Dauþuz – Des Zwerges Fluch [Germany, Black] (2018)

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Naturmacht Productions | 09-15-18

Alright we have to talk about it. Lyrical themes: Historical mining. In all of my years spent in heavy meta, this is perhaps the first mining centered metal band I have come across. In fact, looking through the Metal Archives for other bands which share the aesthetic, Dauþuz is one of five and the second German band to explore this topic. Germany’s Die Knappen did a similar dive into the traditions of mining in 2010 and Spain’s Astigarraga Thrower delved into mining and extractive metallurgy with their 2015 release Aiako Harria. With something so specific and off the beaten path for heavy metal, it is almost arresting in its use since most listeners are wondering what mining has to do with anything.

Des Zwerges Fluch is the band’s third release following a short string of full releases that no one really paid attention to. This is surprising as the preview track from Des Zwerges Fluch is chilling black metal probably played at the bottom of a cave. While the cave jokes could write themselves, the combination of crips black metal combined with an odd lyrical approach makes for engaging listening which urges listeners to revalature the aesthetic traditions of lower class occupations. Dauþuz seems more connected with the primal qualities or unrefined earth with music that feels arcane and chaotic in its slumber. Since the lyrics are in German, I will never know the true answer but there is sometimes a feeling which transcends languages.

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Enscelados – The Devouring God [International, Black / Ambient] (2018)

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Self Released | 4-30-18

Souls are drowned in the ever-rotating continuum / Alas, for they knew not of the end… / Tears are shed for whom the devouring god awaits / Ululating for eons, those who went… / Rites will be held for him once again / Never will they know, for all will remain unraveled…

I do not know why I enjoy the lyrics for The Devouring God so much. Perhaps they are written in such away as to convey dread and wonder all with a sense of timeless drama. Perhaps it is because it sounds like the beginning of a chapter from Malazan Book of the Fallen. Perhaps it is because it feels perfect for 23 minutes of swirling chaos. Whatever the case, Enscelados, named after the Enceladus the 6th largest moon, flies in the same trajectory as Darkspace and tries to depict the vastness of space and the possibilities of horrors lying beyond.

I enjoy albums, EPs, and Demos consisting of one song as I feel the release is centered around a theme. Enscelados’ theme is obvious as it portrays a Lovecraftian notion of a sleeping god whose power is divine and terrible. IT is these types of themes that make a blend of atmospheric black and hypnotic ambient work specially when combined with blown out production with feel ritualistic in its design.

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Cryptworm – Verminosis [UK, Death] (2018)

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Self Released | 4-30-18

All hail Bulldozer Death! This is my personal tag for music that sounds like an unmanageable amount of gravesoil pushed onto a listener at once which slowly becomes their demise. This is what Cryptworm sounds like and it is as fun as it is intimidating. Following their well received 2017 demo, released on Goatpryaer, Cryptworm sets out by themselves to deliver ten tons of gravesoil on hapless victims.

From the beginning of this 11 minute EP to the very end, Cryptworm rarely takes time to rest. No intros, no ambiance, no space to breathe, Verminosis could be the definition of “straight and to the fucking point.” While this EP lacks the atmosphere of other rotting death bands of recent years, Cryptworm makes up for it with some wild and ascertaining riffs combined with the smack to the face with a tombstone attitude. Also the pick slide on “Cadaveric Flesh Engorgement” was one of the most fun experiences I had all day. All hail the sundering of life.

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Gestank – Rathymns [Sweden, Black] (2018)

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Cirsium Kollektivet | 3-28-18

“”Gestank returns with even darker atmosphere and a thinner production than on the previous recordings.
Enjoy or don’t !” — I have been laughing about this for the past few weeks as it is clear this is not meant for enjoyment. I mean, I enjoy it but it is nice to know no one cares. Also from the Metal Archives, “Gestank” is the German word for stench. Fantastic.

The description of this EP is correct as the band’s previous demo “Hail Intoxication” was more involved in the production. Rathymns is closer to the band’s almost meta demo “Anti​-​Aesthetic Warfare,” though this current release is much more focused in a productive direction. There is so much to do when you point your gaze towards hate and destruction and explore the endless misery of human existence. We are going to go with the genre of black to start but really Gestank can be thought of a lumbering wretch of music which oscillates between lurching misery and rabid violence.

Gestank comes to us on the leathery wings of Cirsium Kollektivet, a Swedish tape label who already brought us things like Kwestia Kwasu and Vomit Kult. Gestank fits into the this weird collective which seems to be centered on unearthing some of the weirdest ways to cry out in anguish. I am sure that I will enjoy this and it is good to know no one cares if I do or don’t.

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Burial Stone – Lost History [US, Death] (2018)

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Self Released | 2-27-18

Alright this is what I am fucking talking about. Death metal which has the sentiments of a caveman hunting on the unforgiving landscape where death and life are locked in an inseparable embrace. All of the information regarding Burial Stone indicate this is death metal from New Jersey without any serious mention of the doom aspect. Perhaps we have moved past the point where we are considering doom a genre and this is just death metal played out in agonizing slow motion.

the three tracks which make up the Lost History EP are of exceptional quality with the raw nature of the cover, production, and instrumentation only adding to the mystic surrounding this band. With song titles like “ATLANTEAN ASCENSION,” Burial Stone summons primordial sprits to help them weave their tale. When doing so however the world becomes turgid with the haze of sorcery. Lost History is the work of death magic and I am so pleased to be in its wake.

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Mortuus Umbra – Omnipraesent [Israel, Black] (2018)

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Self Released | 1-11-18

Mortuus Umbra is from Israel which is not that much of a unique factor though the western Asia is on the lower end of metal exports. Looking at statistics for the county, there are around 250 metal bands in Israel which contains a bevy of genres and even more diversity in quality. Judging by this recent EP as well as their 2015, Mortuus Umbra maybe notable not just for the country of origin but stellar black metal which feels like dark hypnosis.

Omnipraesent is Mortuus Umbra’s second EP which builds upon their fantastic debut in 2015. The lyrical themes registered on Metal Archives has Luciferianism and sorcery as their subject matter which gives a dark undertone to an already present unholy aura. One of the more enjoyable aspects of Omnipraesent was the groove of the music which was similar to a less costumed Melechesh as well as a less erratic Deathspell Omega. Songs like the preview “Void II – Burning Fire of Ecstasy” see a cohesion in sound as well as vision as this unsigned band has the potential to ensnare the hearts and spirits of unsuspecting listeners.

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Cist – The Frozen Casket [Russia, Death / Thrash] (2018)

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Camo Pants Records | 3-16-18

I do not think I have so thoroughly entertained with music while being baffled by the name of the record label. Camo Pants Records is either a goofy name with no meaning or some hidden tongue and cheek reference to death metal fashion. I think I spend so much time discussing this aspect as Cist’ Frozen Casket is the inaugural release for the UK label and if subsequent records are going to be as good, then we need to get this name thing worked out.

Cist is a Russian outfit with an unabashed infatuation with 90’s US death metal and 80’s European thrash. I know this because their Bandcamp page states they are “high speed, manic, death thrash, forged through an uncompromising meld of eighties era Tampa death metal and aggressive European style thrash.” Cool, we know where to start. Pestilence, Death, Solstice, and Obituary are all ghosts which hang around this newcomer and by the sounds of their first EP, this band nails everything about the sound. Though I usually applaud bands for not becoming too absorbed in costume, my love for old school death eclipses everything else and songs like “Antisceptic” are sugary and sewery in its enjoyment.

I still have no idea what the record label name means but I am willing to waive them through as long as things like The Frozen Casket keep getting produced. Camo Pants and Cist make a strong declaration for the beginning of the year and provides a wonderful soundtrack for Valentines Day. This holiday, spend it in the arms of 90’s era death / thrash and die a thousand times.

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Human Agony – Goring Christ [Canada, Black / Death] (2018)

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Self Released | 2-1-18

The fact I can’t listen to more than one song from this EP is hilarious as it is infuriating. The mail order distro which is attached to this band, Blud Auk also has its samples on Soundcloud. It seems to be my fate finding really awesome music that sails international waters in terms of formats and presentation. What is important however is that I have found some clues and leads to a cavern of death and rot whose location is only known by those already infected with spiritual sickness.

Despite Goring Christ only having one song, listening to the Final Laceration demo shows a band ready to smash windows and use the pieces to inflict harm on whoever is closest. This is the trenches of black / death / punk / war / bestial and whatever other avatar of horrid music that comes from the lose of goodness. It is fast, gross, and undeniably fun. Goring Christ and the greater Blood Auk label has found an aesthetic and a distribution method that seems to work for fanatics of slime and grime. I will make any addendum to this review if the rest of the EP turns out to be any different than what is present on the previous demo or preview track. If the band suddenly changes to symphonic progressive, Ill be sure to post a follow up. For now and until that point sit back and die a thousand times over.

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Benthik Zone – Causa Modicum Temporis Spatium [Portugal, Atmospheric Black / Death] (2018)

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Self Released | 1-18-18

After a short rest following end of the year festivities, this is the first Tape Wyrm review of 2018. I thought it would be fitting to celebrate the passing of the new year with a record that sounds like the collapsing of worlds and the coming of an age of darkness.

From a very Latin background, the title for this EP translates to something like to cause a short space of time. While the track titles are rendered in cryptic aesthetics, the lyrics are still Portuguese which yield abstract and cosmisc themes. If the album titles and track lengths were not a giveaway, Benthik Zone reaches for the heavens and tries to pull down the blackness beyond the light.

I am just learning about this band and their records as Via Cosmicam ad Europam ab Gelid Inferis was released in September of 2017 and would have fit perfectly on this site for much of the same reasons as their 2018 did. It sometimes takes a band and their releases to reach certain places much in the same way light does across the galaxy. For now, Causa Modicum Temporis Spatium has arrived coming from somewhere beyond the heavens.

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Another Dead One – Tomb of a Thousand Sorrows [US, Death] (2017)

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Self Released | 12-29-17

This is perhaps my sixth review today trying to not only get up to a certain number but review all of the material that is being released at the end of the year. While most of the lists have been published and writers have gone home to celebrate another year of releases, the backwaters of the internet are still alive with festering releases. One of these is Tomb of a Thousand Sorrows, the very late introduction to Another Dead One.

I am not entirely sure about the band’s name nor the album title. For a year spent with the rotten warehouse death, Another Dead one seems to be on a separate plane with aesthetic. This is furthered by the fact their guitar solos and dynamic presentation is not only unorthodox but it is fun as hell. when was the last time you heard guitar squeals into double bass riffing? For that matter when was the last time you heard a chainsaw in a song with people screaming? For as much as I am uncertain about the name, Another Dead One has gone above and beyond the call for entertainment with an EP that would be fun for drinking embalming fluid with.

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