DEVOURMENT - Obscene Majesty Relapse Records Two decades ago this Texas based act released their debut full length Molesting the Decapitated. At the time it was herald as a masterpiece of brutal death metal perfection with tech death proficiency. In other words they were IMPETIGO on steroids and I liked it. But my attitude toward that record and this band has changed over time. The two major parts of that record were the vocals and the drum work. Those two portions would go onto up the ante' for the brutal death metal genre's future. I'm not going to elaborate on everything that happened to DEVOURMENT's career afterwards, which pretty much sucked. I also think that whole slam death metal thing which followed with dozens of copycat bands was, to put it nicely, not that cool. Like I said I'm being nice because I could really get critical. But now we have a new album by DEVOURMENT and it's what I'd call a true follow-up of Molesting the Decapitated because everything in-between has sucked.
Most prominently this album has the sick and twisted original Ruben Rosas back on vocals. This is the guy who set the standard for the future of noxious brutal death metal vocals. Add to that drummer Brad Fincher returns to the bookend position. It's Fincher's accelerated beats, maniacal snare blastbeats and jazz influenced interplay which made the rhythm section portion of the band so exciting. Of course the riffs and bass work, sandwiched between the standouts, are standard fair almost to the point of recycling. The guitars create a wall of noise when needed most of the time. Where as when things slow down the crushing atmosphere in minimal. It's during those times where the bass makes some intrusion.
NILE - Vile Nilotic Rites Nuclear Blast Alright I'm a NILE fan as in I saw them at a club I use to work at in the late 90's. It was their first major tour and they were with INCANTATION as well as playing stuff from their debut album, Amongst the Catacombs of Nephren-Ka. I still cite that show as the time of my severe hearing damage. I was standing right in front of the speakers watching Karl Sanders' incredible guitar performance. My hearing has never been the same. Be that as it may I've stuck with them since then through amazing releases to mediocre stuff. So after 2015's What Should Not Be Unearthed, which was another OK release by my appreciation. Some changes went into play in order for NILE's future to continue. First off a major change is with long time vocalist/guitarist/bassist, Dallas Wade leaving the band. The new vocalist/ guitarist Brian Kingsland has less of a growl as Dallas. But adds some variety to the vocals which comes to growling and some blackened screeching. Now as far as the music is concerned this is the most exciting release NILE has done in years. This is heavy on the brutality, light on tech death over the top-ness as well as the whole Egyptian shtick. We're talking modern death metal at it's finest.
CANNABIS CORPSE - Nug So Vile Season of Mist After thirteen years and with this one counting six full lengths let alone a couple of short form releases. You would think that maybe their pot head meets old school death metal shtick would burn out. I don't think so. Nug So Vile, which is a parody of CRYPTOPSY's None So Vile album (to those of you ignorant) is the next progression of which I knew they were going to turn to.
Now I'm not saying they were going this slightly more tech death way via that band's album. I was just guessing that they were gonna move further up the latter in order to be relevant. Frankly I'll still say they're 2014 release, From Wisdom to Baked, was a milestone. But then 2017's Left Hand Pass surpassed that one. But here we have something completely unique and different. Obviously one standout to this album is new guitarist Adam Guilliams. He adds a lot of definite old school tech death guitar touches as well as damm good riffs which blow you the fuck away. Add to that Josh Hall's maniacal and thread weaving drum work. The whole Guilliams and Hall combination is like excitement city being surgically torn down piece by piece. Of course lastly you have Phil Landphil's vocals which still balance out between Chris Barnes and CorpseGrider of CANNIBAL CORPSE. As always I'll listen to some great death metal albums of the year which carry plenty of old school influence. And then you hear this and go ah whatafuck this is so fucking cool.
SARKE - Gastwerso Indie Recordings Back in 2009 is when I got into SARKE with their debut full length Vorunah. That was when it was a blackened super group featuring multi-instrumentalist Thomas "Sarke" Bergli of KHOLD fame and Ted "Nocturno Culto" Skjellum from DARKTHRONE on guitar and vocals. They were pretty much a black n roll act with some doom influence. At the same time DARKTHRONE were in their blackened speed metal phase. So ya kinda got caught in a decision of who was better. I ended up liking both and still followed SARKE over the past decade with their next bunch of full lengths. All of which are damm good. I always thought it was funny that Nocturno Culto always expanded his out of DARKTHRONE moments to music. Were as his partner in DARKTHRONE, Fenriz, went onto being an icon to hipsters via website posts and documentary nonsense. Now as far as this, SARKE's sixth full length, goes the band (which also includes keyboardist Anders Hunstad, guitarists Stian Krabol from KHOLD and Steinar Gundersen who handles the lead work plus full time drummer Terje Krabol) have settled on continuing what they started with 2016’s Bogefod full length. We're talking about some decent black n roll, mildly symphonic stuff plus some neo-folk cuts.
On a whole Nocturno Culto once again gets to expand his vocal style whether it's actual singing or speaking through cuts. He's also accompanied once again by a female vocalist from past releases. Musically once again SARKE create a varied album which keeps things interesting. I find myself stumped as to which is better, the rocking cuts or the cleaner acoustic odes. With two previous albums of experimentation, Gastwerso ends up being the culmination of everything great that this act has done previously.
GRAVEFIELDS - Embrace the Void Redefining Darkness Records Ireland's extreme metal scene is not known for cool as fuck death metal acts although I have written about a damm good one already this year. I know you think of Irish Metal and immediately scream "THIN LIZZY" even though they really had one official "metal" album. Not trashing their hard rock stuff which I still love to this day I'm just being honest. But we're talking metal, death metal to be precise. And with that said GRAVEFIELDS are Irish and Death Metal as they come. But here's the kicker, I'm 1/3 Irish (on my Mother's side, her father was off the boat Irish). GRAVEFIELDS are only half Irish since their vocalist is French (or just lives in France). More to it in perspective, GRAVEFIELDS are a two piece act with Irishman Alan Hurley performing all instruments while singing is done by DM (aka: Thomas Blanc). Starting with the former part as in the music by Hurley, the sound and style comes across as more of an American influenced semi-tech death influence overall. No name drops by me but the melodic touches which also constrict to tension are similar to some late 90's era USDM. When DM's vocals kick in which are are trifecta of harsh screams, gruff DM styled singing and full on monster in a cave emanation, the pattern is set forth. I'll give this release a wave for the effects in the atmospheric realm. But it's missing a kind of soul which would be essential if this band wanted it to be memorable. No it's not. http://www.redefiningdarkness.com/ https://gravefields.bandcamp.com/ https://www.facebook.com/gravefields/
MAYHEM - Daemon Century Media Records Alright a couple things to say before I get into this review of MAYHEM's latest release. First off yes I am a MAYHEM fan. Secondly 2007's Ordo ad Chao is their worst album. Third, 2014's Esoteric Warfare was not much better. I mean seriously why would you emulate the era of Rune "Blasphemer" Eriksen? Not that I despise his releases with MAYHEM on guitar (except for Ordo ad Chao because that sucked). But the simple fact is that we have all of that already, let's move on or move back further. Strangely enough MAYHEM did in 2016 with the De Mysteriis Dom Sathanas Alive (yeah I know kinda stupid title but...) album/dvd release. That was cool and it's with that in mind that I listened to Daemon with some hope. I'm guessing playing those old songs for a year on tour paid off for guitarists Teloch (aka: Morten Bergeton Iversen) and Ghul (aka: Charles Hedger). Basically Daemon sounds like De Mysteriis Dom Sathanas being dragged kicking and screaming into the present day.
Of course having three people who were part of that era of MAYHEM helps. And just for the record bassist Necrobutcher played most of those songs prior to Varg doing the recording. But with that said this release is fuckin excellent. Both guitarists go for the throat when it comes to some cool fast riffs or majestic touches like opener "The Dying False King". But I actually like the doomy stuff like on "Daemon Spawn". I could go on song for song but no I won't.
As far as Attila Csihar's vocals go, he surpasses what he did on De Mysteriis Dom Sathanas by leaps and bounds (as well as the last two releases). Granted half the cuts on that album were formerly sung by Dead and Csihar had to reinterpret them into his style. He hasn't sounded this crazed since his days with TORMENTOR. The way many of these cuts weave through fast sections only to be corralled by slower tempos works well with his vocal style. Daemon is an album of twenty five years in waiting for this band. A perfect release from a hellish start to a doomy yet full blown chaotic finish. Easily one of the best albums of 2019. MAYHEM now has another life. They can include many of these cuts in their live set. Relying on your past in fine to a point. But taking influences from your past and retrofitting em to modern audiences also works well. https://www.centurymedia.com/ http://www.thetruemayhem.com/ https://www.facebook.com/mayhemofficial
KAMPFAR - Ofidians Manifest Indie Recordings Ya know when the opening sounds of a cheering crowd comes forth in the release's opening you would think this is a live album. Ah but it's not. Strangely enough I was bestowing the greatness of KAMPFAR's 2008 full length, Heimgang, the other night. Which to me is their finest moment since starting out back in the mid-90's. Since then they've been consistent as far as decent releases. I've been a fan of there's for twenty years now. Look out he's bias! Yeah I am. Over the past decade I can say without a snicker that KAMPFAR have done no wrong as far as their releases go. And since the beginning of this decade you can hear them transform from a raw pagan black metal act to something more fuckin epic sounding. You've got your basic KAMPFAR rawness added with textured piano runs, symphonic power and of course that crazy screaming woman on "Dominans". In my not so humble opinion not only is this the best thing these Norwegians have ever done. But it's a bold statement in the realm of black metal which shows that you don't have to play the stupid genre games which "some people" would have you do in order to pigeon hole you into a peg size of their choice. I mean the guitar work is so exquisite at times while still being able to rip through hell. I'm talking mostly of the track "Skamlos". But throughout the album it's all tremendous. From beginning to end, and what an end with "Det Sorte", one of my favorite Norwegian black metal bands over the past fuckin twenty years comes forth with an astonishing release that pushes boundaries for them and yet keeps things within the temple. One of the best BM albums of 2019? Easily. https://shop.indierecordings.no/ https://kampfarofnorway.bandcamp.com/album/ofidians-manifest https://www.facebook.com/kampfarofficial
HATE - Auric Gates of Veles Metal Blade Records Technically proficient blackened death is what this Polish band has become over the past few years. Then again it's a long ways away from their early days when people called em a BEHEMOTH knockoff. Auric Gates of Veles is the band's eleventh full length. Yeah I know that's fuckin amazing. Given that it was with their last album, 2017's Tremendum, where they changed gears and got more into exploring the realms of black metal atmospherics thus steering away from their early pummeling death metal assault. Personally, since I'm a long time fan of HATE, I thought the change was cool. Auric Gates of Veles is better than their last one. In fact it's a perfect album BUT for a band to try so hard to get out of the shadow of their death metal peers. Now they step into a new shadow of blackened death.
THE END A.D. - Badlands Fastball Music THE END A.D. are a killer semi new band coming out of Hostile City, USA (aka: Philadelphia, PA). So from a place that has given me plenty of metal related stuff to write about over the years. There's also an extreme underbelly of punk /hardcore/ metal sounding stuff that in the past I also use to write about as well. The city of not so brotherly love has graced me and fans all over with some long time favorite bands like the MORE FIENDS, RANCID VAT, THE 440's, DEADSPOT and THORAZINE to name a few. THE END A.D. are just the latest from Hostile City. THE END A.D. are a four piece female fronted punk/metal act who've been around since 2014. But their present singer, Ami Friend, joined em in 2017. Since that line-up; which also consists of Lorin Savadove on drums, Paul Juestrich on guitars and Steve Rodgers on bass, they've released an EP and a few singles. Now with this debut full length the band gets some room to spread it's filth, aggression and a goddamn legacy. With this style of extreme music and type of vocalist I'm sure comparisons will be made to some more notable names of the past. But after giving this a few listens I was left thinking this comes across more like a mix of THORAZINE (another Philly band from the 1990's, who are old friends and still around after all of these years) and TEXAS TERRI & THE STIFF ONES from 90's era California Honestly on a few of these cuts Ami Friend sounds exactly like THORAZINE's Jo-Ann Rogan. I'm talking about powerful vocals with added snarls and hellish screams. But then other times she's Texas Terri Bomb all the way. Another important note, guitarist Paul Juestrich use to be in an old Philly band from the early 90's. That being DEADSPOT, a crossover thrash act who I saw back in the day and still have an EP and full length of there's. Hearing the riffs and heavy rhythms, the punch in the face style drumming on here definitely has a touch of the past greatness. So this release carries that punk/metal aesthetic to the hilt without sounding forced or generic. The album starts off with it's two catchiest and fast numbers, "Addiction" and "Why Won't You Die". The latter came out as a single back in June. What follows are just a bunch of cool tunes that either burn slowly like "Junkie Logic" or the trudging "Bitch Magnet". And strangely enough the goddamn epic, as in six plus minutes, ending opus of "I Wanna Be Alone". All in all returning to my Scumfeast print days ideal, Badlands is easily one of the best albums of 2019. Play Raleigh, NC please! http://www.fastball-music.de/ https://theendad.bandcamp.com/album/badlands https://www.facebook.com/The-End-AD-1523510874587806/
1349 - The Infernal Pathway Season of Mist Honestly I believe a lot of people got into 1349 with their Hellfire album from 2005. I say that because sure it's a fantastic release as far as black metal goes. But it also hung out there like low hanging fruit for a number of years. Plus the band went on various tours. I saw them either in 2007 or 2008. It was during the CARCASS reunion tour. I thought it was a great set albeit short. Still back then I knew Hellfire was their high point as far as their brand of blistering black metal goes. I got into em first off with 2004's Beyond the Apocalypse which was a great release also. But what came next in their effort to explore new areas and break boundaries was a huge disappointment. 2009's Revelations of the Black Flame literally sucked but not as bad as watching hipster media scribes trying to bestow blackened virtue to such a crap release.
A year later 1349 came out with Demonoir which was slightly better that the previous piece of garbage. But still the damage was done and seriously why hold onto an act that peaked early and couldn't move onward properly without sounding as if they phoned it in. So I didn't give a rat's ass about their 2014 full length, Massive Cauldron of Chaos. I read about it being decent but fuck that.
So the only reason I'm giving this one a chance is because a lady friend of mine, who's really into black metal, said this was a great release. So by respecting her opinion I picked up a copy of this CD and I'm into it slightly. First off I'm glad they got off the post black metal hipster bullshit from years prior. Now it's one part old school 1349 meets a hard rock/classic metal approach within the guitars.
The overall sound on The Infernal Pathway is of a seasoned black metal act that's gone from being GORGOROTH meets MARDUK types to a more calculated act fit for modern BM audiences. There are times the riffs have a slight death metal influence on one or two cuts. Other times it's blackened hard fucin rock. Ravn's vocals are good as he invokes more of an animistic snare. The song structures are captivating as opposed to overwhelmingly punishing like of the past. In the end I just see this as their best album in a very long time. http://www.season-of-mist.com/ https://1349som.bandcamp.com/album/the-infernal-pathway https://www.facebook.com/1349official
DEIVOS - Casus Belli Selfmadegod Records I've talked about DEIVOS in the past and my love of Polish death metal but it always needs to be repeated. OK so, as far as death metal goes, Sweden had the crunch and the melody. But Poland had the utter brutality and the technical ecstasy. Years ago an old roommate of mine turned me onto DEIVOS and I've been a fan ever since. A few years ago I said some nice things about this band's last release, Endemic Divine. As far as this one goes this Polish five piece act have pushed things to the epic level and beyond. Their balance of punishing riffs which are composed in a way that is just a fuckin brutal attack. The soloing that dives out from about and slits throats. The utter disrespect of the gruff vocals. The atmospheric refrain which carries through some of these cuts. Yes this is fuckin overwhelming to your bored conscience. Yeah this is brutal tech death done right in my not so humble opinion. Easily this their sixth release is a requiem of perfection. And like I've said so many times. I'm not a tech death fan. But DEIVOS have a consistency of progression through their career which pushes for excitement. Absolutely, this is their best release to date.
PREMATURE BURIAL - Antihuman Selfmadegod Records This is the solo project of multi-instrumentalist and vocalist JM Dopico. If you were a fan of the Spanish bands DISHAMMER or MACHETAZO then you're familiar with Dopico's past work. But be warned this release is not like those bands I just mentioned.
On this debut release Dopico gives forth a homage to 80's metal and punk rock. Dopico's vocal style is somewhere between El Duce of the MENTORS and the guy who sang for CAPITAL PUNISHMENT outta Fresno, California back in the 80's. We're talking a deep and angry singing voice. There's others I have heard who do the same thing but at the moment I can't think of em. On to the songs, there's ten of em which range from modern takes on speed metal, some slower cuts are doomish but the rest go for the throat of a punk version of VENOM. In the end I like it a lot but it all sounds like a demo from the 80's. The last song on here being a CRO-MAGS cover. Still it's all good. https://selfmadegod.com/shop/en_US/index https://selfmadegod.bandcamp.com/album/antihuman https://www.facebook.com/prematureburial.jmdopico/
HYPOXIA - Abhorrent Disease Selfmadegod Records Took a few listens for this one to break me out of my Winter (yeah it's fuckin Winter now despite what the calendar says) slumber. Like I needed another death metal act from New York in my life. But on a whole this four piece delivers everything you would want in a bleak bludgeoning release. HYPOXIA are technically not a new band. They started out back in 2011. After releasing a demo that year plus an EP in 2013 the band went through some line-up changes. By 2015 they finally secured a steady line-up with which to put out their debut full length, Despondent Death. Part of that steady line-up is vocalist Mike Hrubovcak from MONSTROSITY.
Musically HYPOXIA come off as a hybrid of everything NYDM is known for. Parts of Abhorrent Disease does remind me of early SUFFOCATION which to me is fine since that band's more recent material has left me bored. On here the superb drumming matched with the chunky riffs as well as some technical guitar soloing are the stars of this show. Much like their main influence this band knows how to balance the brutality and technical aspects of the genre. As far as Hrubovcak's vocals go, he snarls, growls and shrieks like one of the best. He's pretty much the icing on this DM cake. Which makes HYPOXIA's Abhorrent Disease a damm good release that's not overly old school generic nor excessive tech death noise.
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In Jan. 2020 some not so nice person(s), who obviously don't care for Metal, decided to complain to a social media platform about something I posted. That got me banned from posting links there under the former blog title Scumfeast Metal 666. Fine I just changed the name to what you see now. Hey I'm still here and, under our present day situation, will be more extreme then before.
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Extreme Metal or Music is generally a form which is accepted by 1% of all of the music loving public. It is elitist in every way and that's important to those of us who call ourselves fans. The 99% of people who will not like it are Not Supposed To. The music wasn't made for them, "the masses". It's music that's for those who take things to that "other" level. There is nothing hip or fad about it. In fact I treat those two notions very harshly.
