Self Released | 6-12-18
This is the second full length release for Changeling as of yet unsupported by a label. In 201, there is less of a need for label support outside the desire for more resources. Though I can see this band being at the attention of many more interested in winding atmospheric black, finding Changeling’s second album with few other around was interesting. Perhaps this is the sleeper hit of 2018 or even the album that will feel like cold water to the face.
Even though I added the tag atmospheric black as to fit the Metal Archives description, Changeling shares little in common with the other forest dwelling hermits that have typified the genre. Though there are still instances of sweeping texture and arching guitars, the turns taken by Changeling is more reminiscent of bands like Altar of Plagues than Wolves in the Throne Room. Perhaps this is why II is so refreshing as it uses whatever tools necessary in any genre to accomplish a unique picture of mystery and destruction. This is also why I find the need for labels to not be a priority as Changeling has presented a fully competent and fluid second release on their own with little help from the outside and from outsiders.
Self Released | 6-5-18
I think I can count the number of doom albums on this site with relative ease as I could probably use two hands. Doom is not a genre I travel into or at least have patience to surround myself with. This does not mean there are not good records being made and great bands making them. For me there has to be something else outside of the doom to snare my attention. Lightpath, a very new Italian act, seems to have doom coming with their death metal friends and they all have rusty knives. This is the type of party I enjoy.
Children of the Void is listed as a promo which could very much fall under the classification of demo. It is a three song showcase which lays out the tenets and intentions of the band which all are malicious and ugly. The female(?) vocals come snarling and add a rotting edge to music that is already adversarial. Outside of this sort of unique presentation is music that is well constructed and consistently remains intriguing. If Lightpath was intended to get attention with this promo/demo they have done so with music that is more fitting of a broken leg than anything resembling fun. It is nasty, harmful, without morals, and completely entertaining.
Self Released | 4-5-18
We are going to be honest and say that from the surface and on paper, Oxygen Destroyer looks goofy. With a gimmick surrounding kaiju films and some beer drinking promo pictures on their Metal Archives page, this band looks to be funny if not disposable. Lucky for everyone involved, Oxygen Destroyer has thrown themselves onto the altar of old school death / thrash and made an album that is wild and eviscerating first with fun coming close second.
It is difficult to be picky when it comes to aesthetics surrounding metal. Most of heavy metal’s imagery is goofy with part of it being heralded as classic while all others being gimmicky. Nuclear abominations are not a far reach for thrash and monsters born of radiation seem to be in the wheelhouse for death / thrash. While Oxygen Destroyer probably lost a large audience not being over the top parodies dressing in Godzilla or Mothra costumes, the main draw for Bestial Manifestations of Malevolence and Death is the complete worship for bands like Morbid Saint, Sadistic Intent, and Demolition Hammer. What Oxygen Destroyer lacks in marketable gizmos, they make up for with an absolutely crushing record that would be perfect for drinking beer and chewing concrete.
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 | 2-8-18
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 | 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.
Self Released | 2-13-18
I do not know why this makes sense but it does. The split between Lord Rot and VHS allows one to experience two different types of horror. This is why I have constantly praised the ideas of split as you are allowed the opportunity to come into a release that is curated by more than one band. For the most part the aesthetic is aligned and in other cases, it is the synergy between two types of horrors which sets the tone.
Lord Rot is a Scottish based one man death metal band whose sound is bleeding into black / thrash metal with all of the flourishes indicative of a full pice outfit. The two songs belonging to this act are not only electrifying but sharp as a rusty knife that is being waved as a threat. This split acts as the first release in a few years following a successful EP all the way back in 2015. This is most likely due to the fact that James Mcbrain is also behind the more renown Hellripper whose 2017 release Coagulating Darkness was the toast of the underworld. The Lord Rot project is similar just with more pulp / slasher flair.
VHS stands for Violent Homicidal Slasher though I feel the band loves the nostalgic acronym as horror movies and Video tapes sort of go hand in severed hand. The VHS side of the split is dedicated to the Texas Chainsaw Massacre with 4 songs and about 5 minutes devoted to Leatherface and chainsaws. If one was looking for irreverence and the sound of tripping while watching horror movies then VHS just might be the insane time you need.