Effluence – Ballistic Bloodspray [US, Brutal Death / Grind / Noise] (2021)

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Self Released | 4-9-21

I can’t imagine a better title to this EP: this is a ballistic spray of blood. No question. The Czech deathgrind band Contrastic notably merged totally non-metal instruments into their self-titled LP (the one with The Little Mermaid on the cover); but if they were the fun one in the family, then Effluence is like the unhinged younger brother who took his sibling’s imagery a bit too far. This 12-minute EP is an absolutely bonkers mix of technical death metal, brutal death metal, grindcore, and noise. There’s the slightest bit of remaining wonkyness that hints at a sense of humor(???), like the piano on “Unending Separation” and the clarinet on both “Unholy Liquid” and “Miasma of Entrails”. It’s weird, experimental, and intense music – similar to what Genophobic Perversion is doing, and this feels a little more polish in perversity. Celebrate in good vibes.

Æumbra – Æumbra [US, Black] (2021)

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Self Released | 5-26-21

A search for “Æumbra metal” reveals exactly nine results, none of which tell me much about this band. From what I can tell, they’re a fresh US black metal act with at least one member. I don’t believe we’re at the point of deep fakes for raw black metal. This demo features 21 minutes of strongly melodic raw black metal more so than the punk- and/or noise-inspired strain. Vocals are a constant high-pitched screech but not annoyingly so; more like Silenius from the early Abigor releases in that raspy affect. There’s a ton of wonderfully written tremolo leads that hearken back to the early second-wave Norwegian black metal aesthetic, but in no way does it sound tired. In fact, the paunchy bass lines give this a slight “oomph” where the rawer-than-your-average-bear production really bolsters the melodic sound. While most of them follow root notes, they bolster the leads ever so slightly to make the demo stand as a sonically impressing work. If you can’t tell, I really like this – and the higher-pitched vocals round out the sound to make everything sound dynamic in a way I can’t describe without sounding like a goober or a pedant. Basically (hah!), there’s serious promise for an LP, and I hope they keep that semi-raw sound for the future. It does well.

Fōr – The Life Feeding Flame [?, Black / Death / Doom] (2021)

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Nihilstic Noise Propaganda | 5-11-21

Ah, another entry in the “dissolving” extreme metal tag. What does that mean anyway? I use “dissolving” to describe that kind of caustic black, death, or doom with hollow vocals, percussion that’s stilted or curiously laborious, and guitars with a precipitated limestone crust. Allegorically, it’s the “I’m being dipped in the acid pools at Yellowstone” kind of metal. (Not that I know what that’s like.) And here’s one of those: the anonymous Fōr from who-knows-where and their 23-minute, 3-track release “The Life Feeding Flame”. This combines black, death, and doom metal in a way that recalls a cavernous Icelandic black metal album – and it’s nearly as scary. Dissonant and, yes, dissolving. The shorter runtime does it a ton of favors in hookability with its tempestuous yet mid-paced drums. Everything about this adds to a slow, creeping dread that is accurately demonstrated through the smouldering lake on the album art. The bass is a steady rumble under every percussive pummel; and the lyrics echo, overlay, and roll off each other in a conflagration. Give me more fire!

Mephitic Grave – Into the Atrium of Inhuman Morbidity [Hungary, Death] (2021)

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Carbonized | 5-7-21

Originally formed as Mothrot, Mephitic Grave is a Hungarian death metal band – a scene I admit to having next to no experience with. This is their first release, landing on the California label Carbonized Records. Here we’ve got something that sounds like a lost Finnish or Dutch death/doom LP from 1992. “Intro the Atrium…” is full of chunky, half-wonky riffing and extremely deep vocals half-buried under the mix. There’s also that slight punky influence that characterized so much of early death metal, which is especially prevalent on some of those groovy mid-tempo breakdowns as on “The Vault of Strangling Fear”. This is death/doom in the sense of incorporating doom metal influences in death metal riffing, with those slow and hard pick-ups into 1.5-times hitters. It’s the kind of roughness I get down, and one of those strong releases that reminds me of my time first exploring early nineties death metal and learning about all these magnificent versions of extremeness. That’s a bit poetic, but hey, it’s what I’m feeling.

Ritual Laceration – Putrid Womb [US, Black / Death / Noise] (2021)

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Life After Death | 5-18-21

Ritual Laceration’s “I” demo was one of my favorites of 2019, so hearing that this “dual bass bestial black metal” group had another one out was an insta-sell for someone who likes to blend his death metal with noise and whey protein. And wow, this is noisy. The first demo was a strong delivery of two bass guitars where each track steadily increased to maximum controlled cacophony (not unlike the Italians in Thecodontion). “Putrid Womb” adds shards of glass to the mix with a distinct overdrive that contrasts with the previous demo’s relative cleanliness. Not that this band was ever “clean” – maybe in the sense of how a wound can be clean in the hands of a responsible scalpel-holder. In that case, the metaphor here is the rats on the cover: an infesting mix of the harshest drive where redlining is a feature, not a bug. “Putrid Womb” also features some excellent Diocletian-sounding manic solos that are barely demonstrative of normal musical ability and instead have that wonderful “ready to explode” aesthetic. And indeed it does explode – the indistinct vocals samples come in and out of the mix at the most (in)opportune time, sliding in and out of varying levels of discord. If you’re into chaos (and I have a feeling you are if you read Tape Wyrm), then grab “Putrid Womb”.

Mortuary Spawn – Spawned From the Mortuary [UK, Death] (2021)

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Chamber of Emesis | 4-23-21

UK death metal has always had a strong history and its current scene is continuing a legacy that has already been written in blood. When I first heard the name Mortuary Spawn and saw the cover art for their debut EP, I had a feeling it would be craved by a certain fan of heavy metal. This fan might be undead and with ravenous claws which make their way out of cracked coffin. If all of this sounds silly and ridiculous, wait until you are sent down a rollercoaster of riffs with the tension gripping the back of your neck. For 15 minutes, you are at the whims of revenants who mean to entertain you with bloody magic tricks which ends in one person cackling and the other sickened. Mortuary Spawn worships at the altar of old school death metal with a tribute to its looming atmospheres which rolls over cemeteries like fog. This is a sound which will be familiar for some and pleasing to many as it focuses on the parts which makes death metal so successful. If the black and white cover that looks like old Dungeons and Dragons modules is any indication, Spawned From the Mortuary is going to be a party for some but those are going to be the ones chasing others down blood splattered halls.

Human – Delicacies of Extinction [US, Death / Hardcore Punk] (2021)

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Silence Is Death | 3-5-21

“Death metal made by hardcore kids” is a bit of a pejorative nowadays, but it’s also a pretty good descriptor for a select group of bands. It’s worth mentioning that “deathcore” may technically be an accurate tag, although whether it’s responsible to call it so might be more questionable. Human is a three-piece from the sunny (yet suffocating?) land of Orlando, Florida. The demo features a great smattering of punk-infused death metal, with potential appeal for those who have enjoyed recent releases from Fuming Mouth, Anthropophagous, and perhaps even Black Breath. Note that I am excepting Swedish death-n-roll hybrids; there’s a distinct Floridian riffing here that lurks beneath the punky aesthetic. Like if Obituary decided they were really into DC hardcore. Speaking of which, hardcore punk’s socially-minded lyrical themes are a huge part, lest the sardonically-named “Brown Scare” and “White Jesus” give it away. Protest songs for the death metallers, and that intersection remains in genre melding and proceeds going to black activist organizations. “Days of Rage” and “M.Y.O.E.” have short bursts of rapid-fire chaotic solos that recall early 80s thrash metal in their fall-apart charm. This demo ends on a hard mid-tempo groove and extended drums breakdown through the title track, finishing a powerful 20 minutes of bass-heavy death metal/hardcore. Oh, it was mastered by James Plotkin? Makes sense – the chunky depth of sound is impressive!

Vorvadoss / Magic Find – Moondrawn, Foul​-​Crescent Rapture [US / Australia, Dungeon Synth / Dark Ambient] (2021)

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Attic Shrines | 1-21-21

When I found Attic Shrines, I knew I wanted to highlight this tape label. Lucky for me, there was only one release this year which makes it easy to frame in terms of releases since this is the best Attic Shrines release in 2021. I have always had an interest in drone/noise/ritual ambient and find its relation to dungeon synth fascinating since this type of synth is always lying underneath other genres like some interconnected catacomb that anyone can enter if they get lost enough. Attic Shrines may release more infrequently to the average dungeon synth artist yet their tapes are from some of the more intriguing artists. This combined with a underground black metal aesthetic and one has dungeon synth that has been left in crypts for centuries. Moondrawn, Foul​-​Crescent Rapture is a split between Australian Vorvadoss and US Magic Find. both tracks which equal to around 30 minutes are a wonderful blend of depressive noise and dissonant memories which float through ruined cathedrals at dawn. I look forward to following this label even though they remain ghostly and elusive. Dungeon synth comes in many varieties and it is always wonderful to find more to be haunted by.

Skadalv – Demo II [US, Raw Black] (2021)

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Self Released | 5-4-21

In an effort to get focus on the the most horrid of black and death metal, I seek music that could come from the astral plane. Skadalv is from the US and with only two demos from the past few years, this act only has a few sold out cassette demos to their name. With the release of the second Demo, Skadalv continues to write a chapter in an apocalyptical book which is full of spectral hauntings and psychic ruin. Though the demo only totals about 11 minutes, that time spent with Skadalv is one that is oppressive with its noise and exhilarating with the energy. Not a lot of information is available regarding this band outside of Metal Archives page which lists the lyrical themes as “Death, Mysticism and Reincarnation.” I feel the elusive nature of the band combined with the abstract lyrical themes allows this release to be something special for some very weird listeners. It is a sound which is not for everyone but those of us who are here to worship at the alter of death couldn’t ask for anything more.

źmiarćvieły – čornaje połymia [?, Black] (2021)

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Caligari Records | 5-21-21

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.