leagues. Until then, I’ll still be listening to this again in the future.
For fans of Despised Icon, All Shall Perish, The Black Dahlia Murder and Job for a Cowboy.