This three track EP contains 14 minutes of material, and is a promising start to the Inherited Extinction story. Continue reading “Inherited Extinction – Morai (Review)”
UK band Cryptic Shift are the only band here I actually know, (due to Visitations from Enceladus), so was expecting good things; I wasn’t disappointed. Cosmic Dreams is an older Continue reading “Cryptic Shift/Replicant/Inoculation/Astral Tomb – Chasm of Aeons – Split (Review)”
I enjoyed both 2014’s Doomed Passages and 2017’s Gnosis Primordial, so now that we have Reflections of the Void, with its new 36 minutes of material, I knew I had to dig in. Continue reading “Question – Reflections of the Void (Review)”
Chapters of Depravity provides us with eight putrid tracks of underground death metal spread out over a festering 32 minutes. Continue reading “Pestilent Death – Chapters of Depravity (Review)”
Here we have 20 minutes of technical death metal that aims to melt faces and fry brains. Continue reading “Widow’s Peak – Graceless (Review)”
Sometimes all you need is death metal. Sometimes, brutal chaos and insane extremity is all that it takes to get you through the day. This debut album is one such release that hits the spot perfectly; 33 minutes of what can only be described as previously – brutal chaos. Continue reading “Iron Harvest – Iron Harvest (Review)”
Omen of Doom is a compilation of a lot of the band’s early hard/impossible to get demos dating back as far as 2001.
Due to the nature of a release like this the sound quality does vary between the various demos, but overall the band have unearthed a surprisingly well-preserved rotten corpse. The recording and production values deteriorate the further back in time you go, but even this doesn’t diminish the essential quality of what the band produce. Continue reading “Demonic Rage – Omen of Doom (Review)”
Now that’s what you call a band logo!
This is brutal underground Death Metal played in the Old-School style.
As would be expected from a band named Death Vomit, the music is ugly and unrepentant. It’s filled with malevolent riffing and hateful drums. Savage vocals echo with the afterthought of torture and bloody carnage.
These tracks have a primitive presence; they have an almost atavistic existence as paragons of raw, underground Death Metal as was. Death Vomit play the kind of timeless, Classic Death Metal that no matter what mood you’re in it can’t help but raise a rictus grin to your face.
The songs are strongly written and it’s hard not to enjoy them as they’re so earnestly and honestly played.
If you’re looking for the latest, newest thing then this is not for you; here we have Traditional Death Metal that could honestly have come from almost any era. Suffice to say that it’s good and that’s all that matters.
Play them loud.
This is straight-ahead brutality which does occasionally slow the pace, showing good use of tempos to create good songs that are distinguished and enjoyable.
Essentially underground Death Metal with elements of the Florida scene; these songs do what they are supposed to and do it well. There’s even some piano at the end of Angel of Prostitution and in the EP outro Infamous, showing that they’re not afraid of adding something a bit extra now and again.
I particularly enjoyed many of the guitar riffs and leads on this EP, which give the songs a bit of character. More than that these are memorable songs; not quite catchy, but rather they stick in the brain and are readily recognisable. No mean feat for a lot of Death Metal and Perversity are to be commended for their songwriting skills.
The vocals are nice and deep but still intelligible in places; they sound good against the backdrop of the music.
The production has a nice organic feel to it which allows the songs to be themselves and encourages the bass to be heard alongside the guitars.
If you are into Death Metal then this is well worth a listen. It’s only short but I found it very welcome. Death Metal played well with good songs – what more can you ask for?
Favourite Track: Incest of Flesh. Full of great guitar riffs and melodies, and some lovely bass work. Really good stuff.
After a perfunctory intro we’re into the album proper. The first thing that strikes the listener is the powerful sound – thick, heavy guitars and drums that drop like a hammer. This band play filth-heavy Death Metal with an atmosphere and tone so covered in grime and dirt as to become one with it.
So adept at channelling all things Necro are they that most underground Black Metal bands would kill for this sound. Imagine a band like Anaal Nathrakh if The Codex Necro was diseased Death Metal instead of Black Metal.
Add to this some nice Incantation-isms; the odd dash of Obituary and Autopsy; a small sprinkling of Usurper; an injection of sludge; cover this all with a rotten layer of offal and leave to decay for 100 years and you have something close to what Church of Disgust resemble.
And the vocalist – what’s all that about? How did the band manage to convince a real demon to front the band? I mean, it’s not a human being right? I can only assume that the Unworldly Summoning was a success and something dark and evil that time forgot came slithering out of the dankest crypt to be held in thrall to Church of Disgust and do their bidding. Their bidding, of course, being to produce the sickest, most evil Death Metal noises heard for some time. I just hope they feed it regularly.
Unworldly Summoning is ugly, hostile and wants everything dead. In other words it is one of the best death metal releases heard in a while.
If you want the latest in clinical, state-of-the-art, precision-laser-produced Death Metal hot off the production line then this is not for you. If, however, you’re not scared of a bit of blood and muck on your Death Metal then there is nothing to not like here.