We are going to mention this album, which is the second full length from La Ballade des Rats came out last year in May. The band though decided to tag this as a 2021 release on Bandcamp so who am I to argue? It is okay since we get to include La Ballade des Rats in 2021 and the creators opus on misery and rat infestation. La Ballade des Rats is the work of a few French musicians who seems to be operating in the tunnels which snake under the city of Toulon. If Rattus Furax sounds like anything then it is the half flooded underground passages which sport all matter of disease and the denizens which inhabits its kingdom. Vermin, disease, and decay are the aesthetics of this release and La Ballade des Rats is its pestilent bard.
Caligari always comes through in terms of pulling me back into a world of rot and despair. At this time of writing this review, this band has no Metal Archives entry, nor any other Bandcamp page, nor anything on the internet about its existence. This band exists only as an ugly six minute black metal track which feels like it was birthed in a witches hut and now is running towards the nearest town gibbering unholy speech. This preview track is a grotesques sound and the tone of the raw production combined with the lack of information gives this release the amount of excitement and potential dismay it deserves. I thank Caligari for being there for me reaching a hand in a cauldron and pulling out something that should never had existed.
Yes, I am unsure about that band name as well at the logo. there are many things which make me wary to approach this US band first and foremost should be the rusty chains which drag behind this behemoth of a record. I say I am wary to approach this since the music and general disposition of Uranium is so caustic in nature I fear I will contract a disease or some sort of radiation burn. An Exacting Punishment is a grand display of torture through sound with black death drug through industrial soundscapes which is closer to noise than it is anything resembling dance. The band’s name and logo seem secondary to a world of nightmares which blink like strobe lights in dark warehouses. This is something that is horrifying and I am so glad is stalking me as the specter of industrial music should want to do.
Yes. This is where I want to be today. I do not car how many times the riff rotten death metal with illegible logo and monochrome cover is done, I will probably listen to it. This is not to take away from the weight of Sepulchral Cult’s debut rather to put up front I will listen to this album and others like it until the end of eternity. Immurement, Spirits and Graveyard Chants is the debut from this Polish outfit which follows a 2020 demo which is surprising I missed given I was doing nothing else last year aside from listening to death metal demos. My surprise and pleasure at Immurement, Spirits and Graveyard Chants’ and its plunge into the crypt which is filled with ghouls that bear you ill will. Prepare thyself to be torn asunder.
Writting about this review is a reminder to myself to finish my black/punk — punk/black primer. I love this sound and the more I explore in the rotted afterparty of the fusion between black and punk, the more I find the sound as varied as something like death metal. Black Mass Pervertor leans towards a thrash driven speed style of black metal with an aura of perverted partying rather than occult rituals. With tags like “sodomite rock,” and themes such as blasphemous revelry both in the flesh and in spirit, Black Mass Pervertor continues to hold the soiled flag of black/punk as it chucks liquor bottles at the ones who are cheering them on.
as we head into the new year, I would like to thank everyone who followed this site throughout 2020. I would also like to thanks acts like Porcha for putting out these types of releases, as this is the sound in which I created this blog for. Somewhere in the catacombs of eternity lies a demo which boasts both soul scaring black metal as well as dark ambient interludes. Porcha (“Curse” in Russian) is a project dedicated to the invocation of death and diseases as it blights the land. Between the raw black are generous passages of dark ambient in the vein of Neptune towers which makes this release even more appealing to the near 100 people who would be excited for this release. I am one of them.
Welcome the new year. Welcome horror and dismay. Dosanjos does not have a Metal Archives nor can I really find any information related to the band which leads me to beleive they are just demons from Brazil that vomit forth noise. I am fine with this. Heterogeneous Hieratic Areopagus is not an easy listen and for a fan of raw black, this album is one of the more soul scraping releases in recent memory. With a soundscape which evokes unease and an atmosphere riddled with anxiety, Dosanjos exists to promotes distress and Heterogeneous Hieratic Areopagus is a thesis in misery. I know for some this tone of music is everything they could possibly hope for as this type of weirdness is magnetic.
Going to be real honest in saying, it took me forever to spell this band’s name. Perhaps it was the crushing weight of emotion which comes with this release. The below link to the Bandcamp page goes to the Transylvanian Tapes site which is producing the 2021 tape run for this 2020 release. Funeral Doom is a very distinct genre yet its scene, outside of the founder and a few disparate releases, is not as fertile as lets say black or death metal. This could be due to many things but hearing Grav | Ruin was a dark joy as the band combines the ferocity of black metal into the monolithic template of funeral doom. This makes songs like “Begravningskör” at 18minutes not feel like an eternity spent in darkness. While the previous description sounds wonderful, it is the variation which Gravkväde shines. In the landscape of ruin and despair, Grav | Ruin offers both passive mourning as well as more active despair which manifests itself into an extended stay in purgatory with only mixed emotions for reflection.
It is difficult not to get excited about this sort of thing. Death metal has been through its trails and tribulations for years with subtle niches and styles for any discerning listener. In fact, if one would like to hear a spectrum of death from the very bloody to the more abstract, they need not look far. Gorephilia, despite its name sake, resides in the middle of this spectrum with traditional death metal that is here for the sole purpose of playing riffs into the void. In the Eye of Nothing is the bands third release and despite some minor recognition at on end of year lists by internet users, the band has yet to break into the the larger public sphere. Perhaps this record, which is full of looming horror will do the trick. I am certain it has for me.
All hail the bulldozer. When discussing death metal from the last few years, there is a certain strain of hip rough edge death metal that relies mostly on riffs and gross looking album covers. This is wonderful death metal but has become apart of an aesthetic that bands can easily subscribe. Diabhal eschews this tradition with a more vintage style of death metal which crushes its listener with a steamroller. Instead of an album cover with two colors and a JCard layout, M M X X appears as if it came from 1995 from a semi mainstream label. Being from NYC, I had a preconception this band was going to be older and possibly with one or two shaved heads. Much to my surprise, the group appears to be young and spry and just into covering songs by Baphomet. Let’s hang out and get crushed by heavy machinery together.