Unspeakable Axe Records | 09 – 31 -18
Holy shit, this thing is not going to be released until late August. Why am I so excited for this record despite the fact there is only one song for preview. What is it about death metal riffs which makes me wait on the front steps until the doors open? I usually balk at the idea of albums no being available to me whenever I want. I am also wary about the prospect of preview tracks for albums that are months away from release. This all goes out the window when it is death metal, being released on Unspeakable Axe Records, and really fucking good.
Act of Impalement is from North Carolina and has been seen up and down the East Coast putting in work around local venues. Perdition Cult is to be the bands debut and by the sound of the first “single” Pax Romana, it is going to be a hellish hootenanny which will end with at least a few injuries. Fans of old school and grimy concrete floor death will appreciate the tone and structure of a song which waves the standards of music meant to immerse and suffocate. I still can not believe I have to wait here until August but I am sure once the leaves begin to die, it will be time for the world to rot.
Berserk Ritual Productions | 05-04-18
Technically, the full name for this release is “Uma Nulificação Catalizadora Ultrapassa os Limites Transcedentais – Ucifrtnsmael Cantvs Adramalas Ostivm : Anti-estrutual Formulas Da Genesis Do Anti-Mundo” just in case it is easier to do an internet search. Actually searching “אוּסִיפְרְטְנְסְמַאֶל קַנְטְבְס אַדְרַמַלַס אוֹסְטִיבְם” will most certainly bring you to this album as it stands among no others in the vast space of information. This is a weird one and I hope you are ready for some ritual magic.
U.N.C.U.L.T is theatric and the space of אוּסִיפְרְטְנְסְמַאֶל קַנְטְבְס אַדְרַמַלַס אוֹסְטִיבְם is filled with drama. Aside from the obvious incantations with soundclips of babies crying, the music is constructed in what feels like an impossible space. Strange angles and bizarre structures are hallmarks of a strange album that is made even more strange by ceremonial garb. The fact I can find little information about this band and a South Korean label is the only point of contact only fires my imagination. This could be an instance of dimensional sorcery.
Selling me on something strange is not difficult though U.N.C.U.L.T has a knack for its own presentation. Being weird does not translate to making a good record. When it does and the oddities and alien qualities of the music work in congress with the uncanny themes, then it is pure magic. I ad no idea what to expect from אוּסִיפְרְטְנְסְמַאֶל קַנְטְבְס אַדְרַמַלַס אוֹסְטִיבְם and looking back I do not know how I felt before opening up this strange portal.
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.
Self Released | 4-24-18
Well, here it is. Perhaps the weirdest thing I have heard all month. This band also comes with the distinction of be indistinct since their origin is up in the air with only the information that their band consists of Hungarian and Greek members. Whether or not they reside in Europe or the Us or in the depths of Perdition is still up for debate as Aseroe comes on the wings of disgust and demise.
Aseroe adds to its mystic by presenting two lengthy tracks that exude a certain madness which hides under floorboards. Similar to bands like Cultes Des Ghoules, Aseroe works because it leaves all sense of moral reservation at home, which I assume is a hovel, and goes running in the streets nude and covered in scratches. These two songs revel in darkness and have no qualms about being weird without going over the top in terms of theatrics. It is gross, unrefined, and utterly successful.
Self Released | 3-19-18
I am always on the lookout for cool black metal despite falling had over heels for recent rotting death. Finding Olm was special as it allowed me to embrace the hatred and anger associated with black metal without any pretense. Finding Olm was fantastic as it seems to be the prototypical subject matter for black metal just done in a way which feels fresh and genuine.
Ruin of Scepter – Chasm is a demo comprising of two songs that are surprisingly named “Ruin of Scepter” and “Chasm.” This sort of unceremonious naming sequence fits the band’s quest for earnest and simple delivery as the music is black metal presented without any bells, whistles, or plates. The dips and dives of “Ruin of Scepter” has enough riffs and atmosphere to make it harsh but with hooks as well as entertaining while still grating against skin.
“Chasm” is a good example of the direction and potential by this band. What seems like a routine black metal demo soon turns into turbines of ferocity but a drumming section that sounds hazardous. The lengthy tracks make this demo into a destination for anyone wanting to bath in self hatred and damnation. It takes a special band to make a raw demo about darkness feel like something new and by the raw feeling after listening to this demo is any indication, Olm did a fantastic job.
Self Released | 3-15-18
Aww yeah here it is. Demo name – Check. Release type – check. Tone – Check. Band name – triple check. I have to admit that I am reviewing this based on the preview track as the actual demo comes out in 6 days from writting this article. There is a possibility that the rest of Altar of Gore’s demo could be lackluster and boring. From the sounds of the preview track “Foul Dwellers in the Sacrificial Pit,” this demo is going to be nothing less that the drowning of the world in ripped flesh and fouled blood.
Though I would be perfectly happy with this songs beginning tone which is grindy and has the vocals of a cave demon but it is really the downshifting of pace around the 1:50 mark where the riffs drape over the song and the full extent of atmosphere is revealed. This demo makes the sound seem so effortless and from at least this preview, seems like Altar of Gore are winning without even trying.
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.
Self Released | 2-8-18
I usually enjoy finding Bandcamp pages with little to no discussion so I can be one of the first to write a review. This is my bizarre sense of accomplishment. While seeing the massive amount of discussion on still unsigned debut from Golgothan Remains was sort of a let down, the fact we have a strong contender for one of the best albums of the year being released in February sort of makes up for it.
Comparing the band’s debut to the demo shows leaps and bounds in terms of production. While the songwriting is still present, the immersion of sound is one of the strongest aspects of a record which desires to ensnare ones attention. With a few steps above the cavernous sound but a few feet down within grave, Perverse Offerings To The Void succeeds by all merits in being a full sounding death metal record which is near cinematic in its running time.
I find it wonderful when the aesthetics of a band coalesces into a successful record. The closing quote on this Bandcamp page declares “…we live in dust of these remains…” which is colorful and fun in the revel in darkness sort of way. People who enjoy realms of dust and decay will be in for a wonderful surprise come the passing of a thousand years.
Self Released | 3-1-18
It can certainly happen. I enjoy sludge / doom at times in between bought of raw death and black metal. It takes a certain record though to break the spell of things I usually enjoy. I have little reason to stop on Sixes in my daily search through new releases seeking out xeroxed black metal releases. Perhaps I did so due to the warm cover which featured a vintage demon. Perhaps I stopped today since this was doom that did not have a bong or demon smoking a bong anywhere in sight. Whatever the case, Mephistopheles was a welcome chance of pace which still retained the misery and discretion of other forms of music now just in monolithic riffs.
Perhaps one of the reasons I enjoyed Sixes compared to other sludge doom of recent memory is the ability to work within a space. Songs like “A Cross To Burn” doesn’t really start until 3 minutes into its 10 minute running time with the intro churning violently building up momentum to finally crash on some dark sand. The band deals in expected themes such as despondency, violence, drugs, and occultism but aside from the well treaded path of the lyrics lies an entertaining approach at the sound. Sixes channels the ghosts of southern sludge such as Grief, Eyehategod, and early Sleep into an hour running time of complete misery which is both entertaining and stunning.
I am sure Ill get back to my schedule of crypt dwelling black and death metal but for now I am certainly fine with sinking into the lightless waters of this record and not coming up for air until my lungs burn. Sixes offers conflicting emotions which range from excitement, apathy, and desire for indiscriminate annihilation.
Self Released | 1-9-18
there are sometimes inklings of things one is going to enjoy. Seeing the color used in Superstition’s logo and artwork wasn’t the reason for enjoying this demo rather an inkling that t was going to be intriguing. Perhaps it is because that warm sickly grey was a gateway into a certain aesthetic. Perhaps I am drawn to certain shades of off white. Whatever it is, Surging Throng of Evil’s Might is a triumph and offers sanctuary in the creepiest, most dilapidated cathedral this side of the afterlife.
Did I mention, I adore spooky organ music? If not, I would like that noted on the record. One of Superstition’s greatest assets it the sense of atmosphere which compliments their mastery on the music. Songs like “Outer Mutation” comes out of a gothic style organ interlude and have enough flair and flounce to make it a towering monstrosity in rotting velvet. This is weird fiction death metal and with songs like “Grave Portal,” it is a place which I want to stay forever.